#choices book ideas

[rustyharveysbox]

Pov: it is 2016 and you are pressing the play button on what you thought was a 'fun summer holiday book' not knowing that this will change the entire trajectory of your mind, body and soul as you know it: 😄👉📱

[moominofthevalley]

choices murder mystery where you are the murderer and the side characters + love interests have to figure out who killed the victim, and there could be 2-3 different endings depending on how good you are at hiding clues

[batcavescolony]

A Batfam AU where instead of going to get Dick to be Robin again Tim uses necromancy to bring Jason back from the dead. He just leaves Jason on the Wayne doorstep with a 'do better this time' sticky note. Batman can't find out who did it and Tim stays his little latchkey self with semi ok but distant parents (cus canonical they weren't really abusive just not there which isn't good but they could be worse). His parents bring him along on trips but again they love him but they just leave him to do as he pleases. so in Paris he ends up still getting trained by Lady Shiva. This keeps going and Tim just keeps reviving batfam members, if they fake their deaths and Tim tracks them down to check on them. They still have no idea who their shadow is, they can't find him, Tim likes it this way. Bruce goes MIA and Red Robin happens just minus Tim actually being Red Robin. The JLA doorstep gets a passed-out Batman with a 'I can't believe I have to keep doing this shit' sticky note on his head.

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[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)! 

[whetstonefires]

You know, I've been thinking about it, and it is absolutely essential to the narrative that Jiang Cheng is a dick and a trash fire. (Affectionate.)

Like, first of all, if he was a sainted little angel of a shidi the way Jiang Yanli is a shijie, Wei Wuxian's choices would become obvious, sort of impersonal, and boring.

Sure, lots of people wouldn't tear themselves apart for such a person in such a scenario, but they're not the protagonists of novels, are they; in a book you have to justify not doing that. So white lotus Jiang Cheng is off the table.

Jiang Cheng who isn't fragile-and-insecure but also stubborn-as-hell and violently reactive also won't wash.

If he wasn't the kind of person who sincerely tries to die under these circumstances, Wei Wuxian would have had the option of loyally supporting him in a less self-destructive way; if he was someone who could be trusted to handle the revelation without suffering a ruinous fracture of identity, Wei Wuxian wouldn't have been forced to distance himself after the war, because he could have come clean.

If Jiang Cheng wasn't the kind of person who centers on his own pride and hurt feelings and lashes out about it, it would be very hard to set up the lategame scenario where they're 'enemies' in a real, meaningful way, despite still loving each other and Wei Wuxian never wishing Jiang Cheng any ill. Even with Jiang Yanli's death.

And I mean, you could get most of the plot without doing this interesting thematic examination of the classic 'bond between martial brothers severed by one going to the dark side' trope, but I'd argue you'd lose an enormous chunk of the story.

And without Jiang Cheng's weaknesses, Wei Wuxian's motives don't cohere. His weaknesses form the foundation of at least two of the backstory's major turning points.

There's the tantalizing possibility that Wei Wuxian wouldn't have done it, if Jiang Cheng hadn't strangled him while blaming him for everything.

Probably he would have, all else being equal! But neither we nor Jiang Cheng can be sure.

Jiang Cheng sucking a lot, and knowing his own flaws perfectly well without that granting him the ability to do much about them, is heavily load-bearing. Which gives him such a fantastic implied point of view!

[markantonys]

the implications that show!mat being a hero of the horn has on cauthor have not yet been fully explored! because i'm 90% sure the dragon is also a hero of the horn or hero-adjacent, which would mean mat's and rand's souls are eternally linked to each other in that way. do they get to hang out together in TAR between lifetimes? at the very least, mat would be hanging out in TAR so even though he has a normal non-channeler lifespan and will die before his channeler loved ones, the wondergirls can still visit him in TAR after he dies (rand too if he retains his channeler long lifespan post-TLB idk) and tell him all about how the avimatrandlayne great-grandkids are doing. mat can protect the great-grandkids and all their descendants in their dreams like birgitte does!!!!

also, maybe mat and rand have been born at the same time in other lifetimes too, and will be again! maybe they've saved the world together infinite times! maybe when it's amaresu's soul's turn to save the world, she will call the heroes to fight with her and mat's and rand's souls will show up together as a Battle Couple! maybe the first time mat talks about rand to birgitte in this life she's like "oh i see nothing's changed" "what?" "you're in love with the dragon in every lifetime" "WHAT"

in conclusion, move over birgitte and gaidal, we've got a new pair of Hero Of The Horn Soulmates in town.

[choices-binglebonkus]

My sims when I launch fireworks in their house (I deleted the doors lol xd escape is impossible)

[agent-birdnoises]

why are there always so many fanfic ideas in your head and yet so little time to write them all?? 😭

[salsa-di-pomodoro]

Ok but can we talk about the absolute horror of being watched and monitored 24/7 that the ancients must have had. The citizenship drones being like an Alexa that's constantly following and listening to you (except it's five pebbles and not Alexa lmao). The fucking OVERSEERS. THEY'RE CALLED THAT FOR A REASON. BECAUSE THEY'RE SUPPOSED TO BE WATCHING THEIR CITIZENS AS WELL AS THE ENVIRONMENT ALL THE TIME. (I would talk about the fact that they all show arti fucking ads as well but honestly idk what else to say about that. Capitalism got yet another society 😔). That's some fucking nightmare fuel dystopian society settings we are being hinted at. You know the Big Brother Is Watching You thing. The book. Yeah that's what it reminds me of.

The Iterator Is Watching You.

[yourstormywords]

Freddie stumbling over her words while talking about books is the most adorable thing ever and proves she is the best choice

[murdleandmarot]

The gang’s all here!! They’re on the case!! And there’s no ghost that they wouldn’t chase!!!!!

@mysticalcats’s Foxglove, @toki-toro’s Chaumet, @emimii’s Clownaire, and my own Bluebelle :)

[katabay]

The Annotated Arabian Nights: Tales from 1001 Nights, edited with an introduction and notes by Paulo Lemos Horta, translated by Yasmine Seale

[hungwy]

conlang construction idea sort of inspired by book title syntax. like consider a book titled "art and its interpretation"

dǎlmep it čallǎ'paska ǎlbussa dalmæp it t͡ʃəllaʔpəs-kə albu-sːə art and interpret-GER this-GEN art and the interpretation of this"; "interpretation in the art" ; "the art's own interpretation"

dǎlmep it čallǎ'paska emussa dalmæp it t͡ʃəllaʔpəs-kə æmu-sːə art and interpret-GER that-GEN "art and the interpretation of that"; "interpretation done unto the art"

sort of a conflation of agency and scope (yet, i guess, has the affect of a definite article) and with other nominals could probably emphasize either agency or scope alone. the "this" brings the scope closer while the "that" pushes it further. the first example is either interpretation within [the] art [world] itself or [the] art [world] as an actor making an interpretation [of something else or even itself]. meanwhile the second example is the interpretation of an artistic object or art totally as an object of consideration.

obviously the semantic specifics of this would vary depending on the noun. these two constructions form a distinction otherwise not made with the usual [Noun]'s [Gerund] construction:

čallǎ'paska dǎlmepssa t͡ʃəllaʔpəs-kə dalmæp-sːə interpret-GER art-GEN "interpretation of (the/an) art"

not clear if it means "interpretation which belongs to art" or "art as an object of interpretation". context would probably decide

another example:

Sikadka hǎssssa camil su. sikəd-kə hasː-sːə t͡səmil su make-GER woman-GEN good COP "the making of the woman is good"

(first of all, check out that quadruply-geminated s) in-conlang this would be opaque as to whether we're discussing the making (birth? general situation?) of a woman or the creation belonging to a woman. however this could be cleared up with the agency/scope-specifying construction above:

Hǎss it sikadka ǎlbussa camil su. hasː it sikəd-kə albu-sːə t͡səmil su woman and make-GER this-GEN good COP "woman and the making of this is good" -> "this thing created by the woman is good"

Hǎss it sikadka emussa camil su. hasː it sikəd-kə æmu-sːə t͡səmil su woman and make-GER that-GEN good COP "woman and the making of that is good" -> "the making (again, birth? general situation? actual creation of?) which affects the woman is good"

[shalom-iamcominghome]

Shul question of the day: why are there so many books on our free book table... Is there a jewish book fairy that goes to each shul to give us an excessive amount of books or is my shul just filled with eccentric book collectors who collect very niche books on judaism and need to get rid of them before they take over their entire house

If there is a jewish book fairy, though, could she please grace my bookshelves please 🙏🙏🙏

[thiswaycomessomethingwicked]

everyone clap for me

I saw an incredibly brain dead take on activism and I didn't engage with the post

I'm just going to vague about it in the tags like a mature adult