#WATCH what happens in these cases

[imwritesometimes]

I've said several times that this whole thing has been a test of the judiciary. Not a single member of this administration is stupid enough to think anything they are doing is legal or permissible under the constitution.

But if they can find judges to buck norms, and keep repeating over and over and over again this is un-American and a witch hunt, their sycophantic followers eat it up. It doesn't matter what's real or true if you repeat something enough times, we've seen that time and time again the last 15 years in America.

At a time when comprehension in general is compromised in this country, let alone historical knowledge, legal knowledge, and political knowledge, all they have to do is insist over and over again that they're allowed to do this shit.

This is why I have posted so much lately about this. It's not normal. It's not legal. It's not protected under the constitution. And at this point it's everyone's duty to say this shit.

[beautifulterriblequeen]

Runaan's Last Secret

*smokes bubble pipe* I suppose you're wondering why I've gathered you all here today. It is simple, mes amis. We've waited six years to find out what really happened inside King Harrow's chamber the night the assassins attacked. And with the release of S7, all these long years later, I finally have the last pieces of information I need to find the full truth.

We all thought there was a murder to solve in the king's chamber. But I'm here to tell you now, that is not the case.

Let us begin at the beginning and assemble our evidence:

The night Harrow died, Runaan tried to convince Rayla to give up the egg, tried to scare her off from returning it.

He couldn't sway her from her journey of redemption, though. They came to blows.

But he chose his mission over killing her. He wasn't even out of breath when they stopped fighting - if he'd truly wanted her dead, she'd be dead.

He left her behind and led four assassins up the front steps of the tower. There, he executed a frontal assault on the king's chamber, when they're built and trained for stealth.

The fight dragged on loudly. It drew extra soldiers from around the entire castle, who left their posts unguarded. But it had a purpose.

Delaying his own victory would cost lives on both sides, but clearing a path for Rayla to escape with two soft human princes in tow would ensure her survival. Runaan had already committed himself to this course when he refused to force her to complete the mission. He couldn't back out now.

Alright, that's the catch-up. For years, we had no idea what actually happened inside Harrow's chamber. But in S7, we finally got a peek. And I'm afraid it's told me everything I need to know. *more bubble pipe noises*

Let's consider these newer clues from S7:

When Runaan finally breached Harrow's door, two other assassins rushed in with him: Andromeda and Skor. Only Callisto, it seems, had fallen alongside Ram out in the hall.

Runaan drew his bow and killed Harrow - or so his binding ribbon believed -

- but the next we see -only moments later as the reinforcements have not yet arrived from below - only one assassin staggered out of that chamber and onto the balcony.

The other four members of the squad died in this battle, and their bodies were recovered by Viren, along with their weapons.

Which means, no one else survived that room. Only Runaan.

The assassins weren't attacked by human troops, either. Runaan had time to stagger out to the balcony at his hobbled pace. No guards caught up to him until he'd already shot the shadowhawk arrow.

When he burst into Harrow's chamber, this is what he was wearing.

When he left it, this was all he had.

Moonshadow assassins are some of the deadliest fighters in all of greater Xadia. No one survives them. No one.

No one... except Runaan of the Silvergrove.

Remember when I said we were not here to solve a murder in the king's chamber? That is because we are here to solve several murders in the king's chamber.

He turned on them.

Runaan turned on what remained of his own squad - Skor and Andromeda. He killed them. For Rayla.

They wanted Rayla dead. In the show, they believed she should die alongside them. In the novelization Book One: Moon, they specifically wanted Runaan to kill her for failing to do her duty. Either way, if any one of Runaan's squad survived and returned to the Silvergrove to report what Runaan had done - and had not done - when his mission went pear-shaped, he would've had to kill Rayla then and there. Right in front of Ethari.

And that, mes amis, he could not abide. He could not bear to be the monster he feared he had always been, right where his husband could see him.

And so, his only remaining option was for his surviving assassins to perish in battle, with their own honor intact and his in tatters. But they went down hard.

They broke Runaan's horn. They stripped off his tunic. They nearly cut his throat. They messed up his hair. Oui, the most unforgivable.

They wanted to live. Runaan did not allow them to.

He trained them all. He loved them.

And he killed them, to save Rayla's life.

For love of Rayla, his precious daughter, Runaan of the Silvergrove killed his own assassins.

It is no wonder he could not look Keeper Lyrennus in the eye when the man asked Runaan about his son.

He's drowning in guilt. He knows what he did. Even though Ram died from another's strike, Runaan knows he would have killed him himself if he'd had to.

This image of Runaan's fear at the sight of the red spirit Lyrennus cast, it lands differently now, no?

He hasn't told them. Perhaps he never will. But he has committed this sin nonetheless, and he must carry it with him for the rest of his life.

Runaan's last and darkest secret. No wonder he accepted Callum the moment he turned against Ezran and fought his own soldiers for Rayla's sake. He knows exactly what that feels like.

[lesbianjodie]

You know I've been thinking, like. Since the detco movies aren't canon. They should totally do a silly (actually really serious and interesting) one where the culprit actually IS a real monster a la some scooby doo movies, you know? And then let the franchise go on as normal but now we know how the characters would respond to having ghosts in their soup.

[u3pxx]

i didn't realize you could ask lilienne out not alone

[momentomori24]

[This has been sitting in my draft for a while lol]

When it comes to Curly's failings, I always see people bring up his obvious failure to protect Anya and him prioritising Jimmy, who was the rapist in that situation. Which is completely valid btw and we should rake him through the coals for that alone even more. But I also see too many people saying that Curly "didn't enable Jimmy" or playing softball for his actions. And I could maybe see where that comes from if that incident was the only thing we had to point to-- but that wasn't all he did, is it? Curly being indifferent or not taking Jimmy's mistreatment and belittlement of Anya seriously was hinted at so much earlier than that.

Namely, the very first time we play from Curly's point of view. Let's just skip the fact that Curly was putting everyone in danger by not taking his psych evals seriously and simply giving the same answers to pass them even tho he was shown literal minutes after this scene being clearly not-sane, and go straight to the point I actually wanna get into. Which is this:

These scenes in isolation wouldn't be that bad. From his pov, it's played off as comical and it is. Jimmy being a brony (not really lmao) and getting playfully dragged over it is funny. But unfortunately this is the first example out of many for Curly's complacency. Anya is complaining about Jimmy not taking his psych evals or her seriously, which is easy to believe considering how much he rags on her for "not being a good nurse" (she kept Curly alive on hopes and dreams how dare you). So he keeps making her do silly and inappropriate reports she clearly doesn't wanna do, which is kinda shitty (also borders on harassment). But rather than actually saying something about Jimmy's behaviour or even acknowledging how it sucks he says this:

Mate, that's not a good thing 💀 He's clearly aware that the problem is Jimmy's lack of respect for Anya specifically. He knows that if he, his friend and a man in power, were the one doing the evals Jimmy wouldn't try that disrespect. But it's Anya, a meek woman who ranks lower than him so he thinks he can get away with it (which he DOES), and Curly's shown as comfortable in knowing that. He doesn't chew Jimmy out for making Anya uncomfortable nor does he reassure her that he will do something about it. All he does is take it off her hands this once and helps Jimmy power through it to get a good diagnosis (even tho we know he's DEFINITELY not sane either). He doesn't even mention Anya's discomfort or confront him on his inappropriate behaviour, just teases Jimmy in good fun instead because he doesn't think of it as anything serious. It's subtle and pretty minor in comparison to everything else, but I think it's worth pointing out. Especially because this convo takes place after Jimmy had assaulted her, which makes this so much worse.

If you need any more evidence of Curly being an enabler you need not look further than Anya herself. And I'm not just talking about the way he failed her here-- I'm talking about Anya's own view of Curly and the way said view influences her actions.

Just look at her choice of wording. "What would you have done". This is in response to him saying that she could've come to him if she were feeling stressed, which she-- in his eyes-- didn't. The question itself implies that she had no faith in Curly to actually help despite his insistence that he would've, which I think is significant because it shows that she's very much aware of Curly's shortcomings when it comes to her situation AND it's one of the first (or the first time) she actually verbalised her lack of trust towards him or anyone directly. Prior to this scene she had told him about her rape and the rapist, presumably because she trusted him to handle it. And he dismissed her because the rapist was his best friend, and that evidently deeply scarred her. Enough so that she secretly took the gun and hid it someplace else and didn't even tell Curly were that was, because she knows that if Curly has access to it there's a so much greater chance Jimmy will have too, insinuated by the line "the least I can do is make sure he never gets it either". Speaking about the gun:

It sucks so bad that this perception of him isn't even inaccurate nor unjustified. That despite everything Jimmy had done to her and everything he could still do to her, he'd very likely still not allow her access to the gun for protection. Because that's exactly what he didn't do anyway. He didn't attempt to keep her safe from Jimmy, instead he just pretended that nothing was wrong and still let Jimmy's belittlement of her pass. He didn't give her the gun after the incident, because she wouldn't have hid the case if he had. Despite his desperate reassurance that he'd do anything, he did nothing but make it worse for her and she KNOWS that. It's so frustrating knowing he entrusted the axe to Swansea when he needed it but not the gun to Anya when she needed it too. Also this:

The fact that his knee-jerk reaction to her admitting that she's pregnant was "Who would you--" is so fucked, especially considering she's already told him what happened. "Who would you" what? Who would you fuck? Who would you have sex with? That choice of wording drives me up a wall-- SHE wouldn't and didn't do anything or anyone. That was JIMMY. The potential sentence implies that she had any choice or agency in her pregnancy. She didn't. And the fact that Curly had to ask "who" insinuates that he's been putting Jimmy's action out of sight and out of mind the whole time, choosing to not think about them or what happened to Anya at all. And considering he still made her do Jimmy's evaluations despite being able to do them himself and literally didn't even think of making sure she gets psych evals done too--especially AFTER getting sexually assaulted--that might actually be the case (I haven't seen anyone make a stink about that piece of info so I'm going to because what kinda colossal fuck up IS that??).

I vaguely had a post like this in mind but seeing so many people be like "well Anya did some wrong stuff too like leaving Curly alone with Jimmy but you don't get mad at HER for that so why is Curly not doing anything about Jimmy being alone with Anya so different??" actually makes me want to blow some people up. Jimmy's an abuser, sure, but Anya has no real reason to believe that he'd actually harm Curly. From her perspective, they were close, close enough that Curly would not only let Jimmy continuously disrespect her but also get away with assaulting her too. That, and she knows that Jimmy was closer to Curly than anyone and more likely to be civil around him than he ever was to her. She has barely any reasons to suspect Jimmy would harm Curly when they're alone. Curly, on the other hand, has every fucking reason on the planet to think Jimmy would harm her when they're alone. He knows he raped her (likely in her room at night too). He knows that he sexually harasses her. He knows that he doesn't respect her at all. And that was BEFORE the crash. Anya tried insisting on giving Curly his medicine, only for Jimmy to keep aggressively insisting that he'll take care of it despite her protests. Curly didn't try to keep them separate at all even though he was the Captain and had the power to do so. And this should go without saying, but leaving your rapist alone with his best friend that he was close to and enabled/protected him and leaving your friend alone with the woman he raped (and might have repeatedly assaulted given his free access to her) is NOT THE SAME and I'm going to start chucking some people down a waterfall because what the fuck is that argument 💀 Actually leave it to the fandom of the game where the rape of a woman is the catalyst for the events that unfold to use her trauma to defend the guy that enabled it in the first place. Bloody hell.

The reason why this whole Curly discourse pisses me off is because it-- from what I can see-- ONLY brings up his failures 1-0 days before the crash and the Dead Pixel scene (or all the discussion around other points are drowned out by those two). Those scenes, while important to talk about, are not the only things he's done, and focussing on those as the only things is a mistake that comes short of understanding the issue. When it comes to Curly the main defences I see for him are "he was trying not to escalate the situation" and "he was trying to keep things under control the best he can" and "he was waiting for the right time to help Anya", but those don't work when you look at the bigger picture of everything he's done.

He half-assed through his psych eval despite clearly not being sane (and KNOWING he's barely sane, he literally admits it to Jimmy's face). He still continued to task her with Jimmy's psych evals. He brushed over Jimmy's sexual harassment of her as a joke. He didn't think about making sure she got psych evals done herself after being raped. He gave Swansea the axe but didn't give Anya the gun despite it being for "unrest amongst the crew" (whatever the hell THAT means). He let her assault slip his mind that she had to remind him. He's literally a blond man. He took no action to hold Jimmy responsible for anything, and prioritised how his violation of Anya would affect him rather than her. He ignored her demands for him to get rid of Jimmy. He still allowed Jimmy free reign of the ship as co-pilot even after he was openly fantasising about killing everyone and had a major motive and the means to do just that. He was potentially thinking of making her miscarry to cover up what happened. He was so accustomed to her sucking up being disrespected and disturbed that he didn't even notice a difference in her behaviour until she hid the fucking gun. There's so much other shit he's done and hasn't done, and not talking about them or glossing over them makes it so easy for people to argue that he isn't actually an enabler or just minimise the severity of his neglect.

And while I'm already dragging Curly through the mud, I might as well just drag Swansea too. I've seen too many people being like "Anya should've told Swansea instead" and "Swansea was the one that actually took responsibility". Like, y'all realise he's not that much better than Curly, right? He already knew about what happened to Anya-- he admits it to Jimmy's face-- but he didn't do shit. He knew, but he still got completely shitfaced for months despite her earlier protestation to that (for very understandable reasons). He knew, but he still let Jimmy have the axe AND be alone with Anya while having it. He knew, but when Anya locked herself in the Medical and Daisuke and Jimmy asked for his help he didn't budge nor really showed any care. He knew, but the reason he finally decided to do something about Jimmy wasn't Anya, it was Daisuke. Her suffering and her eventual death weren't enough for him to take action either.

This game, on top of everything else, is a great depiction of rape culture. It doesn't just include the rapists, but the people (mostly men) that stay silent, do nothing, make excuses for and protect the perpetrator for whatever reason, and Swansea and Curly (Curly way more so than Swansea) are both active contributors to the environment that allowed for evil to flourish and continue unhindered until it destroyed them all. And while that arguably doesn't make them evil themselves or as bad as Jimmy, they are so much more a part of the bigger problem than the fandom likes to admit.

[Ok since this is kinda gaining a bit of traction please consider helping these guys out here, here and here. Thanks!]

[byuuli]

[xxplastic-cubexx]

so like do you think they made the plastic wheelchair ALONGSIDE the plastic prison as a Just In Case situation, only after they realized charles was going to be a frequent visitor, or both as in because they knew charles was going to be the only person visiting him during planning they decided to make him a chair ahead of time

[rebouks]

Previous // Next

Byrd: Teach us! Juniper: Okay! First, you’ve gotta put your hands above your head. Wren: Nuh. Juniper: This part’s easy. Byrd: Like this?! Juniper: Just like that-.. keep them there and bring your foot up against your leg, like this! [Byrd giggled, wobbling precariously as he mimicked his cousin] Juniper: It takes a lot of practice-.. c’mon, Wren! [Wren scowled, making a break for it; the only thing worse than dancing was being told what to do] … Having given up trying to reply to Alex’s latest letter, Robin stared listlessly at the star shaped stickers on his ceiling. He’d poured his heart out about how nothing ever went right, how he never fit in anywhere, how he was having a tough time at school-.. that he got in a fight, that he kept imagining what it’d be like if his parents died, particularly his father; he’d briefly considered asking what’d happened to her mother too but he’d thought better of the whole thing and viciously crumpled his pathetic attempt into a ball instead. Maybe he ought to burn it in the sink so no one else would read it by accident. He felt bad that he hadn’t replied yet but he’d been in such a foul mood recently that he couldn’t think of anything remotely interesting or fun to talk about, and the last thing he wanted to do was bum her out. He rolled onto his side as Wren stomped toward his door; it rattled familiarly as her little fingernails fiddled with the lock. Robin knew it was her because he could sense her current disdain, and she was the only one of his siblings who’d learnt how to do it-.. plus, if it were either of his parents, they would’ve knocked.

Wren: Juni’s tryna make me dance! Robin: She’s not gonna make you do anything. [Wren grabbed Robin and shook him with urgency, yanking at his hair with desperation] Wren: I’m gonna hide in here, okay?! [Robin sighed; reasoning with a six-year-old, especially Wren, was rather pointless] Robin: Sure. Wren: Wait-.. where’re you going?! Robin: Does it matter? You’re safe in here. Wren: Robinnnnn. Robin: Get off me! Wren: I wanna play! Robin: So, play-.. just don’t delete all my saves again. Wren: You do it! I wanna watch. Robin: I don’t really wan-… Wren: Pleeeeeeease? … Robin: I can’t play if you’re gonna squish me-.. get off. Wren: Uuuugh.. I can’t, I’m stuck. Robin: Move! Wren: [gasps] What is that-.. kill it! Robin: I don’t have anything to ki-… Wren: KILL IT!

[the-broken-pen]

“You’re going to blow out your arms,” the villain observed. They watched as the hero merely grit their teeth, shoving themself through another pull-up. It looked painful, and if the sweat slicking the hero’s brow was any indication, it was.

They waited for the hero to let themself drop from the bar and accept the villain was stronger. But they didn’t.

Three more pull-ups, and the villain stepped in.

“Hero,” they said slowly. “You’re about to tear the ligaments in your arms. You need to stop.”

The hero blew out a shuddering breath. Struggled for purchase, fighting gravity—and let themself drop.

The hero’s hands were bleeding, calluses torn open by the bar. The hero didn’t seem bothered when their own hands shook so much that their blood began to splatter on the gym floor.

For a moment, the villain could only stare at them.

Shit.

They didn’t know how to handle this. They knew the hero was dedicated. They knew the hero was strong, and perpetually trying to be stronger, but they hadn’t thought…

They hadn’t thought the hero would be so willing to tear apart their own body for success.

It was supposed to be fun, the villain thought. They felt a little sick as the hero pressed their palms together to soothe the bleeding, an action that was practiced and familiar. As if they had done this before.

The hero reached for something in their bag, smearing blood on the side, and pulled out a roll of blue electrical tape. The villain didn’t understand why, until the hero tore a strip off and made to wrap their hands with it.

The hero would be the death of them.

They crouched in front of the hero, plucking the electrical tape out of their hands.

“What are you doing with this?”

The hero blinked at the villain like they were the strange one in this situation.

“Wrapping my hands?”

The villain hissed in a breath.

“With electrical tape?”

The hero flushed slightly, looking down at their bloody hands. They looked close to tears.

“It…sticks to skin, really well. And it doesn’t move, either, when you move your hands or wherever else, even if you’re fighting. Plus, blood doesn’t make it come off, at least, not for a while.”

The villain blinked at them.”

“Blood doesn’t make it come off,” the villain repeated, processing. The hero nodded, reaching for the electrical tape. The villain settled it out of reach.

“Not if you wrap it right.”

Dimly, the villain realized that meant the hero had done this enough times to have it down to a science.

“And you couldn’t use a bandaid?” The villain asked incredulously. The hero shrugged a shoulder, then winced at the motion.

Yeah, the hero had absolutely blown out their arms.

“Bandaids move—“

The villain hushed them.

“Be quiet for a second.”

The hero, wisely, went quiet.

The villain rubbed a hand over their face, then studied the hero for a moment. They took one of the hero’s hands into their own, studying the damage.

“Why did you do this to yourself,” the villain murmured.

“What do you mean, why,” the hero snapped. “It’s my job.”

“Your job is to save people,” the villain corrected. “Not destroy yourself.”

“I’m not destroying myself—“

“You are.”

“Shut up—“

“Hero.”

“I need to be better,” the hero snapped. Their voice rang out across the gym, echoing into the rafters, and they both froze. After a moment, the hero spoke again, voice soft. “I need to be better.”

They said it like they needed the villain to understand. The villain wondered who they were really saying it to—the villain, or themself.

“Better than who?”

“Everyone.” It was hushed, like a secret.

The villain watched them, waiting.

The hero took a shaky breath

“My whole thing is being the best. I have always been the best. That’s the only reason I matter. If I’m not strong enough, then I am nothing, so I need. to be. better.”

The hero had started crying, very quietly, like they were afraid to take up too much space.

The villain was not equipped to handle gifted kid burnout.

“There’s more to you than just being a good athlete,” the villain said hesitantly, and the hero shook their head.

“No. There isn’t.”

“Hero.”

“Can you give me back my electrical tape?” They hiccuped to contain a sob.

“No,” the villain said firmly, and then the hero really was sobbing.

“You don’t understand—“

The villain didn’t. Not really. They had never been the kind of talented that the hero was.

They wondered now if maybe that was a blessing.

“I don’t,” the villain agreed. “But I do understand that you’ve saved half the city, and you give everything you have to give, and you always do your best.”

“But I-“

“No.” The villain stopped them. “You are doing your best.” They tipped the hero’s chin up until they met the villain’s eyes. “And it is enough.”

The hero froze, eyes darting over the villain’s face. They wondered if anyone had ever said that to the hero, if whatever mentor they had was giving them anything other than orders to be stronger. Be better. Be more.

The villain had some new targets to take care of, it would seem.

For now, though, they had to take care of hero.

“We’re going to go wrap your hands,” they said softly. “And then we’re going to take care of your arms, and you’re going to take a nap.”

The hero nodded, watching them like they were some kind of good, selfless person.

“And if I ever catch you using electrical tape again, so help me, I will put you six feet under.”

That startled a laugh out of the hero, and they let the villain guide them to their feet.

“Fine.”

The villain turned to them. “Okay?”

Are you going to be alright?

The hero seemed to understand.

“Okay,” the hero agreed.

Yes.

And so, it was.

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part Three

For Xiantober Day Five: Past and Present, in which the author gets very unhinged about what parts of the past are shown and how that’s affected by the present!

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

The Power of Agency: Shaping the Narrative

When I've discussed Wei Wuxian's agency previously, I’ve talked about how what’s shown and omitted tells us about a character, and we’ve talked about the character himself. Though this is a niche topic, it’s not necessarily something out of the ordinary to analyse, and we can assume everything up to here has been in some way intentional.

This? Linking structure to a character’s in-universe preferences?

This is where we get unhinged.

Before I start, let’s quickly establish something which will be important later: although Wei Wuxian is the central character, MDZS isn’t strictly from his POV. While omitting events a character doesn’t like to dwell on and concealing things the character wishes to hide is common in books with only one narrator, MDZS has multiple narrators which it switches between relatively quickly. This includes Wei Wuxian, but it also includes nearly every major character that appears in the story, and omniscient narrator as well. As a default, this format doesn’t lead to this deliberate shaping and omission because of one character’s preferences, since we have many other sources of information and events – which is what makes Wei Wuxian’s influence over the narrative and structure so interesting. We could have access to a lot more information, and access to it at different times, than we do (and that’s not an insult, quite the opposite!).

To begin: we’ve established that times such as Wei Wuxian’s time on the streets, his three months in the Burial Mounds and his loss in the Siege aren’t shown because Wei Wuxian has little agency there. But that’s not the only special thing about them. They’re also the three most traumatic times in his life, and so moments Wei Wuxian himself either can’t remember, or doesn’t like to dwell on.

This is why discussing Wei Wuxian’s treatment of tragedy in his life was important. Firstly, it shows he doesn’t focus on the tragedy in his life, so the idea that the narrative not focusing on this tragedy relates to his character has merit; secondly, it affirms that this is not a passive trait, but a choice. Therefore, when the narrative omits events due to this aspect of Wei Wuxian, it’s respecting not only a character detail – which would be cool by itself – but also an active decision. One that shapes the story it’s made in.

In other words, its very structure is respecting Wei Wuxian’s agency!

Now, of course there are flashbacks to other moments of his past he probably wouldn’t like to dwell on, too. But within the structure, they’re only shown when Wei Wuxian is thinking about them (or when he has reason to)!

Wei WuXian hadn’t woken up yet. His eyes were still tightly shut, yet his hand didn’t let go either. He seemed to be dreaming, muttering, “… Don’t… Don’t be angry…” Lan WangJi seemed somewhat surprised. His voice was gentle, “I am not angry.” Wei WuXian, “… Oh.” Hearing this, as though he finally felt assured, his fingers loosened. Lan WangJi sat beside Wei WuXian for a while. Seeing that he was motionless again, he was about to stand up when Wei WuXian grabbed him with his other hand, hugging his arm and refusing to let go. He shouted, “I’ll go with you, quick, take me back to your sect!” Chapter 63, EXR translation

Which, of course, is him dwelling on…

Lan WangJi spoke one word at a time, “Go back to Gusu with me.” Hearing this, both Wei WuXian and Jiang Cheng were surprised. Quickly afterward, Wei WuXian laughed, “Go back to Gusu with you? To the Cloud Recesses? Why go there?” He immediately seemed to realize, “Oh. I forgot. Your uncle Lan QiRen hates crooked people like me. You’re his proudest disciple, so of course you’re the same as him, haha. I refuse.” Chapter 62, EXR translation

…the painful flashback immediately preceding this. The third set of flashbacks (which are also painful) are a similar case. Look at the contex:

He lifted the bottom of his robe, revealing a prosthetic leg made of wood, “This leg of mine was destroyed by you, that night in the Nightless City (…)” (…) “Wei WuXian, I won’t ask you if you remember or not. Both of my parents died by your hands. You owe too many people. You definitely won’t remember them either. But, I, Fang MengChen, will never forget! And never forgive you!” (…) “In the fight at Qiongqi Path, my son was strangled to death by your dog Wen Ning!” “My shixiong died by poison, his entire body festering due to your cruel curse!” Chapter 68 (immediately preceding the flashbacks), EXR translation

And Wei Wuxian’s own thoughts and words:

Wei WuXian looked at the cultivators before the Demon-Slaughtering Cave. Their expressions were the absolute same as those of the cultivators from the night of the pledge conference, pouring their wine on the ground as they took the pledge to scatter the ashes of the Wen Sect’s remnants and him.  (…) Wei WuXian, “Now it’s time to ask just whom it is that treasures it so much. It’s like Wen Ning. Back then, some certain sects or so were scared to death of the Ghost General. They said they’d kill him on the surface, but behind their backs they hid him for over ten years. How strange. Who was the one that said his ashes had been scattered back then?” Chapter 79 (immediately succeeding the flashbacks), EXR translation 

Once again, Wei Wuxian’s own thoughts relate to the flashbacks we’ve just been shown. And, as I previously mentioned, though all the events which are shown are tragic, they’re also events which Wei Wuxian’s own choices and actions shaped – which he has this to say about:

“The things I did, not only do you remember them, I remember them too. You won’t forget them, and they’ll stay even longer in my mind!” Chapter 82, EXR

Admittedly, this applies more to the third set of flashbacks than the second (which is still fitting as the third set was the most recent), as in the second, although he still had agency within and influence over his circumstances, the majority of the pain was caused by others’ actions (excluding, of course, the Golden Core transfer… which is something we know stays for a long time in his mind, albeit with a caveat we’ll soon discuss). But it’s still important to note – especially considering that otherwise, focusing on this very painful time in his life wouldn’t seem like something very in-character for Wei Wuxian to do.

Of course, this can all just be explained by good writing. It is best to insert flashbacks when they’re relevant to the characters and events in the present day! But it is interesting to compare these to the start of the (not painful) Gusu flashbacks, which open this way:

At a later time, Wei WuXian pondered upon the reason why his relationship with Lan WangJi wasn’t good. Getting to the root of the matter, everything started when he was fifteen, coming to the GusuLan Sect with Jiang Cheng to study for three months. Chapter 13, EXR

Again, considering the circumstances around which these flashbacks take place – returning to the Cloud Recesses for the first time since the lectures, and meeting Lan Wangji once more – it makes complete sense for Wei Wuxian to be thinking about these events*. So it does fit the pattern of Wei Wuxian dwelling on something, thus leading to the narrative dwelling on it, too (and being shaped by his thoughts)… but there’s another layer to this. Importantly, it is the only flashback where Wei Wuxian’s present thoughts don’t lead to this happening, with his thoughts at an unspecified future time leading to it, instead. I like to interpret this as the text saying that, since these events aren’t something Wei Wuxian wouldn’t focus on in normal circumstances, he can dwell on them at any time. Therefore, they’re free to come up in the narrative at any time as well, even if he’s not dwelling on them in the present moment!

So, to summarise: Wei Wuxian’s decision not to focus on the painful times in his life directly influences the narrative to not focus on these times. When painful times are brought up and shown to us, it’s in the context of him thinking about them in the present day, and even then, his most painful moments still aren’t shown to us. His agency in this regard is still respected by the narrative structure.

This is the main way his agency influences the structure of the narrative, but I’d like to talk about the revealing and concealing of information, too. For example, I said I’d talk about the Golden Core transfer – though Wei Wuxian does think about this many times, as evidenced by his internal narration in Chapter 103. But unlike everything we’re shown through the flashbacks, this is something Wei Wuxian is actively trying to hide from others. And the narrative respects this choice (Wei Wuxian’s agency, again), never reveals it even when it would be relevant in the flashbacks, and we find out not through narration, but through a character’s dialogue!

And to clarify – I know these aspects may not be in the book for this exact reason. Showing flashbacks in relevant moments is good writing, concealing an important plot point you want to do a reveal for is necessary writing, and MXTX has said she didn’t want to write about Wei Wuxian’s time in the Burial Mounds, due to not liking to write transformation sequences (and also because it would not be pleasant at all, which likely also applies to Wei Wuxian’s death). That doesn’t prevent it from also being intentional – MXTX’s intelligence is shown in many aspects of this book, and there’s nothing disproving it – but there’s no proof for either option, so I won’t pretend there is. I bring this up because I know this feels like I’m overanalysing, as I feel that way as well.

But, whether it’s intentional or not, it exists in the text, and I adore it – so, regardless, it’s something I’ll explore. Because taking this into account… We aren't just told about Wei Wuxian having agency, we aren’t just shown it in the text, we aren’t even just shown it through which parts of his past are shown and hidden in the structure of the text (as I talked about in Part One). The parts of the past that are shown and hidden also have an in-universe reason for being shown and hidden, this reason being the choices he makes! Agency is the ability of a character to influence the story they’re in, but Wei Wuxian’s agency, as a property of a character who only exists in-universe, shapes the out-of-universe structure as well! That’s how we’re shown its importance! How cool is that?

At The End Of The Road: Summary and Final Thoughts

In this essay, we’ve covered how important Wei Wuxian’s agency is not only to the events of the plot, but to the structure of the narrative as well. The narrative omits periods in which Wei Wuxian has little or no agency, in favour of showing us periods in which he does, even when important events happened in the former. This indicates that who Wei Wuxian is without agency isn’t important enough to be shown to the audience, and therefore that his agency is an integral aspect of his character in MDZS. We’ve discussed how both in-universe and out-of-universe, tragedy does not define him – out-of-universe, the tragic events in Wei Wuxian’s life are used not to build sympathy but rather to show his strength of character and who he still is despite going through them; and in-universe, he chooses not to focus on the negativity and resentment caused by his circumstances or others’ actions, instead staying true to his moral compass and enjoying his life in the present day. Finally, we’ve also explored how this choice is another reason for the omission of certain events from the narrative, resulting in his agency shaping the story in a very literal way – it affects the out-of-universe structure, as well.

It’s quite fitting, for a story whose essence is about defying a conventional narrative – that of righteous clans rising up and defeating a great evil – and about a character who defies many conventional narratives on his own – that of status defining how skilled you could be, that for a golden core being necessary for cultivation and other paths being unavailable, that of a tragic but complete story of someone killed for staying true to their moral code (instead, that character returns to life and has a happy ending) – to have its own narrative play a role in such an important and interesting way.

(Or, if an image would be preferable:)

Thank you for reading!

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

--

*This strong relation to the present day circumstances is another reason I love the flashback placement so much (and why I think it’s such a loss both screen adaptions altered it so strongly)! 

[anthropologist-on-the-loose]

Me watching a movie with a sad scene as a kid: Oh :( that's so sad :(:(:(

Me watching that exact same scene as an adult with a more developed sense of empathy and/or understanding of social injustices: *tears streaming down my face* this is heart-rending, my god the TRAGEDY of it all *sobbing*

[nikolas-ghostbusters-fixation]

Something I've been thinking a lot about lately is how everyone thought Egon had gone insane. What Happened that made them think that. They've fought a gigantic Stay Puft Marshmellow Man TWICE (counting the 2009 video game because iirc it's canon? Correct me if I'm wrong), fought an interdimensional god, fought a blood thirsty ruler that killed thousands and was hated by all that was trapped in a painting (and managed to get in to beat him by making THE STATUE OF LIBERTY start walking down the street with slime that reacted purely based on vibes), found an underground abandoned transit system full of the moodslime, had a bathtub try to eat Dana and her baby, fought a giant murderous black widow lady, fought the fisherman ghost who turned an entire hotel floor into the bottom of a ocean, and that's not even mentioning them getting trapped on an island that randomly raised up from underwater that had been abandoned for decades created by Ivor Shandor who worshipped Gozer. So what did he do or say that made everyone else think he'd gone insane?? All I can think is maybe he was acting strange / eratic before, but he's always been like that to some degree.

I don't know. It's something that I've been thinking about. The correct answer is 'it's not that deep and they needed a reason that the others weren't together anymore and weren't aware of Egons death or know what was going on,' but also. What Was He Saying that prompted everyone, including Ray, to think he lost his mind when he'd been right almost every time before that.

I'm genuinely so curious as to what he was up to before this. What was he doing. What insane idea was working on prior to this or was he even working on anything at all??

Also want to clarify this post isn't negative 😭 I really love the newer movies and their lore / the newer storyline / characters, I just like thinking about small stupid things like this. Gives me something to think about / speculate about / figure out an answer to.

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.

[fortune-maiden]

Based on Bridon Ep 4, I’m starting to wonder more about how Lu Guang’s powers work

He took a photo of CXS and was apparently able to keep an eye on him through that

But doesn’t that raise some questions about the “12 hours into the future” that LG can see? He took the photo so wouldn’t it make more sense that he could see 12 hours into the photographer’s future? It would explain why he followed CXS to the pub rather than watch from the hotel room, but somehow it also looked like he was able to know exactly what CXS was doing in the pub so he knew the exact moment to call and summon him back

Is he just able to zoom in on the particulars as long as he’s physically present in/within some short radius of the location?

[hauntingblue]

Rewatching act 2.... yeah ISHA WATCH OUT FOR THE CYCLE ISHA!!!!! NOOOOO

[unforgivingchorus]

Think it’s underrated how when five was in the apocalypse and all he had was Viktors book to cling on to remember the family. It wasn’t a happy book. In 60 years as memories faded and deteriorated, what could have became memories tinted by nostalgia into something happier was grounded by the only physical remnant of them left. A sad book that realistically talks about how broken the family was. A book where the wallflower of the family drills into the cracks of the public images.