#atla meta ish

[likealittleheartbeat]

““Too much water hast thou, poor Ophelia,” remarks Laertes in the scene from Shakespeare’s Hamlet in which the Queen announces his sister’s death (4.7.211). More than a commentary on the way she died—drowned, surrounded by flowers, in a stream under a weeping willow—Laertes diagnoses Ophelia with watery excess. This infirmity was the essence of her languishing nature and physiology. Two centuries later, the drowning of wayward beauties became a preoccupation of Romantic poets and pre-Raphaelite painters. John William Waterhouse (1849-1917) produced three paintings of Ophelia and three more of her contemporary counterpart: the ephemeral character after which Lord Tennyson (1809-1892) entitled his 1832 ballad, The Lady of Shalott [Figure 1]. Many unhappy successors—both fictive and real—followed Ophelia and the Lady of Shalotts by going to the water, apparently to end their lives. Within the tragic-romance genre, the water itself emerges as an integral element of these women’s death scenes. Yet, as the trope of watery women reached into the twentieth century, the utter femininity of these women’s drownings was attributed to their beauty and the lovesick delusions that led them to their demise, rather than to Laertes’ diagnosis: that women were inherently made of “too much water.” In the early modern period, the gendered connotations of water in contemporary medical thought were what naturalized drowning as an inherently feminine form of death, giving rise to a persistent narrative that then continued for centuries after the medical theory that produced it had faded into obscurity. Reintroducing excess water as a condition from which the women of the drowned beauty trope suffered provides insight into the original significance of the apathetic dispositions which led to their deaths. It also revives an enduring question: did these women really drown themselves? Or rather, were they drowned from within?”

Laertes’s response upon hearing the news of his sister’s death, “Too much water hast though, poor Ophelia,” refers to the watery surplus of phlegm in her body that corroded her disposition (4.7.211). Hamlet’s strange wish during his farewell to Ophelia, that she be “as chaste as ice,” also comes into focus (3.1.146). He desired for Ophelia to be so inundated by the coldest and wateriest female humors that she was frozen into abstinence. This language of women’s humoral imbalance is still present in Tennyson’s description of the Lady of Shalott, whose, “Blood was frozen slowly,” as her body floated into Camelot (1842 version, IV.30) [Figure 4].

[longing-for-rain]

You know what I really love about Zuko is that for the majority of the show, nothing goes his way. He rarely if ever gets what he wants, he's constantly belittled and humiliated, and even when he does win (like in Ba Sing Se) it turns bittersweet for him. And at the end of that arc, Zuko's realization is that it's his responsibility to reflect on himself and change, even if the circumstances (which were pretty significant, i.e. being abused by the most powerful man in the world) that brought him there were not entirely within his control.

It makes Zuko's goodness so much more powerful. Zuko wasn't always a hero and he had a complicated past. He did some terrible things. But Zuko also was very experienced with having the world tell him "no" and that taught him a strong sense of humility. Zuko had to go against his own family, nation, and culture to do what he felt was right. And he still did it, only at age 16.

[yourhighness6]

NATLA Episode 1 Debrief (by yours truly)

Hello my lovlies! There are so many opinions swirling around right now in the fandom and I wanted to give my own opinions a quick (this is not going to be quick but whatever) post of their own. I'm probably going to do this with all of the episodes, just an fyi

First of all, Sozin can fuck all the way off. I don't think I really have to explain that one but goddammit they really made me hate him (and I love to hate the villain)

I LOVE the detail of seeing the flames reflected in his eyes whenever he kills someone, as a symbol of fire's natural brutality consuming him from within. Kudos to whoever added that detail because it is absolutely perfect. I look forward to seeing more of this monster in future flashbacks.

The firebending itself was absolutely brutal. Watching the cartoon, you don't really think about how painful and horrific being burned alive is, and the live action explored that element in a way the previous show could not.

I know this is controversial, but actually really like how they devoted a good ten minutes to establishing some background with the Air Nomads before we dove in. In my opinion, it gave more depth to the Air Nomads besides just what we see through Aang's eyes, which I think helps the viewer connect with him more and sympathize in ways the cartoon didn't. One detail from this part that was absolutely heartbreaking was the Comet Festival.

Something about the way a time of joy was turned into a time of pain and misery was absolutely awful (this was the first time I cried [I cried three times]). The fact that all of the Air Nomads were in one place kind of filled in why there was no evidence of the FN ever having been to the Western Air Temple in s3 of the cartoon. It also adds another layer of awfulness to the whole thing. I can't really put into words why I feel that way, it's just a sort of vibe.

I also liked the way they established Aang's character flaws right off the bat:

The episode was named after him, so it only makes sense to show all aspects of his character almost immediately. This also gives me hope that they might address these flaws later a little more than the cartoon did.

Super glad they included a female Airbender on the counsel (or whatever that was). She was also fighting later and she looked super badass.

Now, onto the Water Tribe.

I can't express how glad I am that they included both boys and girls in Sokka's little warrior pack. People have talked about this before, but the gender roles in the SWT didn't make a lot of sense. Perfect little detail to fill a plot hole.

I am also over the moon that they decided to expand on the differences between the Water Tribe sibling's outlooks on the world. Katara was raised as both a beacon of hope and a liability, whereas Sokka was raised as a warrior and a protector. It gives insight into their characters and also symbolizes the way the war shaped them. The pressure within a society to adapt to the times even as traditional values are abandoned and culture is devastated is something that the original show laid the groundwork for, so I really hope we see the live action build on it further. There's also this:

Gives the perfect insight into the ways their parents leaving affected them both differently and expands on their different mindsets. 10/10 for the sibling dynamic.

I'm not sure if I liked the changes to this scene. Katara was characterized pretty well, in my opinion, and it does make sense with the "toning down" of Sokka's sexism that she didn't explode on him, but it's still an iconic moment I would have liked to see translated to the live action. I also found the fact that Appa wasn't included at all just plain weird. He should have been there, and even if he was established differently later, again, I'm not sure I liked the way Aang was introduced to the siblings. (At least they didn't include any romantic Kat@ang moments. Platonic besties for the win)

Zuko's introduction was just kind of... there, in my opinion, but I did love the detail of the icons on the shelf glowing. There were several homages made to Zuko's search for the avatar that I really appreciated, from the early establishment of his antagonism towards Lieutenant Jee to his pages of research, which I really appreciated. There were also several moments that implied that Zuko had a more spiritual journey throughout his banishment to find the avatar, which was partially a little bit of worldbuilding and partially a play into the idea that he will legitimately try everything possible to find the avatar that was another nice detail. Sadly, Dallas didn't really make a huge impression on me. This might be because of lack of screentime or the fact that this is THE Zuko, but I was kind of expecting more. Still, I don't think it was an irredeemable portrayal by any means, and I look forward to seeing more.

This is sort of random, but I just need to say that I'm glad they included more evidence of Katara's PTSD. It was already pretty established in the cartoon that she did have PTSD, but the live action allows exploration of that in a more mature way, which I appreciate. It made the kat@ang conversation hit that much harder, and gives more depth to Katara's character.

The fight at the gates was also just perfect. Zuko acting on impulse out of a need to prove himself:

Katara's speech and Sokka's change of heart:

And this line:

Sokka kind of fell flat to me a bit in this episode, and I feel like Katara was the MVP in all of their interactions, but I loved this line. I just have a feeling he really needed to hear this.

There's also this moment that I thought was really significant where it looked like Zuko was actually going to kill Sokka:

My heart legit stopped at this part. Like, I knew it made no logical sense for it to happen, but I still got scared for a moment. I know it was just another one of those moments to show how Zuko's anger gets the best of him, ect, ect. but this was overkill. I don't think they took it too far by any means, but it was still just so unexpected.

I also noticed they removed the zukka parallel of the two of them getting ready for battle at the same time, which I really disliked. It plays more into the warrior mindset for the both of them, and even though we had that established in other ways, I would have still liked to see it.

Aang's sacrifice is the same, but I appreciated his little conversation with Iroh. When Iroh showed up, I half expected him to just let Aang go, but I guess that wouldn't really be in character for season 1 Iroh. Either way, that was some good stuff.

The framing also sort of reminds me of the season 3 conversation between Zuko and Iroh when Iroh is in prison back in the FN. Both shots give the impression that it is not actually the one behind bars who is in prison. This makes me think that they might give Iroh more of an arc in season 1, which I would kind of like to see, but at the same time, I'm not sure about. I think it was important in the cartoon that Iroh had already completed his journey and was doing his best to guide Zuko through a similar one.

I am disappointed that they removed the fight scene between Zuko and Aang inside the ship, but there was another huge moment this allowed for that I REALLY LOVED:

I LOVE that they let Katara have her hero moment I LOVE that they let her discover her bending a bit more in this episode I LOVE that Aang helped her I LOVE IT ALL. Katara gaining more confidence in her abilities is the season 1 Katara arc I want to see and they legit made me fangirl over this moment so much I squealed. There's also something about her blocking a fire blast from Zuko after being powerless to stop him from killing/seriously hurting her brother in the earlier fight that's just... chefs kiss. (also maybe establishing that ZK yin and yang concept early... I'm reading way too much into this but the way Katara's arms are positioned kind of looks like the yin symbol a little bit...)

And finally, we have the air temple scene. The whole thing was so incredibly sad, and I actually didn't mind that it was part of the first episode. It makes everything go full circle, in my opinion.

I also thought that Gyatso's voice instead of Katara's being the one to calm Aang down was a really good choice. Aang coming to terms with his death should be about his memories with his past mentor, not about Katara comforting him. I loved the hug though. Perfectly devastating:

Also, the last parallel at the end was just SO perfect:

Something about how tradgedies in their lives forced them both to become dedicated and adapt to a new world beyond their control. Aang and Zuko parallels always wonderful.

Overall, I really enjoyed it! I would give this episode an 8.5/10. Not perfect, but definitely not bad. It surpassed my expectations and I'm so excited to see more!

[likealittleheartbeat]

hiyya!

this is something i've seen come up quite often in recent discourse about zuko, and about how he doesn't truly learn to let go of his prejudices linked to his upbringing by the final.

he is often criticized (i think rightfully so) for his treatment of aang in 'the southern raiders' ep: even though his actions may be fuelled by his desperation to make up with katara, and his own feelings of grief and anger, he is still too dismissive of (or one might say offensive towards) aang's advice and, consequentially, the philosophy of the air nomads.

in the final coronation scene, we see him acknowledge the fact that "the avatar is the real hero", and he swears to rebuild his nation "in love and peace", which definitely shows a fundamental change in his values. but. i wonder if he has matured enough to be able to respect aang as not just the avatar, but as an air nomad as well; if he has learned to appreciate not only his heroism, but his philosophy too.

i thought i'd ask your opinion on this since i really enjoy your reading of zuko and aang's relationship. how do you reconcile zuko's often dismissive nature with seeing him as aang's best friend and soulmate, the one who should be the most understanding of him?

thank you if you end up answering this, i'll really appreciate it!:)

I just think a reading of zuko as not fully reformed by the end is...just...a really bad faith take of a show all about hope and belief and (dare I say it?) FAITH.

What the Southern Raiders episode shows and is supposed to show regarding both Zuko and Katara in relation to Aang is NOT their total disregard for his culture but their need to experience and appreciate values of his culture for themselves, which is a core tenet of, at least, Zen Buddhism, but I'm pretty sure it's pretty significant to other Buddhisms and Taoism. Aang points to the moon of forgiveness, but if they were to simply take him for his word, they would have only seen his finger pointing and never have seen the moon he had hoped to show them by pointing towards it.

There is this kind of analysis that people do of ATLA and plenty of other shows that focuses on the dialogue and plot-explicit actions in a series with a literal and almost mathematical approach, ignoring the emotional beats, the narrative arcs, the figurative meanings, and the poetic experiences the show invokes. Often these kind of takes are sociological (focused on societal organizational structures and the identities they impose) and/or super rationalist (interested in the continuities and reasoning within a show as if a work of art and its characters must behave realistically). And they tend to be weaponized to denigrate a show or character (although both critique strategies could be and have been used to praise). The issue with both being used exclusively or even in tandem is how intellectual they are. They disregard emotional experiences for characters, for creators, and for the audience. I'm not inviting people to flip entirely to an emotional response--clearly I prefer a pretty intellectual approach myself. But a path that can bring in the heart and the mind into an analysis that is generous and wise ought to be the end goal, not necessarily of a single piece of writing but of your overall collaborative contribution to the analysis.

To get back to your question now, it's pretty hard for me to see Zuko, as the fucking emperor at his own coronation, saying that he should not be celebrated but instead giving the glory over to "the Avatar" as anything other than Zuko putting the value of humility so important to the air nomads into practice. And then we see him accepting help from Mai to put on his robe, serving tea to the gaang in Ba Sing Se (which demonstrates the reopened connections with the other nations), and naming his friendship with Aang, not the Avatar but Aang! Idk what more people want.

I have a guess, though. People want perfection. They want Zuko to jump beyond the limits of his narrative and history to be a political ideal that will never falter, that can say all the right words (somehow in the last five minutes of the series), that won't provide the springboard for the modernity that comes about in Korra. They want his "redemption arc" to be about "redemption" in the Christian sense, the deliverance from sin and its consequences into a post-show afterlife of purity. The purpose of the Avatar and the lesson Aang both learns and teaches his friends is about aiming for balance and the value of humanity. That is the key value he brings from the air nomads, and it's the one Zuko has integrated for himself by the end of the series. It doesn't mean he did everything right by Aang once he joined the gaang, only that he stopped demanding perfection from himself and others, easing the frustration and self-hatred that had plagued him. He also doesn't need to blindly agree with Aang or Katara's ideas just because they were marginalized by his people (and him directly lol), but Zuko's field trips are all about him observing and supporting others, which requires him to accept that he has more to learn and that's okay.

Humility is so unpopular in the discourse where I'm at rn because it's seen as self-effacement, when, in fact, humility has more traditionally been understood as acknowledging and expressing gratitude for the people, circumstances, and gifts that have allowed you to be in the position your in and have the chance, skill, and responsibility to act. Aang expresses humility in the choices he makes to acknowledge his culture. Zuko does this as he acknowledges Aang and the guiding force of the Avatar.

[straycatwandering]

Thinking about ATLA and the meta we occasionally get around Toph not getting a life-changing field trip with Zuko.

Topf probably didn't need one on account of Zuko not having tried particularly hard to ruin her life. But you know who should definitely get their own Zuko field trip? Suki.

[peony-pearl]

I firmly believe that, if Lu Ten survived the siege of BSS and Iroh succeeded in taking it, Lu Ten still would have died during whatever au that would have been when Aang finally unfroze. He would have absolutely been a casualty while fighting the Gaang/pursuing them, and it would happen because of his desperation to be as good a warrior as his father

[anakinskywalkerisfave]

It's not about being against nicknames altogether (at least from what comments you've displayed here) it's about OOCness, since they're discussing the usage of nicknames in fanfiction. If a fanfic has a couple (or two characters in a platonic relationship) refer to each other by nicknames that we've never heard them call each other before in canon (or without a character having an established tendency to refer to people by nicknames), it can be off-putting and feel ooc to people.

Let me give you an example with AtLA.

Toph canonically gives people nicknames, Katara - Sugar Queen, Aang - Twinkle Toes, etc. So her using nicknames would not feel offputting or ooc to an audience.

Meanwhile, quite a few people* thought that Aang almost constanly calling Katara sweetie in the AtLA comics felt weird/forced/ooc.

(*Example of this sentiment here, it's mentioned near the end of the ask.)

Just saw a TikTok complaining about ‘kitten’ as a pet name in fanfiction and while I do agree with their discomfort on that one the comments were FULL of people mentioning all the other common pet names ?? Like honey babe baby sweetheart etc ?? Is your partner just supposed to call you by your name the whole time ????????

[itsclydebitches]

RWBY Recaps: Vol3E1 "Round One"

Hello, everyone, and welcome to a new collection of RWBY Recaps!!

This is a unique project in that instead of writing purely for my own entertainment, these recaps are part of the Fandom Trumps Hate auction (you can check them out here if you're interested in learning more). Specifically, these recaps are a gift for the lovely Kae who requested some meta on the earlier Volumes, or work that focused on Ozpin and/or Ironwood. I figured that Volume Three would touch on all those requests and, frankly, it's an era of RWBY that I was already interested in covering. Volume 3 was a turning point for RWBY's tone and overall mythology and I'm eager to see what I think of it in 2024, after six additional seasons and a rather chaotic overhaul.

(If anyone is reading this from the future, one of the reasons why it took me so damn long to get the first recap out is because finding official streams of RWBY has become a fool's errand as it changes ownership. Fun!)

Anyway, the game plan is simple: cover all of Volume Three at an undetermined, though hopefully steady-ish pace from here on out. Technically, the deadline for our FTH fandowrks is at the end of 2024, however, I absolutely plan to continue this series past my 5k promise. As always, this will be a RWDE-focused meta (though I'm eager to see how much nostalgia carries me through the season), so if you Don't Like; Don't Read.

Everyone got that? Great!

Now, indulge me for a moment and cast your mind back. It's October of 2015. Pizza Rat is a tumblr icon, Left Shark still reigns, and everyone is arguing over whether a dress is gold and white, or blue and black (it's the former FYI ;). Amidst such quality memes RWBY begins airing again on the 24th, presumably bringing with it another season of stellar choreography and simple, if entertaining conflict. Team RWBY has just helped contain a massive breach courtesy of Cinder's machinations, Torchewick is in Ironwood's custody, the White Fang is falling under Salem's puppeteering, Penny has revealed her android identity as well as her supposed fate to save the world, the girls are beginning to acknowledge the responsibility of their chosen career path, and the mysterious Raven has been identified as Yang's birth mother. All in all, RWBY has a lot to play with going into its third season.

It's notable then that we open peacefully. The viewer is treated to a number of environmental shots to set the scene, including one of the forest with its iconic falling Fall leaves. Ruby is positioned at the edge of a cliff with her signature rose petals drifting behind her. Stylistically it fits the scene, though from a literal standpoint it also implies that she used her semblance speed to get here. Given the momentary reveal that she's speaking to her mom, that's a rather heartwarming detail.

Sidenote: has anyone given any thought to cliffs in this series? It only occurred to me recently how often they show up, often during character milestones. Here we have Ruby talking to Summer for the first time, her (bodiless) grave situated at the end of a cliff. The Beacon initiation involves chucking the kids off a cliff and seeing how they fare, an action that is the catalyst for the group's introductions/growing dynamics. Shooting Oscar off the edge of Atlas solidifies Ironwood's turn from anti-hero to outright villain. Though I'm far from a fan of this scene, Ruby's (ridiculous) near-fall off the cliff during the fight with Cordovin preludes her (supposed) growth in leadership as she stands up to Qrow. Penny lets herself fall from Amity after sacrificing herself to get it up into the air. Then, of course, we've got the girls falling off of Ambrosius' bridge, taking them to a world where - execution aside - the intention was for them all to go through major developments: Ruby is literally reborn, Jaune experiences a lifetime of struggle, Yang and Blake finally admit their feelings, and Weiss... gets over her whole country being destroyed?

Idk, we'll have to come back to that one.

I clearly don't have a big takeaway here, just the acknowledgement that this is a visual RWBY gravitates towards. Might do a whole side meta on it some day...

Anyway, as said we realize quickly this is Summer's grave with her name carved into the headstone along with "Thus kindly I scatter." Notably, she also has her rose motif there and it's likewise prominent on Ruby's belt in this scene. Looking back, we can see how RWBY did a better job at the start of sprinkling in these significant character details before, you know, dropping them completely and then attempting a rapid-fire resurrection. Meaning, I would have bought into the emotion of Ruby giving her pendant up in Volume 9 if we'd gotten these moments consistently throughout the story's run. It wouldn't take much, just a reminder every couple of episodes to maintain the momentum. Give Ruby a scene where she explains that this rose was left by Summer before she disappeared and she's treasured it ever since. Show a flashback where we learn that it was really left behind for both girls and Yang handed it down to Ruby when she was old enough to keep track of it. Give us a minor conflict where it's lost during battle and Ruby unnecessarily endangers herself in an attempt to retrieve it (perhaps in Volume 8, setting up that the object itself is not as important as the intangible love it represents). Hell, keep it lighthearted where Yang gets Ruby something rose related at the gift shop, Nora tucks a Rose into her hair while wandering the wilderness, Qrow gives the pendant a cheeky flick while talking about how Ruby's as stubborn as her mom. My point is there are a million ways the show could have built towards that scene in Volume 9 - ways like showing us that rose on Summer's gravestone - but the show dropped the ball halfway through.

Here and now though, Ruby begins catching Summer up on everything that's happened to her since she started Beacon, which serves as a useful way to catch the viewer up too - both those who, for whatever reason, may have started RWBY with Volume 3, and those who just need a hiatus refresher.

Ruby is delightfully awkward here, a personality trait that I think becomes more forced as the series goes on. She jokes that she hasn't gotten kicked out of Beacon yet - while doing that cute little rock on her heels thing - and says that she's able to "keep [Yang] in line" by being on the same team. She follows that up with, "...that was a joke" which is just quintessential Ruby to me. Love it.

She recaps that Yang has grown a lot as a fighter since Summer left, the rest of their team is made up of Blake and Weiss, together they form Team RWBY and yes, that's as confusing as it sounds. She's stopped bad guys and met some "odd" teachers, including Ozpin.

(THAT'S MY BOY!!!)

Looking back, this is actually a fascinating couple of lines. At least, I think they have the potential to be fascinating if RT had followed a clear writing path. Ruby wonders again why Ozpin let her into Beacon early, but shrugs it off under the assumption that he'll tell her one day. "You know how he is."

Yeah, I do, Ruby. Do you?

We already knew from their initial interaction that Ruby knew who Ozpin was - she recognizes him on sight - though him posing the question implies that he never visited Patch post-her birth. At least, not recently enough for Ruby to have formed a memory of them meeting. I can only assume then that she's heard enough about him from Tai and Qrow to a) be sure of his identity (any promotional material/news about Beacon would have helped with that too) and b) believes strongly that her impression of him formed since entering Beacon aligns with what her parents presumably said about him: "You know how he is." The fact that this is in reference to Ozpin's secret keeping makes me wonder how often that came up around the dinner table. Did Tai ever express frustration, a la Ironwood, that they're clearly being kept in the dark about things? Did Qrow ever dodge the girls' questions about where he's been because he can't be honest about his spy activities, aligning Ozpin's reputation with secrecy by virtue of working for him? The casualness with which Ruby shrugs off Ozpin's secrets to Summer heavily implies that Ozpin's cagey history is both well known to the family and accepted.

Honestly, I would have loved to see this woven into Ruby's core characterization, perhaps even an extension of her "simple soul." Give me a girl who is intrinsically accepting of people, including their need to keep certain things close to the chest. Teammate deliberately kept her faunus identity under wraps? Friend hides the fact that she's an android from the whole world? Ruby accepts them. Ruby gets it. The fact that Ruby does, canonically, accept their duplicity without so much as a blink is, I think, one of the reasons why I expected her of all people to be more sympathetic towards Ozpin's hidden identity. We can argue about the girls' right to the truth via participating in this war till the cows come home, but at the end of the day Ozpin's secrets are intrinsically tied up in his family, his history, and the trauma surrounding both. Let the others get mad, prioritizing information over personal motivations (that does fit their characterizations well, with Blake perhaps being an exception), but Ruby? The show has never been willing to commit to the kind of dark story that would result in a 180 character growth - endlessly forgiving protagonist becomes jaded and cynical as she experiences The Horrors - and little moments like this one further emphasize to me that Ruby, specifically Ruby, is uniquely suited to helping Ozpin not just fight, but finally finish this war. It should never have been (just) about her talent with a scythe, or even the rarity of Silver Eyes. The Gods wanted Ozpin to unite humanity and here's a young woman who unabashedly loves everyone that the world tends to despise: secret keepers and drunk uncles and faunus and Schnees and scary androids. Ruby should have been the emotional bridge!!

Okay, I swear I'm not going to make this series a rehash of my issues with the later Volumes lol. Inevitably some things are going to crop up though.

Moving on, Ruby mentions that Tai is here too and the viewer gets to see his avatar for the first time, albeit from a distance. In keeping Summer updated on her... husband? Wait, were they married? Well, in keeping her updated on her partner, Ruby says that, "He's, you know... Dad," which, unlike the Ozpin line, is just plain funny. Sure, most of her talk is very exposition-y and absolutely functions as a soft lead-in to new content, but that's not to say a story should ever put absurd dialogue in a character's mouth simply for the sake of the viewer. That is, Ruby should never say, 'Oh, Tai is here! You know, my Dad?' because the person she's talking to, Summer, knows damn well who Tai is. Television has actually gotten better about this as a whole. Once upon a time a medical drama would have the doctor yelling, 'Her skin is turning yellow - she's jaundiced! Her liver is failing!' to ensure that the viewer understood precisely what 'jaundiced' meant, never mind how absurd it was for a professional to be shouting that among their peers. (Granted, medical dramas as a whole are absurd. I say that with love.) Despite RT's general inexperience, RWBY belongs to an era of televised storytelling where leaving certain things unsaid is par for the course.

Here, the unspoken information is what it means for Tai to be, you know, Tai. We don't really know who Tai is yet- personality-wise, I mean - so Ruby's comment functions more as a way to set up our expectations rather than to connect with us in agreement. We now expect Tai to be the kind of guy who does things to make his teenage daughter sigh and go, 'That's Dad...' and we, presumably, look forward to seeing that.

Granted, the three things we do know about Tai at this point in the story consist of:

He's a fellow Huntsmen (which is an insane job)

He let his daughter join Beacon two years early to also become a Huntress (also kinda insane but I support him)

He maintains a relationship with said daughter and daughter Sr by sending them their dog in the mail (do I really need to say it?)

Based on that I suppose we can guess as to what Tai is like lol.

He calls Ruby away so they're not late for the match and she sends a last message to Summer over her shoulder: "It was good to talk." As we transition, a murder of crows flies across the sky. Or is it an unkindness of ravens? I can barely tell in real life, let alone when they're animated blobs, but either option works well enough given the upcoming revelation about the Branwen twins.

Cutting to the arena a little time in the future, the viewer is treated to some establishing shots that, while simple, are honestly pretty cool. I believe this is our first introduction to Atlas' floating environments and showing a bit of Beacon Academy in the background helps give us a sense of scale.

This event is clearly popular, with the stadium absolutely packed with people (even more are trickling in from ferrying ships) and, to RT's credit, they did a bit of work to convey diversity in this world. We see a decent variety of skin tones as well as faunus characteristics, to say nothing of the cool designs many of the competitors will get. Beyond the main cast still being overwhelmingly white, I'd say the biggest issue here is the lack of body diversity, what with everyone having the same, stick-thin figure. Yeah, RT is clearly using the same base model copied a hundred times and I'm very aware of their previous status as a small, independent company, but such visuals nevertheless stand out in a series that's been pushing a minority plotline for three seasons.

The camera swoops down to follow Team RWBY in the midst of a battle which, again, is staged in a way that's clearly meant to catch up/invite in new viewers. It's very trailer-esque as each shot lingers on Weiss, Blake, and Yang for a moment before finishing with Ruby, complete with a twirl of Crescent Rose. This is the show visually reminding you of what it's really about. Sure, we might have started with Ruby speaking peacefully by a grave, but at the end of the day RWBY is the story of a team engaging in combat situations.

Oobleck and Port are announcing the event and Oobleck throws out his standard "Doctor" when his title goes unacknowledged.

You know, I started RWBY nearly a decade ago. Four years ago I secured a PhD, so I feel that now.

Port provides another handy info dump for those "just now joining us." AKA the viewer who has no idea what a Vytal Festival is, but this is as good an excuse as any given that people are still entering the stadium. Simply put, all the Kingdoms' huntsmen schools are competing as teams first, then as duos, then as individuals to determine the final winner who will have achieved "victory for their kingdom!" Age and year are irrelevant, which makes perfect sense given the nature of RWBY's combat. You've got young prodigies like Ruby and people who sneak into Beacon like Jaune, and though the other schools/years probably don't have as much drama going on, the variety of semblances, weapons, dust use, and personal experience really makes this anyone's game. A first year might easily beat a fourth year if they won the genetic lottery with their semblance, or a student from School A might trounce someone their age from School B, depending on how much their school has sent them into real combat situations.

Given all that, I kinda wish the Festival had developed the other Kingdoms more, given that it's the perfect opportunity for the cultures to learn from one another and/or butt heads. In a perfect world, one where RT had some sense of where their story was going, I would have loved to see:

Strong development of Vacuo's citizens, especially given that it will be the focal point of Volume 10 and possibly the end of the series (if we ever get that...).

Though the gag that Weiss excepts strict, militaristic fighters from Atlas only to get Neon is funny, that 'Don't judge a book by its cover' lesson really doesn't align well with what Volume 7 and 8 try to push. Better, perhaps, to set up Atlas' dictatorship tendencies before swinging hard in that direction (and I'll get into how what we do see doesn't make the cut).

How Remnant's racism gets displayed in a highly public competition. Do Blake and the other faunus face more discrimination now that they're in the public eye? Do asshole citizens challenge wins because no way did a faunus beat that human?

How different schools approach training their huntsmen. Specifically, everyone seems to abide by the four-person team structure, so why would this competition eventually highlight duos and individuals? It seems counter to what Beacon, and by extension all the other schools, are trying to promote. This setup would make more sense if we were shown that different schools have radically different curriculum. Maybe it's eventually 1v1 because Vacuo's individualist, survival-based culture teaches huntsmen to fend for themselves; teammates are just another liability. Maybe Atlas, being militaristic, prizes safety in numbers and has students train in groups of six rather than four. Maybe Mistral is incredibly semblance-focused (a way to develop Neptune's phobia rather than just making it a gag; a fighter who can't or won't use their semblance is considered effectively useless) and if you can negate that aspect of their style somehow, you find they're lacking severely in weapon-based combat.

Again, I know that RWBY, particularly early RWBY, only had so much time per episode, but looking back it feels like there are a lot of missed opportunities in this world-watched event. None of this is even taking into account Cinder sneaking into the school, or Penny being outed as an android. If any RWBY rewriters are reading this, the Festival is a potential goldmine of characterization and cultural development. If you're going to write random RWBY books, write some about that!

One moment of cultural significance that is shown though is the Atlas security hovering around the arena. They mostly keep to the background, without any single appearance being obtrusive (yet). This is one of those moments where (some) fans look back and say, "See? Ironwood was always a controlling, military-obsessed bastard," but the reality is that this is incredibly tame by real world standards, to say nothing of the realities of RWBY's fantasy world. Regardless of how you feel about the, uh... motivations behind the security in your country (because that's a whole other conversation), you expect there to be some level of professional oversight when that many people are meeting in one place. That's a reality we have to work with, which includes all the potential pitfalls, biases, manipulations, and accidents that come with any large-scale endeavor. Toss in the fact that RWBY's security is designed to defend against man-eating monsters and I'm honestly surprised it isn't presented as dystopian here. Meaning, we easily could have been given a story where people are comparatively safe from grimm in modern day Remnant and the security functions primarily as outside control and/or a fear-mongering tactic. It's not that security is inherently unnecessary, but those walls have done a damn good job for the last generation or so, so why is James so insistent on populating this festival with his probably not-needed robots? Seems sus 🤔.

As it stands, grimm DO attack people on the regular (that was kind of a big part of last Volume's finale), security IS necessary (according to many other council professionals once James raises the issue), and it's arguably MORE necessary now - during the festival - because there are so many potentially negative emotions just waiting to crop up. Instead of "Seems sus," the reaction to having defensive robots around is more, "No duh." At the very least RWBY might have had the characters react to the security with suspicion/fear, even if that doesn't totally track with the rest of the worldbuilding, or better yet, demonstrate that there are major issues with AI leading the charge (robot mistakes kid in grimm mask for real grimm and fires a shot!). Granted, we get that through the hacking at the very end of the Volume, but here and now the Atlas ships seem to be used primarily for transporting viewers, the crowd is fully at ease with these guys, and — as we'll see later — the prospect of additional security in the form of AI is greeted with enthusiasm, not wariness, simply because it will keep real, breathing people off the front lines. Those are all important things to keep in mind when you consider whether a) The show took a very sharp turn in Volumes 7-8 or b) The show capitalized on a long established, slow burn plotline.

(Psst the answer is 'B')

ANYWAY, Oobleck is yelling about the "Spectacular spectacles on which to speculate on!" and I love him all the more. While he and Port narrate we get some non-animated shots of people viewing the Festival from around the world, though frankly it doesn't do much to help RWBY's worldbuilding. Some people watch the fights from a camper outside, others are in a minimalist apartment, still others are in what's basically a bar... if you're looking for intriguing backgrounds to drum up interest in the world outside of Beacon, you're not going to find it here. The presence of various faunus individuals is really the only thing that distinguishes these settings from a show based in the real world.

Onto the fighting! (It's about time :p) The girls are facing off against Team ABRN (pronounced "Auburn") from Haven and they're decent for a couple of one-off characters. I like the design of the girl with the skateboard - Reese - and how her weapon, the board itself, gives her a lot of flexibility in battle. Since it functions as a hoverboard she has a lot of maneuverability, she can use the board as a shield, a projectile, adapt its abilities via Dust, and - of course - she can pull both sides apart to duel wield the guns. Looking at all that flexibility, it is a little lame that she 'loses' that particular encounter with Blake by slipping on the ice, but then we're not really supposed to care about these characters. They exist solely to get us hyped for the battles to come and give a quick primer on how those battles will work. AKA, now we've learned that the battlefield itself has hazards the girls must circumvent.

Blake is cute here though. She's so concerned and I'm like yeah, girl, that looked like it hurt 😬

This whole exchange has that same vibe: one of casual playfulness, which makes perfect sense given that this is supposed to be a fun competition. They're exhibition matches, not real attempts to take the other team out (which is why Yang's supposed act later in the tournament will be seen as so heinous). The guy with the pink hair (Nadir) full on pouts when Ruby successfully traps him in a block of ice and, of course, we have the classic "Got your back!"/"My BFF!" lines in response. The girls are enjoying themselves and that's so damn wholesome to see after all the tragedies - plot and writing-wise - of the later Volumes.

Team ABRN are able to make a bit of a comeback and - *gasp* - the girls have to actually think creatively/combine techniques in order to get the upper-hand. Blake successfully tricks Reese with a clone and catches her in the midriff with a quickly timed ribbon, cleanly knocking her out of the ring. It's here that we learn a team member can be eliminated via leaving the bounds, or having their aura dip too low (remember when that was a thing?) I know I just said there's teamwork, and there absolutely is here, but it did stand out to me how Blake just like... disappears after this moment? I mean she comes back, but it's clear RT wanted each girl to have her moment in this battle, despite the fact that any member who successfully defeated their opponent would be rushing off to help the others. That should be a near defining win condition - defeat one opponent and suddenly it's a 2 vs 1 situation for someone else - but that expectation falls by the wayside until the fight's final moments.

It's a good fight though. Not the greatest by RWBY standards, but it was no hardship to rewatch for this recap either. Weiss pulls out an epic ice hand that ensnares two of the members, now rolling chaotically across the arena, and clearly she thinks this is the end of the fight. However, Arslan — the monk-type who favors hand-to-hand combat (or the one with the "Eastern martial arts influence" according to the RWBY wiki...)— simply rolls her eyes, plants her feet, and shatters the ball with a single hit. Gotta admit, it's pretty cool.

Of course, Team RWBY still comes out victorious in the end. With all of Team ABRN now in one place, the girls have one of those lovely mind-reading moments and pull off a coordinated attack, allowing Yang to sucker-punch them all out of the ring. Again, it's nice to see that kind of teamwork, as well as the adorable way they all stand there, mildly shocked that they won.

I'll take that over the brazen, cocky confidence they've gained any day.

The only thing I'm kinda iffy about regarding this fight is how Team ABRN feels a little less like a full-fledged team to me, and more like a faint Team RWBY echo. It's most noticeable in the Yang vs. Arslan sections where you've got two yellow-coded, hand-to-hand snarkers facing off. Blake and Reese both feel like the cool, alternative style members of their teams, and then you've got the Weiss-Ruby duo trying to overtake the Bolin-Nadir duo. It's admittedly a subtle familiarity that lessens with each example, but it stood out to me in the re-watch; like Team ABRN only exists to give Team RWBY someone vaguely similar to overcome. Which, granted, they do. These are not characters we're going to follow as the series progresses, so in most respects they've done precisely what they needed to do and in a way that looks cool and feels entertaining. So this isn't a criticism, really. More an acknowledgment that RWBY is a series with limits and if we want to know more about these characters/flesh them out beyond their paralleling characteristics, we'll have to do that ourselves in the fanfic.

As Ruby jumps into the air in a victory celebration, we PowerPoint slide cut to the festival later that day where she nearly collapses, asking if anyone else is starving.

Yeah, child. You just made it through a physically intensive battle in front of an audience while existing as a teenager. Of course you're hungry. Blake's stomach gives a giant, embarrassing growl in response and Weiss sarcastically bemoans the fact that there's nowhere to eat at the food-focused festival. Good times, good times.

Ruby: "It's okay, Weiss. I forget about the fair grounds too."

Before they can grab lunch though Weiss declines a call from her father and an old 'acquaintance' suddenly shows up.

Emerald.

You know, kudos to Katie here because Emerald's laugh and, "Good to see you, Ruby" sounds so fake to me now. It just oozes, 'I secretly hate you but am pulling out all my acting skills to convince you otherwise' energy. Obviously RWBY has a host of villains/antagonists that have done a plethora of heinous things, but there's something particularly skin-crawling to me about seeing Emerald in retrospect. Part of it is the deception. I don't know about anyone else, but I personally would prefer a villain who's upfront about their nature from the get-go, rather than one who pretends to be my friend before stabbing me in the back. The first scenario just lacks the same emotional punch, you know? Though the other part of it is, of course, knowing where everyone ends up. Beacon will fall. Ozpin will "die." Pyrrha will actually die, and our heroes will be sent out into a war they're in no way ready for. Yes, Salem is our ultimate Big Bad, yes Emerald has her sympathetic moments and does a heel-turn into "good guy" territory four Volumes from now... but I think the fandom often forgets that she willingly and actively participated in this horror show. This isn't someone just along for the ride because their crush manipulated them, this is someone with a working brain between their ears who has PLENTY of time to consider the ramifications of this and still went, "Yeah, I'll lie my way into orchestrating a massacre."

All this hindsight angst is interrupted by the joke (and I use that term with great reservation) that Ruby must have dropped her wallet because "Girl pockets are the worst!" Sorry, but that has such cis-guy-trying-to-relate-to-women-and-failing-miserably energy to me. Like yeah, I also hate the super small/outright fake pockets that they often sew into women's clothing and I too have smiled at women promoting pockets as part of their independent brands... but somehow hearing the RWBY writers reference it just doesn't land. It's not #problematic, just cringy.

Emerald butters them up a bit by complimenting their fighting and Weiss notes that they haven't seen Emerald's teammates in action yet. We cut to their battle where they dominate the other team, complete with a disguised Neo showing her real eye color before she knocks the competitor out. "[They did] really well," says Emerald in the fakest humble tone ever heard.

Ruby invites them all to lunch and Emerald - clearly horrified by the prospect - dodges by claiming that her teammates are too socially awkward for a meetup. In her defense, Mercury is in the process of randomly sniffing a boot, so although this is absolutely just an excuse, she's also not wrong. Like, at all lol.

Fishing for more info, Emerald asks who's moving onto the doubles round and it turns out that Team RWBY voted for Weiss and Yang. There are three things that I love about this moment:

They voted. Yes, Ruby cheekily tries to make it sound like this is all coming from her genius as team leader, but at the end of the day they decided as a team who would represent them. It's a small detail, but those stand out so much more now that we have Ruby vocally and angrily calling the shots.

(This is a ridiculous side-note I'm 99.9% sure I've mentioned before, but every time I talk about Ruby's intense form of "leadership" in the latter Volumes, I'm reminded of Rick's, "This is not a democracy!" in The Walking Dead. If you know, you know.)

They chose Weiss and Yang. From both an in-world and meta perspective, it's actually a little surprising that Ruby isn't representing them. As established, she's team leader. The team is named after her. She's the protagonist of the show. She's also, canonically, a prodigy wielding an insanely deadly weapon. Yet it's refreshing as a viewer to have a new duo taking the spotlight and within the story-world this choice reinforces Point #1: They're a team and no matter how individually talented any one member may be - or even what titles they hold - they are, at the end of the day, all on equal footing. Why shouldn't Yang and Weiss represent?

The way they both respond to this reveal is dang cute. Weiss' "I will happily represent Team RWBY" while curtseying to Emerald vs. Yang's "Yeah! We're gonna kick some butt!" while slamming her fists together. It's a great contrast and shows why these two might have been chosen. Though powerful on their own, their styles and personality are different enough to compensate for any flaws.

With all that out of the way Emerald rejoins Mercury and her smile immediately drops. She's disgusted at having to get all buddy-buddy with them, but "Orders are orders." She has this classic villain moment where she expresses shock over how they're just so happy all the time and I'm like oh, honey. Darling. Morally misaligned baby girl. Just give it a few Volumes.

We cut to Team RWBY at lunch and aRE THE BOWLS SUPPOSED TO BE THAT BIG?

I recalled that they were big as a visual gag, but not half the girls' size. Honestly? Great choice. I too want to live in a world where you can get insanely giant noodles a millisecond after you order them.

Deviating from the others, Blake nods at the seller dude and receives an equally giant bowl filled with fish. You know, I really wish RWBY had done something with the faunus' animal traits rather than turning them into an endless joke. The concept of a god merging humans with literal animals and then, generations down the line, cat-people being influenced by cat instincts as well as human instincts (because remember, we're animals too) is actually really interesting to me... but navigating the racial implications of that takes a level of nuance that RWBY was never interested in exploring. So we're just left with a Blake who is fish obsessed and chases laser pointers and hates dogs and we're supposed to laugh at all that, rather than buying into her teachings that many people use these traits to dehumanize the faunus.

Anyway, Weiss shows off a bit and pays for all their food. At least, she tries to. Turns out her card has been declined, which is more than a little confusing to her given that she was "barely into [her] monthly allowance." Hmm, could that possibly have anything to do with her ignoring her father's phone calls? Surely no one knows.

Luckily, Pyrrha shows up and offers to pay instead (it's nice having a famous BFF, huh?), but like... what were the girls' initial plans? None of them were expecting Weiss to pay, yet they act like Pyrrha is saving the day by showing up, implying that they don't have the money to cover their meal. The shop guy even takes Blake's fish away, leaving her despondent. So what? Were they planning to eat and just worry about the bill later? Actually, that sounds exactly like something these chaotic preteens would do lol. Yang especially. She was introduced while "buying" a drink before destroying the whole dang bar.

Speaking of teenagers, they all finish their bowls with the kind of appetite only seen in 14-71yos. Although, it was a near thing for Jaune. He's very close to barfing (callback!) and Nora encourages him to "aim it at the enemy!"

She continues ragging on him for a bit, failing to come up with any compliments while hyping up her team. Pyrrha is a world-renowned fighter, Ren is basically a ninja, she can bench five of herself, and Jaune is... Jaune. Nora also doesn't include him in her secondary list which implies that Jaune a) hasn't trained as much (or, more realistically, hasn't gotten as much out of it) as the others, b) doesn't possess an "awesome" weapon, and c) is still frequently yelled at by Glynda.

Poor Jaune. I don't say that very often anymore, but he's going through it here lol.

All of this leads to Nora spiraling at the possibility of them losing. This includes the oh-so-causal drop that she and Ren "have no parents and no home left to go to" which is a HELL of a thing to throw out in a comedically framed breakdown. I mean, being orphans is sad enough, but "no home left to go to" won't be explained until we learn that their town was basically wiped off the map, so damn.

Team RWBY reassures them that a fight with actual rules is nothing compared to what they've already been through. You know, the murderers, extremists, and sociopaths. "Oh," gushes Ruby, "imagine what it'll be like when we graduate!"

As Port and Oobleck call Team JNPR to the arena for their match we cut to Emerald and Mercury settling in to enjoy the festivities. In retrospect, this right here is a really nicely composed shot:

It tells us that Emerald is serious about going through with this destruction (again, she's no manipulated damsel), but she's not getting the same personal enjoyment out of it like Mercury is, as showcased by the smirk. The focus remains on them with Team RWBY framed in between. This is the villains' Volume. They're going to win. Our eyes follow the soon-to-be champions not of the festival, but the battle, while our heroes are literally and metaphorically trapped between them. Finally, Yang is the only one who looks back. We won't know this for several episodes, but she's at the heart of their plan and has every reason to cast the almost-but-not-quite-worried glance over her shoulder. Subtle foreshadowing, how I love thee.

It's shit like this that makes my brain go, "It used to be good! RWBY used to be fun AND occasionally insightful! Those overworked animators were uplifting a mediocre story and the result was good!!!"

As they take their seats who should show up but Cinder, casually using her semblance to pop a kernel of popcorn (power move). "Even if you know how a story ends," she says, "that doesn't make it any less fun to watch." True that! I mean, she's talking about knowing that Team JNPR will be moving on because they need Pyrrha to murder Penny, but I agree with the sentiment outside of that context.

Actually, do they ever explain how they manipulated the fights? I mean, they obviously entered and are winning their own battles and we know that Mercury will be staging his injury with Yang... but here Cinder makes it sound like she's pulling strings in every match. Toss that onto the list of development I would have liked for this Volume: what precisely are they doing behind the scenes? I'll have to pay careful attention going forward to make sure I don't miss anything because right now all I can recall is them looking at Penny's blueprints (presumably obtained via Watts).

Team JNPR's area is randomized into a forest and mountainous land before the battle commences. We end on that cliffhanger, complete with the superhero-esque freeze shot.

And that concludes the first episode of Volume 3! As well as my first recap in a long while. If you've followed me at all you'll know that work has been my personal Big Bad the last two-ish years. Given the scope of my responsibilities and the energy they extract, I simply don't have the time or means to write the way I used to. However, I feel like if I can muster up the willpower to finish this on tonight of all nights (people reading from the future: check the posting date and you'll understand), then I must be getting a little better at carving out writing time in my hectic schedule. All hail self-improvement!

On that positive note, everyone have a wonderful night. Or at least try to. Seriously. Text a loved one, treat yourself to a favored snack, do something that feels fulfilling. Take some deep breaths and I'll see you for the next one.

~Clyde❤️

[catcherwrites]

Welcome!

I’m Catcher and you’ve stumbled upon my multi-fandom & personal blog!

I created this blog so I can safely hyperfixate on all of my interests without feeling the dreaded shame of “I made this blog for [INSERT SPECIFIC THING], so if I post about [INSERT DIFFERENT THING] everyone will hate me!”

That means if you’re following this blog, you know what you signed up for and are insane enough about at least one my interests to warrant sticking around.

Just like a good chunk of Tumblr, I am a creative person. Normally I am a writer (AO3 found here!), but I do draw on occasion and use the fandoms I’m in to practice and improve my drawing and writing skills.

What you can expect from me?

The content you’ll get depends on which fandoms you’re in. A lot of it will simply be reblogs, but my bigger hyperfixations tend to get more original posts, meta, memes, and fanfic/fanart (on occasion).

Much like me, this is an adult blog! I use harsh language at times, and some of my fandoms will have suggestive material. Anything I believe is truly NSFW or triggering I will tag as accurately as I can so you can blacklist them and enjoy everything else safely.

I try to keep things positive on my blog, but that’s not going to be the case 100% of the time. If I am going to be critical, I aim to tag with the fandom’s critical tag and my own (catcher being critical). I will also use the block/restrict functions granted to me liberally. Harassment and dick-ish behaviour is NOT tolerated in my clown car, thank you very much.

Below is a list of my current fandoms/interests. I aim to keep it up to date, with bolded and coloured interests for which areas I’ve been fixating on the hardest.

Non-Animated Shows

BBC’s Merlin

Brooklyn Nine-Nine

Critical Role (my CR-dedicated blog is here)

NBC’s Grimm

Percy Jackson & The Olympians

Philomena Cunk

Shadow and Bone

Animated Shows

Arcane

ATLA Universe (both ATLA and LOK)

Hellaverse (both Hazbin Hotel and Helluva Boss)

Monster High (Gen 1)

The Dragon Prince

The Legend of Vox Machina

The Owl House

Winx Club

Young Justice 2010

Other Media (and miscellaneous stuff)

DC (mostly Batfamily)

Epic the Musical

Percy Jackson and Heroes of Olympus (book series and musical)

Shakespeare

Six of Crows duology

Starkid musicals

Supernatural, gothic, fantasy shit

All that rambling to say, have fun! Can’t wait to see you out there in the hellscape!

…was that good? Am I being a proper aesthetically-pleasing blog creator?

[manonamora-if-reviews]

70 New Works in (Goncharov 1973) by ksixjs

============= Links

Play the game See other reviews of the game

============= Synopsis

Browse 70 new works of Goncharov (1973) fanfic. Fake fics you can't read for a fake movie you can't see.

============= Other Info

70 New Works in (Goncharov 1973) is a Twine (Harlowe) piece, submitted to the Goncharov Game Jam.

Status: Completed Genre: Unreality, Meme, Meta

CW: AO3 tags (some are n s f w, but that's AO3 for you)

============= Playthrough

Played: 3-Sept-2023 Playtime: around lost track... but it's now long :P Rating: - /5 (no rating) Thoughts: Gaslight, Gatekeep, Goncharov

============= Review

70NW is essentially a one page game emulating the (in)famous fanfiction website Archive of Our Own, listing Goncharov fanfics - texts unavailable to you aside from their tags and blurb. You can click on different elements to filter the 70 fics into smaller groups.

While you can't technically read each of those fanfics - ironic, considering you can't really watch the movie either - the elements of each fic may give enough to infer what they could be about. From the title, to the blurb, or the tags including different characters, themes, content warnings, or story structure. Many will refer to specific scenes or motif of the "movie", or a specific ship. Some fill the gaps the movie didn't cover, some deep dive into non-canon territory. Some take the alternate universe approach, others have crossovers (Phoenix Wright: Ace Attorney - Turnabout Clocktower)

The "game" both makes fun of the meme itself with the deranged theories that sparked during the craze and of fanfic websites like AO3 with its as deranged tags and fanfics (honestly). Even though I never really frequented these fanfic sites, the game does a pretty good job at takes their likeness (a more yellow-ish coffee stain background might have been too on the nose...), as well as the representing the deluge of fanfics submitted to those websites soon after the meme took over Tumblr (there are over 300 of them right now on AO3).

Out of all 70 non-fic, The fruit vendor didn’t deserve this?? was my favourite. When is the crossover with the Cabbage man of ATLA planned?

[angstandhappiness]

FASCINATING

and if i say that aang and katara's romance overshadowed aang and katara's relationship, would that make any sense to anyone other than me?

people are so used to viewing this show solely through a shipping lens (a flaw that is almost entirely the fault of the creators) that it hardly leaves space for examining the frankly incredible katara-aang interpersonal dynamic. like, for katara, aang is almost akin to a god. especially in the beginning, for her he symbolizes hope and love and admiration and he is almost larger-than-life. a child and a god. she will protect him and rely on him because through him suddenly, suddenly there's a chance that maybe her mother's sacrifice wasn't for nothing. maybe if she can help aang, love aang, then kya dying was worth it. and for aang, too, katara is his whole world. sokka too, of course, but katara's are the first eyes he saw when he woke up a hundred years after everyone he loved had vanished. it's her that keeps him grounded when he's overwhelmed with grief that he doesn't even know how to begin to process, because it's almost impossible for a child's mind to comprehend the scale of loss he's experienced. he loses his family, and she becomes his whole world. yes, he is saving the world for the sake of the world, but really he's saving the world for katara.

idk. upon rewatch, it's almost like love isn't really enough to capture what these two have going on. it's sheer devotion. it's a strange amalgamation of worship and adoration and mutual deification. it's fucking fascinating and regardless of whether you ship them romantically personally i don't, really , the relationship is so so profound. the depth of their love for each other is really on another level.

romance is secondary to what katara and aang have. they're each other's person first.

[daniels-rwby-blog]

IT'S BEE O CLOCK BABY

Still a good intro, Bit of back story, some falling nice.

That clock is important

Ruby's moody and Jaune the voice of reason

Jaune is my reaction to meta cat

cat your annoying weiss and me

ascension is death called it,

AND THE TWIST BOIS

so lewis died

weiss is now the best character don't at me.

holy crap this is the metaverse, like it's a writer's out for the whole show.

okay so we have the bees together working out the little ship issue we have going on (man i hope monty had a list of canon ships) and the backstory, really a tale from remnant about the ever after, as i thought the twist is that morals are totally wack, i love the tape FX btw. and yeah the herbalist seems more important or at least a pawn of the cat, which seems to be jaunes point, the cat rules this world, its the cat's playground and alex bought it, alex dealt with the cat and escaped.

also those mirrors and summer and weiss seeing atlas, thats gonna need a breakdown.

Jaune still isn't saying the full story tho, he's holding something back.

and now thee bee elephant:

so this is about as blunt a way to do the bee's as i could think of, the compliments bridge yangs movments are perfrect here, emotion is so well carried and her spilling out about blake is adorable

THE BLUSHING THE FLAG THE COLOR NOOOOOOOOO ITS TOO CUTE its the GARDEN FROM THE SONG

HOW DID HE KNOWWWWWW

This is one of the best scene’s i've seen from rwby, not just cause it’s my ship but because it feels like the show as come, at least half circle upon itself, while it left the realm of cutiepie highschool drama years ago, the core of it, of 4 friends, it's never left. And now it's back, although friends isn't the right word.

and thus the S.S bee wins over. in not the best way or the way i wanted

But yeah i like how nonchalant it is The bees are free and the show is essentially now part over, 2 of the title characters are completed in "friendship" BY is indeed bi. All that's left is ruby; the story of motherhood and doing the right thing even when the odds are against you, and Weiss who's learnt her lesson so many times over it's hard to count. But we're done now, the bees have kissed the ship is a relationship and the GF jokes can start, its phase 2 of the SS bumblebee and I really hope it gets mentioned in the show (the ex-ship name). Kinda wonder if Monty had planned this (seems like he did not gonna lie) but there was time for black sun to have it, but ultimately CRWBY kicked in their teeth. Here's my message to Blacksun or anyone who’s not happy about BB. This is RWBY, a show that while at its core is a fight anime about 4 girls, in a wacky world of monsters and God’s, finding themselves and their friends in the midst of it all, it always had a second message… Be yourself. Wiess tries to become her own person rather than the rich heiress. Ruby tries to be a huntress and later a leader and later still whatever this is. Blake and faunus are an analog for minorities and fitting in. Yang is the “just being physically strong doesn't mean you're good mentally”. This show is about change, finding your place and I don't think that having a Gay ship means any less. In fact it seems fitting. And regardless of all the other gay media you may point to and tell me that RWBY shouldn't have to conform to it, i'd like to point out this show is a decade old (ish)! This ship was there from day 1, and now it's over, its cannon and that's it.

For my fellow Bee’s, it's done, we can have our few weeks (heck the whole rest of the volume) but we have won. The signs were always there, it is now our job to become the defenders, we must gather our memes, our evidence, our mighty clips; and we must, it is our destiny to use them to back up CRWBY, to defend, not our opinions in hate filled fury, but the Show we love with dignity and respect, we need to tone it down once our victory lap is done and keep a level head as we show the world all the hints and love filled moments that led up to, what i hope is one of many Bee Kisses.

Also all the fan art OMG its so cuuuuuteeeeeeeeeee!

Thanks, y'all for reading, and sticking with this show to see out the bees, I'll have a breakdown of Ruby's mental fuzz at CR and what that means coming up. Make sure to read my other theories and DFTBA!

[juniperhillpatient]

I forgot to discuss this in my re-watch post but I also think that Katara’s water bending progress over Book 1 really shines in her fights with Zuko

Zuko notices right away that Katara has found a master.

I like how we see throughout Book 1 how Katara is making steady progress & using her bending to beat opponents more & more often (Jet, Zuko, Pakku) & all it takes is a few lessons from a true Master for her to become a Master herself.

Also - it’s interesting that Katara was 100% willing to leave Zuko for dead after she knocked him unconscious. Sokka even openly opposes bringing Zuko with them. It’s only Aang who has a problem with killing enemies, & he doesn’t seem to have processed the people who definitely died during the events of ‘Imprisoned’ & ‘The Northern Air Temple.’

I find Katara’s willingness to leave Zuko especially interesting because I think her compassion & kindness makes it easy to forget that she can also be quite brutal. She was the person to knock Zuko out so she would be responsible for his death if the gaang left him, & she was fine with that.

[aangsglider]

something I love so much about the face aang makes here

at this point, at least probably 3 months have passed since the end of the war (knowing by sokkas leg injury and the comics). so katara has followed aang out onto the balcony, and has pulled him in for a hug. he has no idea that she is about to initiate the kiss that will start their lifelong relationship

but he still has that face when in her embrace. It reads nothing but love, and the thing is this shows he’d wait for her until she was ready to be with him, and even if she wasn’t ever going to be ready, he wouldn’t stop loving her either way. he’s just so comforted to be with her and doesn’t care if she doesn’t want to be with him- he can respect that and appreciate to have met her and have her in his life

[likealittleheartbeat]

I perhaps sacrificed clarity for wit in the wording of my poll: Which queer fiction experience would you prefer--queer representation without queer themes or queer themes without queer representation? "Queer," after all, has been famously hard to define among its theorists. On of the founders of its theory, Eve Kosofsky Sedgwick, does some work to articulate the history of its definitional flexibility in her article "Queer and Now." But I think Heather Love's introduction to Feeling Backwards gets at the heart of it, "When queer was adopted in the late 1980s it was chosen because it evoked a long history of insult and abuse--you could hear the hurt in it." This is what I mean when I say "queer" themes, messages that invoke and evoke the hurt.

Of course, as @irresistible-revolution pointed out in a question in the comments of the poll, "don't queer themes produce queer subjects." If queer is understood as the queer theorists define it, this is inevitably true. Words wrestle away from the theorists, though. If you do a tumblr or google search for queer representation, you can imagine what you find. LGBT identity--Q with it's variation between questioning and queer, though often included in the label, fails fabulously in crafting a workable identity; note it's lack of a pride flag or stripe--requires an affirmative action, which is why certain pieces of the narrative are so important to its politics. You need to come out, you need to make your identity visible (either visually, with public actions like marriage, dress, etc. or with speech, which brings us back to coming out), you need to have pride. Any failure to follow through with these acts puts your access to identity at risk. Identity is a potent political mobilizing force and has led to some pretty incredible legal changes in the past 70 years (although, as far as queer identity mobilization, the AIDS crisis certainly kicked that into overdrive beyond simple identity politics). This is what undergirds the general usage of "queer representation:" lgbt identity made visible and explicit. Identity, in this case, requires from its media the same as its subjects. They must be total and pure in their positive identification--positive, meaning additive, here, although the need for emotionally positive depictions seems to often follow--which is why so much discourse erupts about the quality of representation. The legitimate identification of the characters and the work in total is being debated.

If "queer" as the theorists posit it is about the hurt, it's about the open negative spaces where the barbs stuck in. To wrestle the word away from the academics for a second to talk about real life, instead, we LGBT-identified individuals might remember a time before our identity emerged or crystalized, when experiences of strangeness, difference, pain, and alienation were the markers we could recognize. Can this recognition exist in a representation, either a character or a human being's census marker? Perhaps--especially if we consider that's what the word queer is supposed to mean according to the academics lol. But, as the theorists realized when they tried to define it, the definition was liquid and dodged their attempts to pin it down. Describing it involved putting individuals in relationship to their hurt, to those that hurt them, to their attempts, failures, and successes to make peace with those injuries. I hear a proud voice in my head complaining that LGBT individuals should not be defined as disabled, deficient, or inherently traumatized by their gender or sexuality. Queerness, the hurt we hear in it, while it derived from the language hurled at certain gendered expressions that deviated from the conservative norm, elaborated a more general difference and expression of that difference in relation to others, so it wasn't limited to LGBT individuals (which is why it was so functional a theory for literary analysis that preceded those identity categories and tucked experiences and meanings into subtexts). You see, unlike identity, queerness is not individual but relational, relational with those with similar kinds of hurt but more importantly relational with the individuals and institutions opening the wounds.

This queer relationality blossoms into strange solidarity across what we would consider typical identity groups, because the shame or injury they experience because of their marginalization is familiar and understandable (Zuko and Aang are great examples of this). It also means that engagement with narrative is vastly more important than engagement with signifiers and visibility. Relating takes time. Even more dangerous to the tribalism of identity (that's often, as in the case of LGBT identity, established in the face of oppression) is the encouragement that queerness can engender to relate to those that caused them harm, to even empathize with the harm they might have incurred which caused them to project their hurt onto others or to the harm they feel but work to ignore caused by hurting others. In a way, this strips persecutors from their perceived sense of "normalcy." It queers them and returns them to profane, queer, humanity.

I created my poll while watching the anime Fruits Basket. It made me consider other animes like Neon Genesis Evangelion and Revolutionary Girl Utena, which draw LGBT-identified viewers in. All three shows depict cross-dressing and same-sex attraction but, two out of the three, conclude with heterosexual coupling for their happy endings, and Utena doesn't end with any of its same-sex couples together, exactly.* Despite this, the shows are rife with queer themes around parental abandonment, abuse, gender deviance, attachment, etc., more so (and much more successfully, I'd add) than a lot of proper shows with LGBT representation.

Closer to home for this blog, Avatar the Last Airbender is adored by LGBT identified people even as it lacks any LGBT representation (I won't compare it to LoK because it's more complicated than matters of representation to compare the sequel series quality and the subsequent admiration or lack of it). What moves these people in the show? I could be wrong, here, many people watch shows with a much less analytical and empathetic style than me. Yet, it's hard to ignore how prevalent the queer themes of Avatar the Last Airbender are. These narratives of disappointing and losing parental figures, attempting and failing to live up to expectations, betraying your own values in response to alienation and grief, embracing victimhood or villainy or savior status to garner a sense of self even if it is false until you find something truer. These are deeply queer themes not because only LGBT-identified people experience them but because they are in response to deep wells of hurt. What they result in when probed, however, is a world much more open to LGBT practices and queer practices. It's often thought said Katara and Aang's final kiss feels tacked on, as if it furnishes this queer text with a conservative heterosexual ending. Focusing merely on their genders, this ignores so many aspects of Katara and Aang's journey, of course, that make their particular heterosexual dynamic quite queer (their colonized status, their gender expressions, the development of their relationship beyond simple dynamics of hero and damsel in distress), not to mention the embrace between Zuko and Aang at Zuko's coronation that offers possibilities like 1800s style romantic friendships beyond the last scene. It's quite possible, I'm saying, that we love ATLA because its more queer than other explicitly LGBT offerings.

If it isn't clear, when choosing between the two options, I'd choose queer themes without queer representation. I appreciate the inclination toward the other. I want to see character allowed to have fall for and have sex with the same genders. I want to see characters who explore and transition with their genders and gender expressions. I yearn for characters like myself. But I recognize how hollow that can quickly turn. Who I am is more complex than a simply LGBT identity. In fact, there are plenty of LGBT characters and people I feel no personal connection to. Aang feels much closer to my personality than any explicitly gay character I've ever encountered. And I've often related to people who experienced marginalization because of their race and intellectual intensity much easier than I've related to anyone over their LGBT status. Representation is cool and interesting and can be explored in so many cool ways, and I love it and obsess over it, but it has it's limits, and one of them is that representation doesn't render good fiction. It's just a demographic. If you're into that stuff (and it's intricacies, like me), cool. Fiction just needs to take a little more time, breathe a little more, be a little more weird and long-winded and hurt, and by all that I mean queer.

[theotterpenguin]

2.07: Zuko Alone

“My name is Zuko. Son of Ursa and Fire Lord Ozai. Prince of the Fire Nation, and heir to the throne.“ “Liar! I heard of you! You're not a prince, you're an outcast! His own father burned and disowned him!”

[Zuko offers the knife to Lee.] “It's yours. You should have it.” “No! I hate you!”

3.08: The Puppetmaster

“Then you should understand what I'm talking about! We're the last two waterbenders of the Southern Tribe. We have to fight these people whenever we can, wherever they are, with any means necessary!”

“I won't! I won't use bloodbending and I won't allow you to keep terrorizing this town!” “Congratulations, Katara. You're a bloodbender.”

I’m not sure if it’s just me, but I’ve always felt that Zuko Alone and The Puppetmaster are similar in the role they play in Zuko and Katara’s respective character journeys. 

In Zuko Alone, Zuko learns the consequences of war and begins to question what he was taught about the war from the Fire Nation. He realizes that even actions of kindness aren’t enough to undo decades of oppression from the Fire Nation. 

Likewise, The Puppetmaster shows Katara the complexities of war and how it forced Hama to invent bloodbending, and turn to hurting innocent people for revenge. Katara - who has always believed in the absolute goodness of her people in the war - realizes it’s not always that simple. 

Both episodes also examine themes of identity and what it means to each character - Zuko’s identity as Prince of the Fire Nation and Katara’s identity as a waterbender of the Southern Water Tribe. 

Even though Zuko has spent most of the episode hiding his identity, when he’s put in a position where he has to reveal it, he proudly declares himself as Prince of the Fire Nation - and quickly gets a reality check from the townspeople, who reject him because of his status. In contrast, Katara has spent most of her time embracing her identity and connecting with Hama over it. But Hama turns her identity against her - she tries to use Katara’s heritage as leverage to convince Katara to turn against her ideals. In the end though, Katara stays true to her principles and refuses to harm innocent people. 

Despite this, by the end of the episode, the identity of bloodbender is forced onto Katara - a title she has never wanted. Similarly, Zuko is forced to confront the reality that he is no longer seen as a prince, but as an outcast from his family (and from the town).

Neither of these episodes have a happy ending, but Katara and Zuko have each gained a new perspective on the war and the events that transpire in these episodes have ramifications for their future actions. 

(Of course, there’s also the obvious sun and moon parallelism and similarities in scene framing used in these episodes, which just further ties them together).