( It's more indicative of adaptation than what, specifically, the stone-like creature is, and Wei Wuxian is nothing if not adaptable and creative. When his music rises, it's counterpoint and pressure against the notes of the gargoyle's shrieks, turning a cacophony of horror into a horribly complex blending of sounds, but —
It works, however imperfectly, to prevent the paralysis. There's still a sense of weight, of gravity too strong for the world they walk on, but it can be moved through, can be forgotten by the third breath, the second step, the first moment one committed to action.
Wei Wuxian plays, not the nutcracker's usual fare, and the gargoyle still dives first for Benedict, expecting he'll stay put while its clawed, taloned legs and hands reach for him, intent on rending. )
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It works, however imperfectly, to prevent the paralysis. There's still a sense of weight, of gravity too strong for the world they walk on, but it can be moved through, can be forgotten by the third breath, the second step, the first moment one committed to action.
Wei Wuxian plays, not the nutcracker's usual fare, and the gargoyle still dives first for Benedict, expecting he'll stay put while its clawed, taloned legs and hands reach for him, intent on rending. )