#//dwell too

[bikmui]

.obsessed with the idea of dark star jarvan - all those hopes, wants, desires, everything that made him human, evaporated into aether. aether that became fuel, perhaps, for what he then becomes - not merely corrupted, but absence.

if the universe is full of stars and life and wonder, then are the dark stars - is he - not the ones to devour and devour and devour; impassive scribes and witnesses to the death of the universe? and yet despite it all, he retains his name. memory serves no purpose when those who would remember it are gone. the span of the human life is the time it takes to be forgotten.

but somewhere in the endlessness, is there not someone who remembers?

[drenched-in-sunlight]

I think to make sense of how Marika feels about her Omen twins, you need to follow a string of:

1/ how bad is Marika’s PTSD?

2/ how bad are people in the Lands Between in general feel about the Hornsent? The Hornsent is very much leading a whole empire that is hunting down anyone they deem inferior, even their own brethren. the fanbase tend to forget that people of Land of Shadow and Lands Between have every reason to already feel grievance towards the Hornsent royalty, even without Marika’s influence.

They were the Golden Order before Golder Order was even a thing (and they want that, btw, the Greatsword of Damnation skill description very much pointed out that the Hornsent royalty wanted to build their own Golden Order under the banner of the Spiraltree, they are just pissed as hell Marika wrenched that divinity from them and made it under the Erdtree instead).

And Marika, even as a God, was still just one person, with an ailing son at the beginning. If she wanted to consolidate power, she had to unite other people under a common cause. And I do think she promised them a world abundance of healing blessing and no death, and no one will suffer under the Hornsent anymore (sounds awfully familiar, isn't it. except that Marika was always gunning for revenge as well). Omens being shunned that badly can’t be just because of Golden Order propaganda, it’s also because people in fact did suffer under the Hornsent and still remember it too.

3/ Messmer, who is fanatical to the point of even though he admits the Tarnished has Marika’s sanction, he will still hunt them down because he considers them lightless / unworthy, who was very much around when the Omen twins were born, why did he do nothing about it?

I’m pretty sure he has no qualm about killing babies, he doesn’t gaf about his siblings chasing something doomed to fail, he very much goes extra miles to torture any Hornsent on his way. So who protected the twins from him? Who hid them from him?

1 + 2 + 3 = you have a Marika who still very much suffered PTSD from what her people went through, she thought she had escaped, she thought she had managed to build a world where everyone was free from Hornsent’s cruelty and always bathed in gentle ray of healing - something the minor erdtree in her village could never do, because there was no one there to heal. But now she gave birth to … Omens?

It’s a sign that whatever the Hornsent once did to her, it’s left a taint forever inside her (yes i very much believed she was under the Hornsent capture before she managed to run away, either via the Mimic Veil or other means). That she never really escaped that cold dark gaol. And for all of his belief in her sanctity, I think Messmer knew that too, that it’s a wound he could never heal, and now all he could do was to make sure she wouldn’t be tainted further.

And after distress, came fear. Fear for the Omen twins, even though she should hate them, she still loved them, she couldn’t help it. She carried them for months and had loved them all that time. That wouldn’t stop even when they triggered all of her trauma at once.

I think it should be noted that in the DLC there is an item that is the same as Omen Bairn item in the base game, which points out that Omen (or in their case, Hornsent) babies with overgrown horns meet a frightfully early demise. Morgott and Mogh both have overgrown horns. But they are alive! They are ! Very much alive! And grow into adulthood!

Who healed them? Who kept them alive? Who else but the woman who used to make several blessing flasks for her cursed firstborn, whose innate power is healing, right?

Before the Omen twins, Omen babies had their horns excised, causing them to perish, but once there are ones born into royal linage, exile is on the table? and again, they have overgrown horns, and still live to adulthood. if they were left to rot in prison, they would have already died.

Marika built a world with a promise that the cruel shadow the Hornsent cast would never befall there, but now… she gave birth for two of them. Her position as a God Queen was of no use if her people clamored for the twins’ death, her duty to them will always outweigh her personal feelings. But she sure as hell would not let her sons die, either.

They weren't exiled to faraway land, they were kept under the capital, presumably so Marika could visit and heal them if their horns caused them pain, the shackles were made so they wouldn't wander up above and ran into civilians that pretty much would call on the Omenkillers to go after them. it was a cruel existence, yes, but it's all she could do for them. she tried her best out of love.

That is why Godfrey never held it against her, even when it's apparent he loves Morgott (as he cradles his son's body gently in the boss cutscene). Godfrey knew she had done everything she could.

All of that above answers this 4th question: why Morgott was accepted as Lord of Leyndell, even went so far as having command over a whole army of the Night's Cavalry?

In the time of unrest, Omens were welcomed in the army, but they were distrusted, even their weapons have an enchantment on it so it could be taken back if they tried something funny.

But Morgott was trusted to command a whole army and held the walls of Leyndell for that long?

The only way I could rationalize that is after she was forced to separate from Messmer, Marika brought both Morgott and Mohg back to live with other demigods. A big part of the Erdtree's power force was in Messmer's hand, now that he was not there anymore, I imagine people would become more accepting of letting Omens join their rank. And because Messmer was not there, the twins would actually not have to deal with him. In a twisted way, when Marika lost her beloved firstborn, she gained the other two back.

Even though they weren't officially recognized as her child, but more as warriors serving in Leyndell army, Morgott proved himself with his tactical mind and combat prowess (while Mogh used the resources brought by his new position to secretly started funding his blood cult, and this is how I think he met Miquella and all the stuffs in that part of the lore happened. Like you can't convince me he built that whole palace and had all that fancy clothes without money or resources taken from somewhere else).

Then Godwyn died, and Morgott witnessed everything thereafter. and the rest of the story, we knew how it played out.

So yeah, that's my take on the timeline and story of the Omen twins. I know it doesn't have a strong official description backup as my theory on Messmer, but I feel like this makes sense with all of my other interpretation, and if you agree with those, they are what actually back up this one.

If I draw Morgott in the future, it'll also be based on this premise.

[ryllen]

sebek passing down old water bottle to his child

[astral-herald]

Viktor's (subverted) Aristotelian Tragedy

A common sentiment I’m seeing throughout post-finale Viktor discourse is an understandable concern or distaste for the element of choice lost throughout his story. I know a lot of us – myself included – expected more time spent on his transformation, along with emphasis on the anger/rage/betrayal fueling it. But seeing him allow Singed to “begin the process” in episode 8 reminded me of Arcane’s origins – tragedy. Bear with me for another long analysis :)

Aristotle wrote the following on the tragedy: “A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself…with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.” He also emphasized that the true tragic hero couldn’t be perfect, and his downfall into such catharsis-inducing circumstances was reliant on a fatal flaw, oftentimes pride.

Viktor fits this mold, as do many Arcane characters, and it stands to reason that this was intentional since the writing team has reiterated that the show is a tragedy, at its core.

Regarding Viktor’s fatal flaw, I’d argue it’s pride, but it manifests very uniquely. He never makes any grand declarations about his success and doesn’t draw attention to himself in any clear way throughout season one (“Progress Day” comes to mind). Instead, his pride manifests as staunch independence and self-reliance that lead to his downfall; his unwillingness to break his stoic mold arguably led to his use of the Hexcore…so it goes.

Fascinating caveat: Viktor’s pride is a defense mechanism, a necessary tool he built in order to survive and succeed in a hostile environment to people of his station. His self-reliance is increasingly desperate as his illness worsens. He’s cornered by fate but banks on the sanctity of choice at every turn – in season one, Viktor is bound by the conviction that we all have a choice. It’s why he’s so distressed when Jayce makes the wrong one regarding weaponizing Hextech.

“There is always a choice.”

Viktor’s choice to fuse with the Hexcore is the classic Aristotelian fatal flaw moment, the singular incident that opens the flood gates for eventual catharsis. We watch Viktor make an irreparable choice, one that we know to be bad, and endure the repercussions. He then makes the choice to abandon the Hexcore, and end his life, but audiences can’t shake the feeling that those consequences aren’t leaving anytime soon.

So why is Viktor so anti-choice in his final season 2, act 3 form?

Choice is Viktor’s weapon. Pride is what leads him to abusing it. Despite how uncomfortable and depressing it is to watch, Viktor’s slow descent into the Herald is a perfect twist of fate. The Arcane is even so insidious that it meshes with his original intent, to help those suffering in the undercity, while convincing him that their subservience is healing. He becomes responsible for their choices. He knows what’s best because he’s relieving the Gloriously Evolved of their suffering, right? The utopia is for the greater good, yes?

Admittedly, it was really hard watching act 3 Viktor descend fully into his choiceless ethos. But we can still relate it to his tragic flaw – his pride has mushroomed into coldhearted omniscience; not only does he know what’s best for everyone, evolution, but he also has the sense to make the choice for them to supersede their “baser instincts.” The grief we feel upon seeing this perverted, violent version of himself, as far removed from Viktor as possible, is the culmination of Aristotle’s treatise on tragedy. The catharsis is the rock-bottom Machine Herald.

"Choice is false."

But then Arcane decided to basically make Jayvik canon (get out of here, Christian Linke) and destroyed the early drafts of this post. I’m going to rapid-fire this next bit:

Jayce forces Viktor back to life. Viktor has no agency in his season 2 inciting incident. Again, it’s distressing when we mourn his agency, but it remains in accordance with Aristotelian tragedy.

Viktor clings to humanity as long as he possibly can. When Jayce calls out Viktor’s trajectory, alleging that his old partner had died in the Council chamber, whatever is left of Viktor gives way to the Arcane because his last tether has been snapped.

Jayce knows the game – Old Man Jenkins Mage Viktor told him so. Jayce becomes the linchpin in subverting Viktor’s tragedy. He knows what must happen. He understands now.

Machine Herald Viktor is given the chance to undo his fatal flaw, to reverse the catharsis, when he sees Old Man Jenkins Mage Viktor. With Jayce’s help, he takes it.

Given that it’s a version of Viktor who ultimately frees him from himself by empowering Jayce, we can gather that Viktor has liberated himself from his tragedy.

Aristotle’s catharsis is rapidly transformed from something based in release to something healing – Viktor’s tether to humanity returns. He grasps it. The walls of his pride and self-reliance collapse. He accepts Jayce’s help, finally being seen as the full individual he is. Catharsis ensues, for sure, but I don’t think it’s based in the typical tragedy genre.

All this to say, I think Viktor’s arc was, in fact, carefully constructed. He represents the Aristotelian descent into a fatal flaw and that’s very distressing to see unfold, especially since he embodied the tragic hero archetype so well from day one. However, Jayce undoes this narrative and we’re given an incredibly subversive ending that I, personally, never saw coming.

I’m sure that Mage Viktor has a much larger bearing on this analysis than I’m accounting for. But for now, suffice to say that he is Viktor’s way out of the tragedy. TALK ABOUT CHOICE!

This doesn’t erase anyone’s discomfort for Viktor having less and less agency, but I’d like to emphasize the logic and literary precedent behind the story decisions.

PS: here's a quick source I looked at about Aristotelian tragedies. I hope to re-up on Greek tragedies so I can get more specific about the parallels Arcane draws from them.

[puppppppppy]

you are umasou

[unrealward]

future lifeform (2020)

[redeliminator]

i believe that to some extent Andre knows he's fucked up and this headcanon is one of the hills I will die on in the farewell tape, Cal says that “you can’t cure somebody who has nothing wrong with them.” 

Andre, on the other hand, admits they might be seen as hypocrites. he's not gonna back out, he still thinks it's the right thing for him to do, but he seems to acknowledge that people will not perceive it the same way. he tries to explain that no matter what it’ll look like, it’s not murder for the sake of murder - not in his eyes at least. there's a (sick and twisted) lesson hidden in this tragedy.

to some extent, Andre is aware of what’s going on with him, what exactly shaped him into who he is now. he sees the cause and effect of being bullied, of feeling rejected and alienated, and not being able to do anything about it because that's just who he is. he can kick and scream and shout but he will never change who he is at his core and this realization is crushing for a 17/18-year-old. this and all the implications of a missing sense of belonging.

he knows he’s messed up. he knows what would fix him and he’s convinced it’s out of his reach. he looks at other students and he thinks: it’ll never be me. and he's angry that they have something he will never have.

his awareness doesn't help though. if anything, it fuels his frustration. what adults know to be a temporary problem (high school) seemed like an insurmountable obstacle, the end of everything.

[buckleyreid]

I don’t wanna feed into the “bucktommy is purely sexual”, “bucktommy shippers are fetishizers” discourse so this will be the only thing I’ll say about that.

I think it’s incredibly interesting how there’s soooo many posts about bucktommy here on tumblr (and no doubt in other platforms too), there’s sweet wholesome posts, there’s analytical posts about their relationship, there’s headcanons, there’s fanarts and yes, there’s smutty fics too for example.

Yet, the people who are pointing fingers, calling others fetishizers, are the ones solely focused on the sexual content. Bucktommy fans aren’t the ones making their relationship all about sex, the call is coming from inside the house.

Unhinged buddies are the ones choosing to ignore the part of the scene where both characters open up about their rough family histories and, instead, are making it all about a very quick sex joke that was used to lighten the mood. And because they can’t stop at that, they then proceed to say two grown ass queer characters flirting with each other is gross, disturbing, and a reason one of them should get killed off. That’s the real disgusting thing.

This just in, gay people have sex. I know, shocking. They also talk about it, they make jokes about it. It’s almost as if it’s a normal thing- oh wait, it is. In bucktommy’s case, it’s far from being the only facet of their relationship, but it’s still there and it’s not deviant, it’s not disgusting and if it makes you so uncomfortable to think about then maybe that’s something to reflect on.

Touching grass is not enough, y’all need to roll on it like a dog excited to go on a walk. And maybe retake some reading comprehension classes too. Dead serious, grow up.

[senkuideas4all]

Hoshina who's still stuck up on his first love from 15 years ago despite being married. Don't get him wrong, his wife is aware of your circumstance. Ever since they got betrothed by their clans, the two agreed to try to make things work. But after a few months in, it was clear to the both of them that their relationship was never gonna exceed anything platonic. They held mutual respect for one another and got along fine...just not in the way a married couple did. If anything, she was extremely grateful that she was able to escape her hell of a family, to the point of even dedicating her life to him. Any outsider could immediately assume that they were nothing more than friends. Heck, even their families weren't oblivious to this fact.

It wasn't until he heard his long time, mutual acquaintance mention your name that he finally got the idea to end things with his wife. That damned acquaintance just couldn't keep mouth shut— talking about how he met (Y/n) again about a month or two ago. He wasn't slick about his intentions, and Hoshina could see that crystal clear.

Then his mind drifts back to his and your memories together. He tries to keep his cool and puts on a poker face as a tinge of rage bubbles inside him. Did this guy seriously think that he's forgetten about you? Even if it HAS been 15 years, how could Soshiro forget about his first, greatest, and only love like that? He silently curses his acquaintance for bringing up your name.

As the day ended, Soshiro goes back house. To his house of 15 years and to his wife of 15 years. He wonders how things ended up like this.

He has a lovely wife who thinks of him as if he were her world. I mean, who wouldn't? He did save her after all. A tinge of guilt spreads across his heart for the one whom he had promised his faithfulness for all eternity. Yet here he was, thinking about the girl he left behind years ago. He tries to make his wife happy, he really does. But how much faith can one really offer in a loveless marriage?

He sits there at the dinner table with his wife, his thoughts beginning to drown out his wife's talking.

His sweet (Y/n). He wonders how his life would've been if his family hadn't found out about her. If his father hadn't found the ring he had hidden in his room, along with the letter he planned to leave once they successfully eloped. Maybe it would have been you sitting in front of him right now—eating dinner and talking about how your day went.

He was so in lost in thought that he didn't even notice that his wife stopped talking minutes ago. He lifted his head and found her already starring at him. He knew that look. That look that said everything he needed to hear and answered every question that he needed answered. She'd known about you immediately after they'd both agreed to remain platonic. She knew then and there that he will never be hers—not when he spoke of you as if you were HIS world, the only woman in his eyes.

"I'm sorry."

Those were his last words he ever said to his ex-wife before he booked a train to the city you lived in. At least that acquaintance of his was finally good for something. He huffs at the thought.

[rottingraisins]

it kinda sucks that you hc a canonically pansexual character as gay (clef)

i deliberated not answering this one bc i dont rlly mean to get into representation discourse or w/e during pride month of all things but i think the sentiment behind it is very fair so i feel bad ignoring it.

firstly, i think it needs to be said that clefs "canon" romantic orientation is very much just, whatevers funniest or most poignant for what youre trying to do with him. i understand the sentiment, there are characters in scp who are queer in a very specific and straightforward way where i'd also be upset if people erased that about them, but clef is not that guy. he is probably the single most contradictory character across the entire wiki, and everyones got a bit of their own take on him.

secondly, to defend my own take a little, i don't even really see clef as strictly homoromantic. i think when applying queer labels to fictional characters one tends to kind of treat them as these ontological, prescriptive truths, rather than how labels are used in real life, by the individual themselves to approximate their lived experience.

what i'm trying to say is i don't think clef the character, at least the version of him i'm most fond of, the fifty something year old reformed casual homophobe from resurrection and co, really knows what the term "pansexual" means, or "mlm", or "demiromantic", which are other words i'd use to describe him if i were using the prescriptive approach.

i think clefs relationship to romance is deeply complicated and not something he spends a lot of time really thinking about, and in practice, despite the theroretical breadth of his capacity to be attracted to other people, he's really only attracted to men, which is to say one particular man who also just so happens to be dead, so there's no point in really dwelling on it.

[boatswainscall]

I may need to install Warrior's Rest on my Umbra build for when I have Arthur Gemini equipped because seeing Arthur immediately go off the shits feral as Umbra's AI takes over whenever I pop out to revive someone or drop a Zenurik bubble is legitimately so fucking funny that it takes me out at the knees every time it happens

[turquoisemagpie]

Appreciate the little things.

Not to ignorantly deny all of the big bad things in the world, but to survive them.

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part One

For Xiantober Day One: Genius… albeit stretching the prompt so it refers to MXTX and MDZS itself, but at the end of the day it’s still about WWX – so no harm done!

(Part Two | Part Three | Full version on AO3)

The narrative is a very active player in MDZS’ story. How it presents information, what it chooses to show and omit, often reflects important facets of its themes and characters – Nie Huaisang, for instance, is so good at hiding behind his mask that not even the narrative can hold him accountable; the present day’s storyline as a murder mystery and the slow reveal of information about the past both prompt the reader to think critically about the truth of events, when the importance of thinking critically is an important theme; and the dangers not thinking critically (and instead basing conclusions on rumours without much evidence) are shown by tricking unquestioning readers into the very same trap the cultivation world falls into, as the information given by the title, summary and in-universe rumours – which contradicts how we see actually Wei Wuxian act – turns out to be false.

But nowhere do I love this trait more than in its treatment of Wei Wuxian – and, more specifically, in its way of emphasising his agency. We’re not just told how much his active choices define his character, and we’re not just shown this in-universe through his personality, worldview and the events he causes. I’d argue that this aspect goes a step further, and shapes the structure of the out-of-universe narrative as well.

There are two main ways this happens: one, in how the aspects of Wei Wuxian’s life that are shown and hidden directly tell us what’s important about his character (which is good writing but isn’t necessarily tied to this shaping of the narrative), which is what we’ll explore today; and two, how what’s shown and hidden reflects what Wei Wuxian himself prefers to dwell on, resulting in the narrative respecting his own thoughts and feelings on matters (which very much is tied to it). We’ll explore this at a later date.

But as for now – let’s explore my favourite aspect of MDZS.

(Here, narrative agency will be considered the ability of a character to meaningfully influence their events and the story they’re in.)

Tragedy, Circumstance, Choice

If we simply look at Wei Wuxian’s backstory in a vacuum, it seems almost typically tragic. His  parents died in circumstances beyond his control, he was left alone as a child with nobody to care for him, he was forced to grow up fending for himself on the streets, he was faced with abuse when he finally was taken in… as with all typical woobies, everything simply happened to him, and none of it was good. It’s just another example of the lack of agency being used for sympathy points, right?

…Except there’s one problem with that idea. We don’t actually see any of this.

It would’ve been easy to start the flashbacks during these times. We’re telling the story of Wei Wuxian in (largely) chronological order, and these are likely important experiences for him! But instead of starting in his street days, or evenat the moment Jiang Fengmian took him in*, we start at the lectures in the Cloud Recesses. That’s not even something mentioned in, and therefore something that’s able to disprove, the rumours at the start of the novel. So why is this the case? 

Well, there are multiple reasons – the main one being that MDZS is also Lan Wangji’s (and Wangxian’s) story, and having the flashbacks open with their first meeting is very satisfying. But I want to focus on something else.

This period doesn’t have to be shown, because what happens to Wei Wuxian, especially out of his control, isn’t what’s important about his character.

We’re not even at Lotus Pier here, where Wei Wuxian certainly has more agency than he would’ve had as a young child, but where the harm caused by Madame Yu is still completely out of his control. Here, he has agency! Though there are consequences, he is free to act, and what happens to him is a result of those actions and not of circumstance. Yes, he gets punished more than others who also take those same actions (due to classism); yes, it’s not his choice to be picked on by Lan Qiren in class (yet look how he responds, twisting the situation to his advantage and ending up tricking Lan Qiren into letting him leave, which is what he wanted to do. He is not at all helpless here!); yes, these choices have been influenced by his learned mindset from Madame Yu that punishment is arbitrary and will happen anyway, so you may as well do what you want regardless. But there is cause-and-effect here. It’s not circumstantial tragedy.

Therefore, instead of our first impression of past!Wei Wuxian being that of an unfortunate woobie, it’s of someone who has the freedom, ability and will to choose and act (and that’s after these initial tragic events have taken place). This is compounded by the fact that before we see any of his backstory, we get a similar impression of him in the present day.

If the purpose of his tragic past was to earn him sympathy points, to make us pity him due to how much he was influenced by events out of his control, this would’ve been a terrible way of going about it… and it’s this that betrays the true reason for its existence. Because now, the flashbacks instead show us how little these tragedies define who he is! From the very start, Wei Wuxian isn’t someone defined by circumstances out of his control, but rather by who he is as a person and by what choices he makes in the present day (which is both a mindset in-universe, and a nice little out-of-universe detail that lines up! Because out-of-universe, this means he’s not defined by sympathy points from a backstory, but rather by his great character writing… aka, by who he is as a person and what choices he makes). And this refusal to be defined by tragedy is a conscious choice on his part, too – but we’ll explore that more later. 

The important thing is that this idea of Wei Wuxian isn’t because of what exists in his past, it’s because of what parts of his past are shown to us (as well as what he chooses to do, with agency, in the present). 

Now, if this relationship between what’s displayed and what’s omitted was just a one-time thing, I might’ve considered it a cool detail or a nice way to establish a character, but not something the narrative is actively focusing on. But it’s a pattern that continues throughout the flashbacks. What, arguably, are the two other most important times in Wei Wuxian’s life where he doesn’t have enough agency to meaningfully influence his circumstances? His three months in the Burial Mounds (before escaping – he managed to assume some control of the circumstances but not enough to substantially reduce his suffering in his time there), and his loss and death during the First Siege. And we’re not shown either of them! We skip to when Wei Wuxian has emerged from the Burial Mounds and is torturing the Wens, or we skip to the present day – both times he has agency once more, because, again, what he’s like without it doesn’t matter enough to be shown. 

Furthermore, I’d argue this does actually contrast the other tragic events we see in Wei Wuxian’s later life. Things do go horribly wrong, but it’s either due to choices he knows the consequences of (see: rescuing the Wen Remnants in the first place), or instances where he still has some ability to act in the situation and influence it within the limitations. If he’d had no ability to influence circumstances at Qiongqi path, he would have died in the ambush; if he’d been unable to do that at Nightless City, he would’ve died then, too (of course Lan Wangji helped him escape as well). The attention drawn to him losing control of his actions in both instances is very interesting, but intentional or not, it’s still his actions influencing the plot. And that influence happens to be detrimental. The very ability to act and influence, at a base level,  is not taken away (though, of course, that doesn’t make these events any less tragic).

So, so far, the narrative seems to be telling us that the ability to act and choose is key to Wei Wuxian’s character. And it’s doing it through omitting his moments without agency in favour of instead showing us his moments with it. 

Let’s see if this is echoed in the text itself before we go further – because even with this pattern, nothing would end up mattering if Wei Wuxian’s agency wasn’t actually that important to the story itself. But thankfully it is, and that first impression we get of Wei Wuxian in the Cloud Recesses turns out to very much be accurate! Though there are defining circumstances out of his control that occur, such as the massacre of Lotus Pier, the majority of the important events of his life are due to his own choices. He didn’t happen to be forced to cease traditional cultivation and solely use guidao, didn’t happen to lose his Golden Core in a fight with Wen Zhuliu or due to some force in the Burial Mounds, it was his own choice to give it and his spiritual powers away. He didn’t tragically happen to get targeted by the cultivation world, it was a result of him acting on his morals and protecting the Wen remnants (a choice which he was fully aware of the implications of). He isn’t a protagonist to whom things simply occur, and that activeness and agency is my favourite thing about him. 

That’s not to say that the times Wei Wuxian doesn’t have agency, or feels like he doesn’t have any, don’t exist at all, either – but they are rare enough to have attention directly drawn to them in his internal narration:

Or else what could he do? He could do nothing. He was powerless. Lotus Pier had been destroyed, both Jiang FengMian and Madam Yu were gone, and Jiang Cheng had disappeared as well. He was the only one left, alone, with not even a sword in his hands. He didn’t know anything, he couldn’t do anything! For the first time, he discovered how little his power was. In front of something as large as the QishanWen Sect, it was the same as a mantis trying to stop a chariot. - Chapter 59, EXR translation

(And even in this circumstance, note that he still does force himself to act – to carry on searching for Jiang Cheng, to place his faith in Wen Ning – and does accomplish his goal (albeit with the help of others)! So even in dire situations, he isn’t simply passive. This is actually also the case with his time in the Burial Mounds, almost certainly the First Siege, and even his days on the streets as well (Chapter 20: he did actively fight with dogs to get food despite their danger and his growing fear of them, rather than just waiting and hoping to somehow receive some more). He can’t influence or immediately influence his circumstances, but that doesn’t stop him from trying.)

Overall, although they do influence him, Wei Wuxian is very much who he is in spite of his circumstances, not because of them. We’re shown the importance of his agency both in-universe by the major impacts his choices have on himself and the plot, as well as by narrative presentation – important periods where he lacks the ability to meaningfully influence anything are often mentioned but not directly shown, which suggests that such moments and circumstances aren’t as important to understanding Wei Wuxian’s character as moments where he does have this agency are. And I’d argue this works very well. Depending on the version of the story you consume, you may end up having different interpretations as to how much circumstances were at play nearer the end of his life – but nobody comes out of MDZS thinking about Wei Wuxian, the poor bearer of yet another generically tragic backstory.

(Part Two | Part Three | Full version on AO3)

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*We are shown this moment in more detail in Chapter 23… but even then, it’s through the framing of Wei Wuxian remembering Jiang Yanli’s narration, not through a flashback proper or even him remembering the experience itself!

[goldensunset]

O you, who at the world's far-off end dwell,

I know your wish- it is my wish as well.

[softichill]

Trying to get more used to drawing dynamic angles again ft. Toby

[violent138]

Bruce probably has a small army of lawyers on standby every time he gets a call about one of his kids.