#negative aspects

[autumn-may]

Mostly spoiler free summary of my viewing experience

[crabussy]

for the record I think wind turbines are beautiful and are not a stain on any landscape and the sounds they make are beautiful and whenever I see one I am filled with love for human innovation and hope for the future of clean energy and if they needed to be built close to my house I would go YAYY ^_^ WAHOO ^_^ WIND TURBINE!!

[leliwardens]

(Article I want to bitch about on my own blog and not put it in the tags.)

I suspected that the devs were super chronically online for various reasons and choices but this basically confirms it. Like oh my fucking god I'm being so genuine and real but they really, REALLY need to log off. You cannot approach any piece of media trying to appease all of the fans, it will never, ever work. Fandom is not a monolith, fans are not a monolith, people will bad faith read your story for fun, or good faith read it, and still come away with an entirely different take than you intention. "Death of an author" is a real and true concept.

"Wipe out a Dalish clan in all three games" is a CHOICE. In Origins it is considered the evil option of the three endings for the quest, you have to encourage the werewolves to want to kill them. In DA2 you're defending the person that the clan has been told is a pariah among the clan AND is now blamed for getting their keeper killed. In Inquisition it is a rather convoluted war table mission, but there are ways to resolve it with no death. But these are choices! The game doesn't give you a gun and leave you no room to avoid it. Taking the choice out isn't a win! It's bad game design for a roleplaying game!

"None of the Dalish would take the side of the evil gods" is not the "win" you think it is (also I guess city elves get shafted again but that's expected) because it flattens any sort of nuance, motivations, messy interactions, or just flaws? In general flaws? Going from one extreme to another in terms of "good" and "bad" is not the "win" you think it is!!! All you've done is removed character agency!!!!

I can't suspend my disbelief enough to accept the entire build up of Inquisition to Trespasser with elves leaving their homes to join Solas only for the reason they're not running around being "oh he'll end the world". Like, how could their lives get worse in that case? Sure, the extremely powerful being claiming to be right out of the mythos said his plan will cause thousands of deaths and the world as you might know it but I'll just head back to my home in the alienage where humans can do whatever they want to me like burn down my home or kill my family with no repercussions. Or I guess since the city elves are practically nonexistent, that was never considered lmfao. Or hell just, elves wanting a grab at power? For selfish reasons? Or well-intentioned reasons? You know, nuance??? Like, fuck dude.

[loveaetingkids]

(Like or reblog if you wanna use)

[nerves-nebula]

they're friends too

[apollos-boyfriend]

maybe controversial opinion. idk. but i don’t understand people who complain about evo in the traffic series and say it “should stay fanon and not canon”. because uh. it is canon. it’s been canon since i believe last life. martyn has canonized it to his character for multiple seasons now. evo/watchers isn’t fanon or semi-canon, it’s straight up heavily important to martyn’s lore and character

[gummi-ships]

Kingdom Hearts 3 - Monstropolis

[mist-the-wannabe-linguist]

thinking about the czech anthem in comparison to the majority of other national anthems and we truly are the poor little meow meow of countries

[dandelionjack]

saw this on the forbidden app could not resist reposting because it’s true. “the one who waits is almost here” is lazy LAZY writing. stop dangling lore in front of our faces… make it SUBTLE. show not tell…

did russell go to the chibnall school of bad screenwriting before his return because these episodes do genuinely feel like they’ve been created by a different person entirely than the emotionally intelligent, thoughtful showrunner who gave us the first four series

[wonder-worker]

Wild how we know that Elizabeth Woodville was officially appointed to royal councils in her own right during her husband’s reign and fortified the Tower of London in preparation of a siege while 8-months pregnant and had forces gathering at Westminster “in the queen’s name” in 1483 – only for NONE of these things to be even included, let alone explored, in the vast majority of scholarship and historical novels involving her.

[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)! 

[fencecollapsed]

Paul is an asshole in a way a LOT of average people are assholes and I think that's why some folks end up characterizing him as nicer than he really is. unconscious aversion to admitting they perhaps share assholish traits with him

[onesidedradiostatic]

According to Viv, Alastor was a serial killer who only targeted bad people like rapists, abusers, etc. and had a father who abused him and his mother so I wonder if that might have influenced whatever went down between him and Vox. Vox was getting involved with Val who is conveniently both a rapist and abuser so maybe that's what led to their friendship falling apart.

okay well the thing with this is that like. I don't doubt alastor wouldn't like val but I feel like putting it down as "they fell apart because vox associated with val" kinda removes vox from responsibility that he should have. I'm sure vox's association with val contributed to it but I do think there were qualities in vox himself that alastor was starting to dislike that led to their falling out ALONG with his association with valentino. I mean vox is probably an abuser to someone else too, likely his employees. also I've talked about alastor having likely reasonable reasons for stepping away from vox like just from analysing his insults in stayed gone LMAO. considering how alastor calls vox a "clout-chasing mediocre video podcast", I'm sure there's stuff about vox himself that alastor didn't like rather than just association with a Bad Person. like if vox stopped associating with val RIGHT NOW, alastor still wouldn't like him or accept him back as a friend.

I could see his association with val being like, the straw that broke the camel's back. but I also just see it as like a slow build-up of practices alastor disagreed with and it coming down to the Proposal(tm) where he shuts him down completely

[enixamyram]

So some people (constantly) claim Charlie is "pushed aside in favour of the men". Let's take a brief run through of the role she plays in each episode:

Episode 1 - Major role as she goes to talk to Adam about sinners and heaven.

Episode 2 - Key role of introducing Sir Pentious to the hotel and encouraging him to join.

Episode 3 - Major role of having trouble with her relationship with Vaggie and the hotel.

Episode 4 - Minor role in an episode that explored Angel's story a bit.

Episode 5 - Major role exploring her issues with her father.

Episode 6 - Major role going up to heaven to fight for her beliefs.

Episode 7 - Major role dealing with her feelings for Vaggie as well as trying to protect her hotel.

Episode 8 - Major role in the final showdown against heaven.

Seems to me that in "critics" eyes, giving a male character any kind of scene is apparently stealing focus. Which, to me, comes across like they're the ones obsessed with the male characters and ignoring Charlie, not Viv.

[sallykie]

Current mood: hallucinating a version of httyd3 that doesn't suck.

[hoarah-babylon]

can i have a little ramble about dlc lore/discourse without anyone getting mad

if we accept the idea that the radahn/miquella story was planned from the beginning, i feel like they purposely left out any mention of them interacting in the base game to avoid people figuring it out long before the DLC even dropped. because they know what we're like and the way people figure things out from the most tenuous things is impressive. but it seems to have had the unintended consequence of it feeling like a rug-pull rather than a welcome surprise by the community, because elden ring is a game that rewards you for exploring, for uncovering the tiniest hints to lore in item descriptions, coming to your own conclusions on the story. so to feel completely blind-sided in this way about main story characters that we've formed opinions on for years doesn't feel like it fits with the base game's ethos at all. i get the feeling that players feel played with ironically lol? i'm also not sure fromsoft have ever done anything like this in their games before, where they've brought back main characters from the base game as a final boss, so i think that's had an affect too.