#many such cases recently

[wizard-laundry]

QUICK REMINDER

In the US: threatening government officials is a felony under federal law (the president in particular is protected under 18 U.S.C. § 871). Even memes.

be careful with your jokes if they spill over to active officials.

[halalchampagnesocialist]

It’s absolutely insane how many people have the belief that “random violence is bad but state violence is totally a-ok!!” and I wish I could say it was just the right but liberals are guilty of this too

[vamprisms]

i love big budget film and tv projects where like almost every creative understands the assignment like. casting? born for the role. camerawork? out of the park bro. costume? fabric wizardry. make-up and hair? lush. locations, props and set design? it's literally like i am there babe. lighting? nice... why does the gaffer call you his best boy btw 😳? effects and creature design (if they have beasts)? out of this world. guy who gets the coffee? everyone seems extremely well caffeinated. sound design and score? goosebumps inducing.

and then the writers room will be fighting for its life to survive. oh god the studio is switching off life supprt.... very special and beloathed&beloved phenomenon to me

[lesbiankendall]

[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)! 

[jessaerys]

a lot of the time when you are frustrated with a piece of media that seems to be conceptually fascinating but terribly executed there is a high chance that the writers are ripping off someone who did it better, badly, and when you find the actual inspiration you're like ohhhhhhhh i get it now

[kozionogin]

peace and loveeeee

[klmmcqueen]

poor shitty 💔💔

and some doodles (also first image without the text cos i also like it)

[shadystranger]

What was up with cass fighting for his life to stop dean from rescusing sam (not to mention his almost enthusiastic jumping to move past sam's death) He did NOT have that energy when the roles were reversed

like summin smell fishy and it aint just cass's pussy

[luoniiel]

clem look super soggy omg i love them

clem is theeeeee soggiest guy ever i love them <3 my babby

have some clem sketches

[edmunderson]

BLACK: I feel like... I joined EVO too hastily. I wanted to actually do something with my life. But I feel like destruction follows me everywhere I go.

BLACK: I don't know why I thought this time would be different. I don't know why I thought... I could help anyone at all. People get made different. I'm not some fucking hero.

BOSTON: You've helped me...

BLACK: That... that comes naturally to me, at least.

Reanimated Heart

[antihibikase-archive]

It is incredibly isolating to navigate through fandom as an aromantic person. Aro experiences are so varied, and there is no definite aro experience that encapsulates the alienation that fandom spaces cause for certain people.

Fandom is mostly built and structured on shipping. And if not, the blorbofication of characters, which tends to go down the shipping pipeline; where does that leave the romance repulsed aro person who genuinely does not want to see any form of shipping? Platonic dynamics, right?

Yeah, sure. But by platonic dynamics, it's only "best friends" or "family" right? Where does that leave the aro folks with undefined labels? No, qprs aren't a get-out-of-jail card.

And qprs- they have no rules or standards set upon them by society, not even having a clear definition for what it is, because not all qprs are the same. Yet, for some reason, it ended up becoming the "nonbinary" option to a lot of people- not romantic or "regular" platonic? Qpr it is, right?

But where does that leave the aro folk who don't want a qpr? Who don't wish to see characters depicted in pairs or trios or so forth- who embrace the lack of a partner?

And these concepts presented; when aro folk talk about them, do you care? And if you do, do you understand? Do you try to?

If you aren't aro, but wish to be supportive, are you a genuine ally? Do you raise the concerns of aro folk you share the space with?

Or do you take a look at these concepts- and decide you understand them "well" enough? Do you decide to speak for aro folks instead?

Do you depict relationships outside of romance because you believe in the importance of platonic relationships? Will you accept the fact that not all platonic interactions will be familial or "best friends"?

Can you accept depictions of qprs outside of "more than friends, less than lovers"? Are you willing to accept it is not just "best friends" or "romance lite"? Will you accept that nothing is inherently romantic- and characters in a qpr may fall under your standards of lovers?

Can you resist the urge to put every character in a pair or trio or group? Are you comfortable with the notion of characters finding more joy in being by themselves, outside of all those lenses you see them in?

It's good if you can.

And if you can't, at the very least, do you understand why some aro folk in your space are upset? Embittered by your favorite ships? Starving for representation?

Did you depict these characters with these concepts with the knowledge that aromanticism is fluid?

[akajustmerry]

I've just been thinking about how a lot of bisexual characters have existed merely because its the easiest way for media to appeal to gay (umbrella term) audiences without having to shake things up too much. there's been a shitttonne of academia written about this, and about how bi coded women characters are more common because they appeal to the male gaze and tv/film is mostly run by dudes. also, characters doing bisexuality to show moral ambiguity, or that they're super Other and Weird. all this is to say is that it's actually not that common for representing bisexuality to have the actual intention of a character's bisexuality existing and I honestly find that really interesting. like, how many stories are there where the bisexuality of a character is their bisexuality and not, like, a gimmick or meant to signify something else? I don't think every representation of bisexuality has to be an epic dissection of being bi but it would be nice if bisexuality was given weight in stories as bisexuality and not as metaphor or marketing tactic or titillation or tokenism or a joke.

(edit: to be clear, I think all lgbt stories have these issues to some degree. I'm just talking about bisexuality here because I'm bisexual)

[scificrows]

Is there a 300 page essay about Murderbot's armor (specifically the opaque helmet) as a not-so-subtle metaphor for masking in a clearly neurodivergent character already? Because I need it.

The way Murderbot is unvoluntarily without its opaque armor in All System Red in front of the crew (i.e. unmasking) and appears surprised at its own strong facial expressions and other people's reaction to it? The vulnerability that comes with that and how Murderbot spends pretty much the rest of the book wearing or actively missing its armor which keeps it safe from the mortifying ordeal of being known (yet sometimes other characters suggest it might help for it to not opacify the helmet in order for others to see it as a person and to trust it (and in the end idk if it would have achieved the rewards of being loved by its humans and have had its needs met if it hadn't unmasked in this relatively safe environment sometimes)).

Also there's the whole avoiding-looking-directly-at-people-and-using-drones-instead thing which Murderbot usually hides using the opaque helmet, but whenever it doesn't have that people notice it and many react negatively/confused. I think that's a whole neurodivergent-applicable situation in and of itself? Like damn

And then Mensah encourages Murderbot not to wear armor on Preservation station since it would not need it there, Murderbot is hesitant but ends up not wearing any (like 4 books later when we finally get to that bridge) (going for the comfortable clothes it chose for itself instead, with very strong feelings about the whole being able to make choices thing that I cannot go into further at this point because I would absolutely end up BITING SOMETHING OR SOMEONE).

And I'm not going to advocate for unmasking all the time in any setting because hell no, sometimes it absolutely sucks and people are irritated by Murderbot's now visible quirks and are afraid of what they don't know, but many GET TO KNOW Murderbot better and because there are other people that make sure Murderbot is safe and respected and are willing to get people fired for it if they disrespect it (Pin-Lee my beloved) Murderbot can experiment with this situation without being exiled to some abonded part of a planet and other people are forced to spend enough time around ot to learn to respect it and even like it. I just....... It must be so scary and Murderbot is handling so much at once and in this essay I will

PS sorry this is a disorganized mess but so am I and I have so many Thoughts and even more Emotions and so little patience.

[inspector-montoya-fox]

i know what you are

[mintyyyjades]

holds out my humble offering of a modern day xie lian...