#Which is not what I want from this book

[wesavegotham]

Williamson hasn't told us a lot about what Batman and Robin (2023) will be about so far, but the things he did say make me wonder why he told DC he wasn't done writing Damian yet😅

Like, okay, Damian and Bruce have to rebuild their relationship after being apart for quite some time and also Alfred is gone now, so that changes their dynamic. That part I'm totally fine with.

Damian goes back to school and joins the soccer team. Okay, generic teenage hero book stuff, but I guess I shouldn't expect something too original from Williamson's writing.

But then White Rabbit seems to be getting a big role in this simply because he likes writing her and for some reason we'll get a female version of Hush, who is already pretty mid, called Shush. Apparently simply because Williamson made a joke about it to the Batman editor and he thought it was funny and told him to put it in the book.

Like...I'm not saying Williamson shouldn't have fun writing this book. But so far it looks like he doesn't actually have much of a plan or direction for Damian and it sounds like he's already getting distracted by focusing on some pet characters of his and new OC's, plus he already admitted he's overworked from writing like half of DC's current books so...why isn't he giving this book to someone else?

Someone who actually has a plan for Damian?😅

[ronanlynchbf]

tshirt that says NO LIVE ORGANISM CAN CONTINUE FOR LONG TO EXIST SANELY UNDER CONDITIONS OF ABSOLUTE REALITY

[araneapeixes]

witcher giiirrllll

[benevolenterrancy]

(Unseen Academicals, Terry Pratchett) I think Shang Qinghua and Ponder Stibbons should have tea and compare notes about somehow accumulating so much behind-the-scenes power by doing menial jobs no one else wants that they could basically run the show if they wanted...

meanwhile we have Shen "meh good enough" Qingqiu

[fumifooms]

Dad always said I was like him

Meijack and Chilchuck Tims Dungeon Meshi, Ryoko Kui

^ 1: Moony moonless sky, Fatima Aamer Bilal / 2: Bug like an angel, Mitski / 3: Woodtangle, Mary Ruefle / 4: The Third Hour of the Night, Frank Bidart / 5 & 6: FROM THE MAKERS OF "TWO-MOM ENERGY DRINK," IT'S "LET YOUR FATHER DIE ENERGY DRINK,", Daniel Lavery & Cecilia Corrigan / 7: Batman: Year Three (1989) / 8 & 9 : FROM THE MAKERS OF […], Daniel Lavery & Cecilia Corrigan / 10: Wilt, CJ the X / 11: How Do We Forgive Our Fathers, Dick Lourie / 12: Milk and honey, Rupi Kaur / 13: And My Father's Love Was Nothing Next To God's Will, Amatullah Bourdon / 14: Moony moonless sky, Fatima Aamer Bilal / 15: Someday I’ll Love Ocean Vuong, Ocean Vuong / 16: untitled, Joan Tierney v 17: Drunk, The Living Tombstone / 18: unknown

When your father tried his best to provide for you but he worked all the time and even when he was home he was either tired or stressed and he’s always liked to get drunk to relax and cheer up. When you know he values work ethics and respectability so you grew up to be capable and quiet. And when he says you’re like him you’re sort of puzzled, does he really know you so little, or does he know himself so little? But you like the feeling of your father ruffling your hair so you accept it, and still you stand next to your mother just as silent and just as stoic as her during family gatherings. He leaves again and again and when your mother leaves him nothing changes, really. You wonder if it’s more telling that you know him better than he seems to himself or that you don’t know him as much as you wish you did, or that you don’t think about him all that much these days. Out of sight, out of mind. And he’s never really been there, even when he was there, after all.

[wishesofeternity]

The thing about HotD is that it while it absolutely minimizes the agency and ambition of both Rhaenyra and Alicent, this is specifically used to glorify Rhaenyra and frame her as righteous while condemning Alicent and framing her lacking. That's the key difference in both their textual portrayals that has directly led to 90% of the fandom hailing Rhaenyra as the second coming of Christ while spewing the most hateful vitriol at Alicent just for existing. But y'all are not prepared for that conversation.

[lemon-wedges]

Some process gifs of my paintings this year!

[onesnoopyaday]

I AM AT MY LIMIT

Snoopy #90

30/12/2024

description under the cut

[description: a cartoon-style drawing of Snoopy's head. Snoopy is a white dog with black ears. His eyes are shut and his mouth is a horizontal line. There are two large blue teardrops, one under each eye. The text "I am at my limit" is handwritten across the top of the image.]

[nellasbookplanet]

I recently started reading (and ended up dropping partway through) an m/m retelling of an old legend, and it made me think of this reoccurring thing I've come across a handful of times now in m/m fiction and how they approach women, equality, and world-building.

Let's call it the omegaverse problem, because that's where it seems the most blatant (I've only come across it twice outside of fandom spaces that I can remember). Basically, it's when the writer looks at the unequal and sometimes oppressive roles women serve in society (today and historically), and goes 'this is a good basis for dark romance but there are too many women here' and then just. plops men into the roles traditionally served by women and recreates heteronormative tropes but They're All Men Now, none of those icky women.

Now, completely removing any and all gender based inequality isn't a bad basis for a queer-inclusive fantasy! But thing is, this type of narrative isn't interested in women, so they often read as if women have mysteriously disappeared from society (except for the occassional mom or sister). They don’t bother to include women in traditionally male areas (the book I dropped had plenty of male courtesans, with diplomats and bodyguards and advisors also being male) nor to create new roles for them.

They also generally don’t bother to look critically at the systemic and societal inequalities they're mimicking. The concept 'typically sexist society but they're all men (or all women)' could be used to alienate and deconstruct our ideas of what’s 'normal' and what’s oppressive, a way to compare the intersections of class and gender. Instead, this kind of story is only interested in using inequality as inter-character conflict and set-up for romance. And it sucks.

[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)! 

[bb-eb-db-bb-eb-b-ab-f-b-ab]

before i read the reckoning of roku, i was seeing people on tumblr saying “FUCK SOZIN” as a direct response to reading this book, and i thought, ok, yeah, fuck sozin, but it’s been fuck sozin since 2005. what could he possibly have done to warrant a “fuck sozin” in this book, told mostly from roku’s perspective, about his youth—before he was, you know, Fire Lord Sozin. are people exaggerating. are people overreacting to just a guy being an arrogant prince. what could he possibly have done in this book.

family, i have just finished this book. and i’m here to officially announce, standing on all ten toes, chest out, hair tossed, tears streaming down my face,

FUCK SOZIN

[kana7o]

at council meetings

[fictionadventurer]

I have a germ of a theory that good Christian fiction has stories that are less about shaving down your personality to meet some specific mold of what a good Christian looks like, and more about "how gloriously different are all the saints."

Not that the Christian life doesn't involve fighting against our own sinful nature and conforming ourselves to Christ-like behavior, but I think it makes for better, more realistic, and more universal stories when you also recognize that people have different gifts and flaws and they're going to be called to use their unique personalities to serve the kingdom of God in their own unique way, instead of assuming everyone has to conform themselves to a very specific (often secular-culturally based) image of good behavior. It makes for a much more vibrant story.

[entropyvoid]

Golden Hour (+ lineart below cut)

I took a picture of the lines for once and did some basic crappy photo editing on my phone, so you could probably print this out and use it as a coloring page or something if you so wish lol. Do with it what you will.

[zhongrin]

between genshin, hsr, and zzz, i have to say i have a lot of enjoyment and high hopes for zzz.

the team working for zzz are just amazing in my eyes (which sounds crazy especially since they're all hyv games). for one, i think so far they follow through with almost everything that they've promised. making the game having a 'low floor, high ceiling' and therefore isn't just a pure powercreep gacha game (looking at you hsr). all the gameplay promises with timelines they would say in dev notes (like getting players to be able to use different characters in the map by 1.4). literally giving us options to enjoy the contents through two different modes because half of the player base dislikes a certain mode of the game (therefore doubling the effort of the dev team to work on, which is still so crazy to me that they're actually taking this approach)...

of course all of them has their pros and cons in my eyes. for example, i am very much not a fan of zzz's blatant gooner bait, among other peeves. but something about having the developers listening closely to our feedback since the very start of the game and visibly making changes to the actual game itself accordingly is just so nice.

anyway. i'm going to go view more rooms. have a good weekend, all of you!

[valhallavalgrace]

How are you adjusting to the whole Norse mythology situation?

LEO: I’ve mostly been bugging some of the older einherjar, and Hunding, a little bit, to figure this place out. Do you know how cool it is that some people have been here since the industrial revolution?? There's no way that I'm the first of my dad's kids to make it here. I just don't know who to talk to about it.

((Leo's coping mechanism re: Norse mythology is just hating himself more bc of course he doesn't belong in his own afterlife. but he won't admit that to anyone bc he doesn't know who can be vulnerable with.))

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