#could totally see them doing this

[sessa23]

Okay so we know that the time lords can choose their face when they regenerate (subconsciously at least). So what if the master uses that to their advantage. Imagine, one season we see the Doctor reunite with one of their old companions only to later be revealed that the "companion" was the Master the entire time and they decided to do that to mess with the Doctor.

[chloesimaginationthings]

sometimes it looks like game mike has eyelashes personally i love that top tier even if i'm making things up. man i love men i wish they were real

Michael maybe dead but his mascara game is on point

[lefthandarm-man]

Steve Rogers & Natasha Romanoff The Avengers (2012)

matching each others freak

[royaltea000]

I love Bai Long Ma he truly don’t gaf

[elvisqueso]

"Marry Kocoum? But he's so...serious."

Pocahontas (1995)

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[luuxxart]

evil win! the ones plotting for your mysterious death are uncle and nephew!

[front-facing-pokemon]

[autumn-may]

terrisas really funny ithink

[bixels]

What did/do you like about Pharah?

Uh, gameplay-wise, I really love characters in shooters who rely on three-dimensional movement techs. Chaining together hover and jump to stay in the air for as long as possible and keep momentum is so satisfying, and picking enemies off from the sky made me feel like a bird of prey. I was a good Pharah main.

Story-wise, there unfortunately isn't much to canonically go off because Pharah is so underutilized and neglected. Her personality's pretty boilerplate "heroic hero" (she's literally inspired by Captain America).

But it's the crumbs/bits and pieces that I really latched onto. Pharah's a confirmed lesbian; her short story with Baptiste implies she harbors a crush on Mercy (fucking thank you.). She's biracial Egyptian/First Nations. She has major mommy issues, having grown up both admiring and resenting Ana. She's the bridge between Old Overwatch, inspired by the idealized heroes who surrounded her childhood, and New Overwatch. She's one of the only inter-generational characters in the cast; someone whose experiences span the gap, which is why I seriously believe Pharah would make a great main character.

There isn't much to go off of, though; she's a very uncomplicated character (she's a soldier for a private military corporation, lol.). But that just means she's a blank slate character, so I've seen fanfic writers run wild and create some really interesting takes on her. My favorite interpretation of her's a dense, herbo gym-bro type (a lot of her liens are about work outs, exercising, and playing sports) who's easily excitable under her seemingly self-serious, armored visage. We see how she tends to gloat and hype herself up when she's on a streak too, so Pharah definitely has a competitive and boastful side under her more professional and militant performance.

Now Mercy? Mercy is a real complex character.

[theravenzvolute]

i dunno if anyones mentioned this but even the name sort of makes sense for the idea of a toxic friendgroup when it comes to rot in paradise?

its paradise, youre with your friends, youre hanging out, life is ‘good’, but youre ruining your self esteem and mental health by being around them, aka rotting.

i hate how this is seen as the weakest game because it hit the hardest for me personally, the writing really makes those uncomfortable moments genuinely uncomfortable and junes perspective and dialogue about how her friends are treating her feels so raw and realistic, especially when shes talking about it to ryan 🙁

[aroaceleovaldez]

full on feel like pjo tv s2 is not gonna hold up so they need to drag as much attention to the series as they can by using nico as a sock puppet w tsats2

im fully expecting the show to go the way of the movies. it doesnt help Sea of Monsters is almost unanimously the least favorite book of the first series. People frequently forget it even exists or what happens in it, especially more casual fans.

Heck, just look at how little fanfare the second season has gotten so far as compared to the build up to s1. I wouldn't be surprised if s2 totally flops. It would be a little funny.

[cantgetworsethanthistbh]

dumping more of my stancest feels here because i cannot NOT think of them. i read journal 3 for the first time this week and its great because Ford acts like stanley's biggest hater which is pretty fking funny (if not absolutely infuriating at times because omfg stfu you smug prick)

but the moments like this get to me

Ford being blinded by his quest of grandeur, accolades and praise for world changing discoveries, so obsessed with greatness, being the first name people remember, and all the other things his npd-isms tells him he wants.

And then there's "reminds me of camping with my brother. i wonder what he's up to..."

i mentioned in my previous post that stan acts quite a lot like the anchor to ford's boat, keeping him grounded and most importantly, safe from both the bitter and the sweet kinds of evils. but he also represents something so much simpler to ford too: the simple desires he represses so much because its not "good enough" for someone special like him.

he resents stan so much because he represents a "block" against that percieved good enough success he wants, the obstacle that made it impossible to get in a fancy college, become the world renowed researcher, the one who wanted to destroy his journal's and lifes work (even though it was the better, safer option if Bill really WAS that dangerous, which he was) that could still make him famous. because if ford's not "praised and weird" then he's just "weird" and being "weird" was nothing but a pain his whole life that kept him rejected and isolated from the masses. and stan prevented him from that.

(btw "maybe he can prove himself to me" is nasty work my god ford is a douche lmao)

a lot of his projections of something greater comes through with how he treated dipper in the show (his whole spiel in damvtf) and fiddleford in journal 3 where he looks down on the happy life that fiddleford had with his wife and child and saying he was "wasting his talents" making computers. and like, we all know by the way he takes them on high stakes adventures they're not as prepared for compared to him (and end up causing more trouble than not by doing so), he's trying to fill a gaping hole left by someone else. we all know this obviously, we all know what we ship here, but what i came to appreciate the most about it is how much that gaping hole exists in the low stakes

everytime ford is thinking during the "down time" moments, his thoughts always drift back to his childhood, and one person who represents it.

childhood memories, making fun of stans favorite snack, scribbling out a design of the stan o war, whenever Ford lets his mind wander it expresses such an intense yearning for the past before he became obsessed with wanting something more. these are his most utmost and most unfiltered thoughts, which is why he scribles them away or and writes in code. and the fact that he directly says they are about NOT getting married, followed with "wondering what he's doing right now", painting the picture of what his most ideal idylic life is. wanting a return of something lost. wanting Stan back more than anything.

he finally accepts that his dream never really changed, just the same as stan's and so they saild off together for the rest of their days, in ford's own words (which ironically sounds like a marriage to me either way so tough shit ford)

[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)! 

[triglycercule]

sleep deprived dust can't recognize what's dream and what's real when he goes in and out of consciousness so i think dust is allowed to be incredibly reckless when he's awake but thinks he's in a dream. he will kill whoever passes by him (or attempt to. for him it's an instict to shoot bones anyways.) he will drink 4 bottles of alcohol just because he thinks its just a lucid dream. have incredibly loud conversations with phantom paps because he's asleep so nobody will hear him talk. or just have loud ass breakdowns because again he thinks he's asleep!!! nobody's gonna know what he gets up to in his dreams. and until someone (probably phantom paps) tells him that he's not asleep and this is reality he won't realize until he's done something really reckless

horror is seconds away from exploding dust's skull open with his magic while dust is trying to strangle him and FINALLY phantom paps tells him he's awake and dust snaps out of it. killer is walking around the house with bones sticking out of him like pins on a sewing pattern (casually too. another day in the life for him) and he just asks dust what that was about. dust just gets off of horror and shrugs his shoulders with an idk. and then walks away. this is the 6th time its happened this month

[arty-cakes]

horribly curious because I've seen lots of different takes on this and I'd like to know what the general consensus is