#atla worldbuilding critical

[fanfic-lover-girl]

Are the Air Nomads really the most spiritual?

So the Air Nomads are known as the most spiritual group as evidenced by the high percentage of airbenders.

But I was thinking about the show again recently while scrolling through Zutara parallels meta and I am beginning to question this. I wonder if the Water Tribes and Fire Nation are the most spiritual. Considering this:

These two groups are the only groups with implicitly or explicitly mentioned spiritual patrons. Agni for the fire nation and Tui & La for the water tribes. The earth kingdom and air nomads don't have a named spirit that influences their bending or culture.

Water and fire bending are impacted by celestial events and/or spirits. Celestial events are usually tied to the spiritual domain. Firebenders are powered by the sun and are weakened and strengthened by events like the eclipse and comet respectively. Waterbenders are powered by the moon and are more boosted the fuller the moon is. Honestly, it would have been cool if Katara was featured more during the invasion episode and if her abilities were boosted by the solar eclipse (which happens when the moon blocks the sun by the way).

I am sure there was a third point but this captures my main thoughts.

I guess it boils down to the definition of what it means to be "spiritual". Given how terrible the world-building is for the Air Nomads, it's a bit hard to say they are necessarily the most spiritual. I doubt every child grew up in the temples and Aang's friends in his flashbacks didn't seem especially "spiritual" to me. It seems to me like the water tribes and fire nation societies have more connection to spirits than the earth kingdom and air nomads.

[whereserpentswalk]

I know some people are going to really hate me for this take, but avatar is not infact the greatest fantasy story ever. It's a great story and interesting world, though a bit generic, and with a really awkward ending (to do anything interesting with the conflict as to weather or not to kill the firelord, they would have had to set it up earlier).

The reason why everyone thinks it's so interesting and unique is simply because of where it was told. It was a high fantasy show airing on a network of silly little cartoons. It was seen as so amazing because of what it was going up agaisnt. If that exact same story had come out as a book at the same time, it would have been considered pretty good but not the best every, likely blending in with things like wheel of time that had similar stories and tones to it.

The way people treat it like the gold standard of writing, and copy it in restrictive ways, or copy its worst elements, is really starting to suck.

[kiera-raelyn]

What.

Are we serious? You don't get to talk shit about people coming up with a term, that follows the shoddy conventions you laid out in your world, without also providing the correct term. I mean, frankly, I don't feel like you should do that, either, because your world should be able to stand on its own. There's no reason other than poor storytelling for why we didn't know what the Fire Lord's spouse is called. It wouldn't have been hard to slip a reference to Azulon's wife in using her honorific.

And yes, using a masculine term for the "neutral" term is still male centric. It assumes the masculine, and all of its connotations, to be the norm. When the male is the norm, female is not (obviously). We can see in our own society the variety of ways this is harmful to females. If they're trying to set up the FN as a gender neutral or equal place, then defaulting to the male term for their ruler categorically fails to achieve that goal.

You know what's so funny about Bryke's little dig at Zutara shippers in their book- you know, the one that has Gyatso showing the same kind of dangerous nationalism that led to Sozin and his Hundred Year War? That one. They made fun of our use of the term Fire Lady for the queen of the Fire Nation, but Fire Lord, the term they came up with, is just as lame. We were just operating within the framework they created. They can't get on us for Fire Lady when they came up with Fire Lord. All of their naming conventions are really lame. Water Tribe? Earth Kingdom? Fire Nation??? They didn't put any thought at all into these names. So for them to try to have a little kiki at the idea of Fire Lady Katara (and let's be real, that's almost definitely what they were doing) is wildly ironic.

As for having a separate term for a female ruler, I'm going to do that because the show only has one term for the ruler of the Fire Nation. They didn't even care enough to consider what a Fire Lord's spouse would be called, and their idea of gender neutrality for the main leader is to use Fire Lord for men and women. I can't speak for every Zutara shipper, but I resent the idea that "gender neutral" just means using the masculine term for everyone. I'm fine with the idea of using the same term for both the male and female ruler, but it needs to be something actually gender neutral. Not to grandstand, but I think that using the masculine term for men and women is still male-centric, and feels like a continuation of the idea that anything feminine is inferior. I don't like that, so until someone comes up with a not lame title that isn't inherently masculine or feminine, I'm going to use what I'm okay with using.

[muffinlance]

Wait, what’s going on with Embers???? That fic has been on my read later list since 2021, what’s happened with it???

Brief overview, then I'm likely never touching this topic again, because this is not a Drama Blog:

Context: Embers is a super old AtLA fic that was written during the early fandom days, read widely at the time, and was the origin of the widely-used fanon name of "Wani" for Zuko's ship (kind of by default that it was one of the first popular fics to give his ship a name, I think?), even though most fic writers don't seem to realize it's from there anymore.

"What's Going On": I used to include a link in all my stories to it, because I believe in crediting other writers for borrowed elements, and I was using "Wani" in all my fics. But BOY did I not want to be sending readers that way anymore, so I've adopted a new name for Zuko's ship, and removed all Embers links.

None of the criticisms about Embers itself are new; I'm assuming they date back to when the fic was being written, because this isn't an "it aged badly" thing, this is an "actually yeah this gets worse the longer you think about it and I shouldn't have ignored my bad feelings just because some of the worldbuilding was interesting" thing.

An Incomplete List of Why I Made the Change:

I don't actually like the story that much anymore, and don't want to rec it

I tried to re-read it recently to see if some things were as bad as I remembered and it turns out they were So Much Worse Oh Yikes. More specifically, the treatment of Katara and Aang and their respective cultures has... rather a lot going on. One example: The Fire Nation and Air Nomads are both given multiple backstory elements in an attempt to make the average Fire Nation soldier's participation in the genocide/war in large part the fault of the Avatar and the Air Nomads themselves, and also fully justified from the Fire Nation perspective. And I do mean fully. One of its core tenants is "People from the Fire Nation (and only people from the Fire Nation) who don't follow orders Literally Die, therefore murdering pacifists and babies and continuing the war (and their regularly scheduled war crimes) is the only thing it is physically possible for them to do". I cannot emphasize enough how literal that is.

Also the name "Wani" means "Alligator" and is... objectively a pretty lame name for Zuko's ship? Where's the personality, where's the deeper meaning, where's the resonance with Zuko's themes? @tuktukpodfics initially thought I was calling the ship "Wanyi", and that's what I've switched to, because it is Objectively So Much Better. In their words: “Wànyī (萬一): Literally ‘one in ten thousand,’ ‘perchance.’ Used grammatically in Chinese to mean ‘what if’ or ‘just in case.’ I think a ship called ‘The Perchance’ is perfect for a boy clinging to false hope.”

TL:DR; I don't rec Embers anymore, because I don't actually like the story anymore, and there are things about it that get worse the more I think on them. I've removed links to it and renamed Zuko's ship to "Wanyi" ("The Perchance") because our boy deserves a ship name that reflects his character arc.

[nyxshadowhawk]

A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the “aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

[late-draft]

My larger projects include #atla social media AU, #last air keyholder AU, (which is a sci-fi AU meant to be like an entire story) ; planning on doing a review of NATLA (sneak peek: I think its biggest problem is not writing, it's the directing. But generally I like it)

Hi guys, I'm super new to ATLA fandom, started watching in March 2024. for the first time. If I make any stupid mistakes or spelling errors, please feel free to correct me! I'm sorry for any mistakes I make.

I love the show, I'm also looking forward to watching NATLA too to see how it is. update WATCHED IT! Mixed bag but I'm glad it exists - I'll create posts to explain my thoughts!

I love worldbuilding and character-building and this show has a lot, but it also drops the ball in some areas or moments in writing, I feel (that's unfortunate but it's a normal thing that happens in writing)

I see there are fandom wars, but I hope I won't bother anyone. I am however, not averse to discussing Discourse topics (narrative), as I find them interesting! I just don't intend to attack anyone.

I'm a student of animation at a film school so I have a professional interest in this as well as simply for fandom (aka please colleagues, don't bully me for wanting to make animated shows, animation isn't just for children T_T)

My blog's title is a joke about how much worldbuilding I end up contributing to the cursed Fire Nation xd I don't actually cheer for the Fire Nation, I hope that's obvious. I just find that area of worldbuilding very fun

Heads up, if you can't take criticism of your favourite character(s) or are a hardcore maiko or kataang stan, this blog might not be for you, but you're always free to like/reblog anything from me that you like!

Please remember you can use Tumblr's tag mute feature and mute any ship or #anti ship/character tags, #atla discourse tag, and # critical tags of your choice!

[firelily-mermaid-jedi]

2 things always bug me about the whole " abolish Fire Nation monarchy and establish democracy" argument. One, I have yet to see the Earth Kingdom brought up. And they have TWO different kings. If FN monarchy needs to be abolished, shouldn't they also?

And two, um, I know you don't want hear this but, democracy isn't a perfect form of government either. At least if you're going by the common Western version of it. You're just trading one bad system for a minor bad system.

This is FICTION. If the Earth Kingdom can be believed to be a good monarchy, there is no reason to believe that Zuko can't eventually get it there. Or make up a different style of government. It's make believe after all.

No but I do find it extremely performative when certain parts of the fandom are like "this part of atla and this nonwhite culture is symbolic for the bad parts of white American imperialism but this other nonwhite culture represents the good parts."

I'm talking about the people who say with their whole chest that Aang should use his power as Avatar to abolish the fire nation monarchy or destroy them as a political entity and culture, without recognizing that Aang is as much a creation of white American authors as Zuko is. And what's more, Aang is the hero. His power and authority is never questioned the way Zuko is forced to question his.

Even if we use the fire nation as a 1:1 representation of Japan - which doesn't work in any case because it's a fantasy show that pulls from so many different cultural influences - even if we did pretend the fire nation was Japan, though, like I guess we all forgot the atrocities America committed in Japan in the name of world peace.

"Aang should use his Avatar powers to destroy the Fire Nation" sounds a lot like "let's nuke them" at a certain point.

"Aang should abolish the Fire Nation monarchy and establish a democracy" sounds a lot like what America did in the Middle East.

The thing about imperialism is that it never comes in announcing itself as the bad guy, it always presents itself in terms of the greater good. This is something that atla itself actually addresses but the fandom apparently forgot.

[prying-pandora666]

On the Disconnect Between ATLA and LOK: Or Why Reactionary Centrism Ruins Everything

I’ve made it no secret that I’m no fan of LOK’s writing for a number of reasons. But today I want to focus on only one issue: its politics.

I am baffled as to why LOK is seen as being the more “woke” story. Just because the protagonist is a buff brown woman with a female love interest (only implied until the comics, really)? This is such an incredibly shallow reading focusing only on aesthetics and ignores the actual content and philosophies LOK espouses.

But let’s not get into religion, iconography, the effects of colonialism and westernization etc, or we’ll be here forever.

Instead let’s just focus on the politics.

The Forge

Part of the disconnect between ATLA and LOK are the cultural conditions in the USA when both were made. The forge from whence they came was quite different.

Avatar: The Last Airbender

ATLA criticized imperialism.

If this show had been made during the height of Manifest Destiny, or during our super fun times illegally annexing territories (like Hawaii), it would’ve likely struggled to tell its story as well as it did. It would’ve been far more controversial and likely would’ve needed to take a more “centrist” approach, making it seem like imperialism isn’t “all that bad”.

It might have even come out and said that it isn’t imperialism itself that is the problem, but that Sozin to Ozai were big mean dictators that did it the wrong way!

But because ATLA came out in the 2000s—during a time in which the world had widely come around to thinking imperialism is kinda some super villain schtick—it was easy for the story to focus on the perspective of the victims of such campaigns and tell it from this point of view.

We don’t get long segments of feeling sorry for Ozai, now do we? The closest we get is Azula, who herself serves as a victim of this war that has consumed her childhood and deprived her of a safe, loving environment in which to grow and develop, instead having been groomed into a living weapon for her father and nation’s war machine.

So now let’s compare this to LOK.

The Legend of Korra

What does the first season of LOK cover? Collectivism, social activism, civil disobedience escalating to acts of violent defiance against the state.

What was going on in the USA in 2012 when LOK came out?

Occupy Wallstreet.

Socialism vs capitalism, the 99% versus the 1%, civil rights and equality; these are all issues we are still grappling with today. They’re highly politicized and divisive. There is no universal agreement about them.

And so LOK had no “safe” villain or “evil” ideology to combat. Instead it had a complicated and widely divisive topic to tackle that was contentious then and continues to be today.

As a result? Too much time is wasted equivocating.

Both Sides Are The Same! (But Not Really)

We get some soft worldbuilding early on in Book 1 of LOK showing how the infrastructure of this city is built to benefit benders and box out non-benders, but this is never given real focus. We SEE how the trains and police are dominated by earth/metal benders, we SEE how factory jobs employ lightning benders, while non-benders live in the slums which subject them to violence. But none of this is ever the focus or the point.

Almost as if the show is afraid to make a real critique from the perspective of the working class or an oppressed minority group.

Instead the story quickly falls off a cliffside as every tired old pejorative thrown at communists is recycled for Amon.

His sympathetic backstory is a complete fabrication meant to hide that he is actually part of the oppressor class.

They pretend to be the powerless oppressed group, and yet have the funding of the richest industrialist in the city?

The rich industrialist is a member of this supposedly oppressed class but really he’s just a secret villain looking to change the world for his own personal reasons and not to protect his fellow nonbenders (these same accusations are thrown at Jewish people re: Marxism).

There are no sincere attempts to communicate their grievances sympathetically or build a coalition or garner public support. Instead The Equalists only use violence, fear, and other oppressive silencing tactics.

The desire to make everyone equal by “stealing” people’s individuality. (The old “make everyone equal heights by cutting tall people’s legs down” chestnut).

And more!

This is kinda bonkers propaganda if you’re looking at it from a left-wing perspective, right?

And it seems weirdly incoherent if you’re trying to look at it from a right-wing perspective, especially with Tarrlok standing in as the villain “on the other side”.

But it makes PERFECT sense as an enlightened centrist horseshoe-theory piece that can’t commit to either side and has to warp and undermine its own story to fit a “both sides are wrong” message. Heck, it’s so heavy handed it even made Amon and Tarrlok brothers!

This is the problem that plagues all of LOK.

Look at the other villains too!

Amon: Civil Rights Activist or Bad Faith Opportunist?

Amon

Pretends to be: A civil rights activist for an oppressed minority group.

Is actually: A bad faith actor whipping up a small or non-issue into a much bigger one and convincing people to turn on each other for his own personal gain/revenge. Once defeated, the problem disappears.

Electing a non-bender somehow makes everyone happy and the problem is never addressed again. Just like electing Obama ended racism! Oh wait…

Unalaq: Spiritual Environmentalist or Environmental Satanist?

Unalaq

Pretends to be: A spiritualist concerned about the environment and the spirits. Basically Al Gore meets Tenzin Gyatso but willing to start a civil war over it.

Is actually: An occultist weirdo who wants to fuse with LITERALLY SATAN and usher in 10,000 years of darkness or something, and willing to start a war over it.

In an attempt to make a spiritual foil for Korra, who struggled with the spiritual parts of being the Avatar, the story took a weird turn and made a choice widely regarded as “fanfiction on crack” by having Unalaq aspire to become “The Dark Avatar”.

But it’s okay, you see, because while Unalaq’s criticisms of waning spirituality and lack of protection of holy sites could be seen as a knock against environmentalism, by the end Korra recognizes that Unalaq had a point and that the spirit portals should be left open.

So why exactly did Unalaq want to be the Dark Avatar and usher in an era of darkness? How was that supposed to resolve the problem he presented and Korra ended up agreeing with?

It doesn’t, and once again we are left with a contradictory centrist message of “protecting the environment is good but you should be suspicious of anyone that actually advocates for it”.

Also thanks for demystifying the origin of the Avatar and ruining the original lore for where bending came from with your Prometheus/Christian allegory. Ugh.

Zaheer: Spiritual Guru Fighting Against Modernity or A Charismatic Dummy Who Learned Everything About Anarchy From a Prager U Coloring Book

Zaheer

Pretends to be: An anarchist seeking to bring down oppressive regimes, therefor resetting the world to a more egalitarian time

Is actually: An idiot who doesn’t even know the difference between an ancom and an ancap and has no coherent ideology. He just wants chaos, I guess, which isn’t whah anarchy or anything is about.

Perhaps realizing they messed up so badly with Unalaq that even the creators were unhappy with the results, they attempted the spiritual foil idea again with Zaheer.

This time they actually had a writing staff which makes this season the agreed upon best of LOK.

But the tip-toeing around making any actual criticisms and falling back on the “both sides are bad” cop-out are only exacerbated by how uninformed and nonsensical Zaheer’s actions are. Not unlike Amon, he takes none of the steps an actual activist would take. He never even speaks to the people of Ba Sing Se to find out what they need or want. He just kills their leader, announces it, refuses to elaborate, then bounces and lets the city tear itself apart in the power vacuum.

It’s an entertaining spectacle! Just like his later torture of Korra is visceral. But none of it has any real substance to support it and so the horrific acts he commits feel like senseless edgelord tantrums.

Even Bolin knows it. Once Zaheer is defeated, Bolin shoves a sock in his mouth, therefor cementing Bolin as my favorite of the Krew for all time.

Kuvira: Literal Nazi or Literal Nazi but she didn’t mean it!

Kuvira

Pretends to be: A fascist, putting people in labor camps and uses the equivalent of an atom bomb to crush her enemies under heel in the name of unifying the continent under her control.

Is actually: All of those things but she had good intentions! She just went too far! Give her a slap on the wrists because her and Korra aren’t so different, you see!

Perhaps the most bizarre writing choice was to make the fascist the only truly sympathetic villain of this series. The reasons become quite clear, however, when we recognize one thing.

Yes, she’s styled after the Nazis.

Yes, her actions in modern day are more reminiscent of Russia.

But who is the only nation to have ever used a weapon of mass destruction on the level of the atom bomb? The USA.

And here is where the unwillingness to make a bold criticism or take a hard controversial stance is the most apparent.

Kuvira acts like a fascist and has a lot of Nazi-vibes, but she is also a grim reminder of the USA’s own imperial history. Of our flippant use of a horrifying technology that still continues to have consequences for the descendants of the victims even today. It is one of the worst violations of human rights and decency in history. And the USA is the only nation to have ever actually used one.

So if you ever feel it’s weird that Kuvira was arguably the worst of the villains but got off with only house arrest and a happy ending with hugs from her family? You’re not alone. Kuvira has to be “not that bad” or else you’re critiquing the USA itself. And that is a level of controversy this franchise doesn’t seem interested in dipping it’s toes into.

It’s the reason they equivocate and justify by having the Earth Prince step down and choose democracy. This isn’t an East Asian ideal. This wouldn’t have been a popular or virtuous choice in that time period. Many would’ve regarded it as tyranny of the majority, or a disorganized chaos without a consistent central authority.

It’s only seen as the perfect solution in the Democratic West. So you see, it’s not so bad, because at least we have democracy! We aren’t as bad as Kuvira who really isn’t all that bad either! Or so the narrative tries to apologize for itself.

And this is even more apparent with everyone’s problematic fav!

Varrick: How Elon Musk Wants Us To View Him vs What Elon Musk Wishes He Was

Varrick!

Is presented as: A quirky, funny, Tony Stark-esque genius who made a mistake and deserves a redemption!

Is actually: A war-profiteer willing to escalate tensions and shed the blood of his own people with no remorse to make money. Also he builds the equivalent of the atom bomb for Kuvira and her allegorical Nazis. But he gets a happy ending with a weirdly westernized wedding anyway!

Isn’t it telling that the villain who is written to be the most loveable and sympathetic is, in fact, the capitalist industrialist?

And not like that yucky evil industrialist Hiroshi Sato funding the Equalists and their civil rights movement.

No, no! Varrick is the good kind of industrialist! The kind that is non-political and mostly cares about money and inventions! After all, he only built a weapon of mass destruction for the Nazis, not the civil rights protestors!

Which brings us to…

Our Civilized Poverty vs their Savage Poverty!

And hey, that’s fair because look at the differences between Republic City and Ba Sing Se!

Sure, both had destitute populations starving and without proper shelter due to the disconnected elite leaders who didn’t care about their plight.

But the homeless people of Republic City are presented as jolly and helpful and never state a single grievance even as they live in a tent city underground! Everyone knows that democratic poverty is better! Therefor Sato was totally unjustified in funding an equality movement!

The poor people of BSS, on the other hand, are victims of that mean old non-democratic Earth Queen and later of the power vacuum left by her assassination, therefor their plight is ACTUALLY horrific. Kuvira may have been bad but she and Varrick are justified because of the unAmerican conditions!

Looking at it this way, so many of LOK’s problems fall into place. It perhaps serves as lesson in not tackling complex problems with the intention of a clean solution unless you’re willing to take a controversial stance and stick to your convictions.

I don’t think the creators intended to make a libertarian criticism of every social movement and apologia for capitalism and fascism. It’s just a sad reflection of what is and isn’t controversial in our current society. Divorced from actual morality or perspective.

What a waste.

This Post Brought To You By: Viewers Like You! (or: Check out this thing I made)

All that said, if you want a well-written and more adult take on the ATLA universe, check out the Kyoshi and Yangchen novels! F. C. Yee doesn’t pull any punches and perfectly balanced the darker, more visceral elements an adult story can have, with expert worldbuilding and humanized characters that feel believable even when they’re in fantastical situations.

Or if you want more ATLA instead, kindly check out @book4air: A project creating a pseudo Book 4 using both the official comics and original materials, fully dubbed, orchestrated, and partially animated by industry pros who happen to be fans!

Some comics are getting rewrites too, so whether you love the comics and want a fresh take, or hate the comics and want a change, we are doing our best to make this accessible for everyone including people with disabilities who may not be able to enjoy the originals.

Check out our first episode here!

If you can afford to, consider supporting us on Patreon! Every episode is expensive to produce and we are a bunch of broke artists. Some which don’t even have consistent or reliable housing. Any little bit helps.

If you can’t, no worries! You can still help by spreading the word so our videos can overcome the YouTube algorithm.

With all my love for this franchise and its fandom, I hope you all continue to enjoy your favs regardless of my criticisms.

[sregan]

On 'Megalopolis'

I have seen 'Megalopolis: A Fable'. My assessment in one word is that it's 'striking'. It's a striking film - which is not necessarily to say that it is a 'good' film. It may be an 'important' film, insofar as it's likely the last film by the creator of 'The Godfather', 'The Conversation' and 'Apocalypse Now', and self-funded.

It's also a very strange film. In almost every scene there's something bizarre - not necessarily in the sense of worldbuilding but in terms of the directorial choices made.

For some reason 'Megalopolis' was not marketed as a work of alternate history, which I think could have brought in more attention, but a 'fable', with a heavy-handed opening monologue about the similarities between the modern USA and Rome. It's ostensibly set in the 21st century in 'New Rome', a modern city with Roman affectations - though it's also mentioned at times that it's still in the United States of America and that Elvis existed in this reality.

The best analogy I can make is that it feels like one of those adaptations to film of a Shakespearean play but set in the modern day, where much of the dialogue has been updated but the main speeches have been left in the original language (indeed, sections of dialogue from Hamlet and The Tempest appear unmodified); but without the source play.

'Megalopolis' is - though few critics seem to be crediting this - a loose adaptation of the life of Lucius Sergius Catilina, somewhat annealed with Julius Caesar (furnishing protagonist Cesar Catalina as played by Adam Driver). The real Catalina is a rival of Cicero (here Mayor Cicero as played by Giancarlo Esposito), prosecuted for an affair with a vestal virgin by Publius Clodius Pulcher - here Clodius Pulcher as played by Shia Labeouf - and accused of killing his wife in order to marry Aurelia Orestilla, the daughter of the consol (who has been merged with Cicero to create Julia Cicero, the Mayor's daughter, as played by Nathalie Emmanuel). All this happens in the film.

The real historical Catalina, of course, was the mastermind behind the Catalinarian Conspiracy, an attempt to overthrow Cicero and Hybrida and seize power. In the first of many changes, Coppola changes this to make Clodius the leader of the plot and Cesar Catalina innocent. While the historical Crassus uncovered the plot and told the Senate, Jon Voight's Hamilton Crassus is betrayed by his unfaithful trophy wife (clearly a reference to Tertulla) and Clodius in a 'Dallas' spoof sideplot, but eventually gets the upper hand and backs Catalina with his wealth.

At this point we should address the elephant in the room. In 'Megalopolis: A Fable', Cesar Catalina is an architect who wishes to build a new shining city, the titular Megapolis, using a revolutionary new metal he has developed, Megalon. This makes startling sense when you realise Coppola has long dreamed of adapting Ayn Rand's 'The Fountainhead'. Cesar is clearly intended to be a mix of Howard Roark and Henry Rearden from Rand's 'Atlas Shrugged', a visionary steelmaker who has developed 'Rearden Metal'.

However, Megalon may have a dark secret - Mayor Cicero says it's rumoured he used his dead wife's body to manufacture the metal. While the introduction of this rumour is cack-handed (Cicero just whispers it to Cesar at an event), it's at least an intriguing take based on a real historical rumour. This in combination with the source material - a scheming politician who launches a coup - might make you wonder if Coppola is playing Sympathy for the Devil here and will reveal Cesar as a villain protagonist (as far as I can tell, he doesn't intend this).

Cesar also has the ability to stop time. Very literally; he can talk to Time (capital T) and tell it to do things. The first scene of the film - which may be Cesar attempting suicide or testing this power for the same time - sees Driver's character on the roof of the Chrysler Building, teetering on the edge. As he begins to tip forward, he intones 'Time: stop!' and finds his body hovering in mid-air, allowing him to cautiously wuxia-float his way back onto the building (remember this).

This may all sound rather Jojo's Bizarre Adventure, but never fear - this power, which seems like it should be the metaphorical crux of the entire film (timestop as a metaphor for stagnation in a dying empire?), is largely irrelevant other than leading Julia to investigate him and then join his agency.

Oh yes, that's another thing that radically alters the dynamic from a hypothetical Francis Ford Coppola's Fountainhead; Cesar isn't a private architect but the head of a government agency, the Design Authority. We aren't told how he came into this role but he begins the film with his own staff, security, and lavish office, which makes him feel like much less of an underdog.

Cesar's Design Authority is pulling down slum buildings to replace them with his utopian Megalon developments - the plot can't quite decide whether he's doing this inside the law, but the result seems to be people forced onto the street - a clear nod, you might think, towards gentrification, although later plot points make this murkier.

Julia sees Cesar using his time stop ability during a demolition, seemingly to judge whether the collapse is safe (though what he would be able to do if it wasn't is unclear). Frustratingly we never see what this looks like to 'normal' people; Julia is the only person other than him to be able to manipulate time and we only ever see it from one of their perspectives. More on this later.

Esposito's Mayor Cicero is initially introduced as a hollow populist, who wants to use the demolished plots of land for crowd-pleasing moneymakers such as a casino. He shows off a slick model of the proposed pleasure palace, which seems to get the approval of the gathered journalists. Cesar, meanwhile, gives a philosophical speech urging grander ambitions ("Don't let the present get in the way of forever!") and offers to go through his design documents. I'm uncertain whether we are supposed to understand this to be what it looks like - that Cesar does not have people skills and finds it hard to communicate his genius - because Driver is given all sorts of quippy Tony Stark-like lines and business as he arrives to the meeting and otherwise reads as charming and personable.

This scene includes one of the most sophomoric film-school student lines in the film. When Cicero menacingly brings up Cesar's wife's death, he says: "Well, as you were the prosecutor in that case, you know I was found not guilty."

At this point Cesar is involved with Plaza's journalist femme fatale (name, I kid you not, 'Wow Platinum') but - I'm unsure whether we actually see them break up on screen - she falls for billionaire Crassus and Cesar becomes involved with Julia who, after mentioning she saw him stop time, receives work with his agency (much to her father's chagrin).

Before it's fully established that she has fallen for him, she follows him and sees him buy flowers and visit what I think is supposed to be his wife's home; we see him place them by her bedside and stroke her hair - she seems to be comatose rather than dead, but when Julia sees the same scene Cesar is alone, seemingly hallucinating. Julia somehow knows Cesar is hallucinating his wife and whispers "He still loves her!". This is one of many elements of 'Megalopolis' that make me think that despite being a self-funded auteur project, the narrative was muddled in the edit and a more coherent through-line must have existed at some point. If this scene came after Julia and Cesar were an item, it might have some emotional weight.

The chapters of the films are introduced with narration by Lawrence Fishburne, serving as Cesar's faithful chauffeur (an element that, perhaps, lets on that Coppola has been pitching this film for fifty years). The 'Bread and Circuses' chapter sees a lavish wedding for Crassus and Wow (sic.), with a Ben Hur-style chariot race and Pro Wrestling-themed gladiators. The effeminate villain Clodius appears, crossdressing after the style of the historical Caligula.

In a scene clearly intended to take aim at religious right virginity pledges, a 'vestal virgin' pop star is used to raise money by encouraging the wealthy to financially 'support' her pledge of virginity. However, as the bidding reaches 100 billion, Clodius bribes the AV technician to display on the jumbotron (!) a sex tape of the 'virgin' and Cesar, resulting in a scandal.

In a sequence clearly inspired by Fritz Lang's 'Metropolis', an intoxicated Cesar - presumably having seen the jumbotron but it's not entirely clear - hallucinates his arms moving in the shape of a clock. I initially thought this whole sequence (intercut with a gymnastic display which appears to go wrong) was intended to represent the aghast Cesar's powers going out of control and causing mayhem, but that doesn't seem to be the case. Instead his limo is stopped by police and he is arrested for corrupting a minor and statutory rape - a genuinely bold choice of peril for a protagonist and one I don't think would fly in any major studio production post-Harvey Weinstein!

Julia is oddly certain he must be innocent - again, the two are not clearly an item at this point; he's her boss - and investigates, finding that VanderWaal's vestal virgin's birth certificate was fabricated and she was in fact born out of the country six years earlier, meaning she was 23 at the time of the tape, not 17. Interestingly, in the newspaper montage showing Cesar being cleared, a voiceover also mentions the footage was found to be edited and fradulent, begging the question of why the birth certificate was even important - I can only think this VO was added after principal photography and originally the character did sleep with a girl he believed to be underage.

Again, an odd scene order - after being cleared, Julia finds a distraught Cesar on top of an under-construction building (what this is is unclear as none of his Megalon buildings use girders like this but it's a repeated location - put a pin in that). He has lost his confidence in his ability to command time and she coaxes him into regaining his mojo; he is able to stop time again with the formula 'For the sake of Julia, Time, please stop'. Again, this feels like it should have more narrative weight than it does; he 'loses' his powers for all of one scene and it doesn't impact his career or plans. It also feels like it should have come before the formal resolution of his legal woes. The hero losing his supernatural powers at the start of the second act and needing either to regain his confidence to use them or learning he must not rely on them is a well-worn superhero trope and it almost feels like Coppola felt compelled to include it since he had a super-powered protagonist but didn't understand or care to put it to any more significant use.

I forget where the scene takes place where he meets Wow again; she attempts to seduce him and offers him Crassus's bank, which she says she will steal away from him. He rebuffs her and in one of the worst pieces of professionally produced cinema I have ever seen, we fade to and from a closeup of the car's wheel driving over the coat he gives her. It wasn't even necessary to cut in - the coat is clearly visible and the audience expects the action from the way she throws it down - and the cut is executed horribly; it genuinely feels like a mistake, like a misplaced clip in Final Cut Pro.

Shortly thereafter, Cesar is approached by a young boy who asks him to sign an autograph. Utterly bafflingly, Nathalie Emmanuel is given the line of dialogue 'Cesar would never say no to a child'. This is a couple of scenes after he is accused of statutory rape; if it was meant to be delivered with wry humour, no-one told Emmanuel. In any case, the child shoots him in the face, having been revealed as an agent of Clodius.

We then get an abstract montage of what may be Cesar's dying hallucinations, with the repeated refrain (I think I remember this correctly:) "I will not give death dominion over my thoughts". It would not be unreasonable for one of the following to happen:

a.) Somehow Cesar is able to not just stop time but reverse it. We see a flower shrinking back into a bud and I was fully expecting to see the clip of his blood flowing on the street reversing. He has regained his powers and now has new incredible mastery. Or:

b.) The damage to his brain means Cesar cannot use his powers. Julia must step in and make the leap of faith - Cesar is injured now but was not so in the past. 'Time: Heal all wounds!').

Neither of these happen.

Instead, we see snippets of what seems to be a mostly cut scene where Julia and the scientist character replace the missing portions of Cesar's skull and brain with Megalon. This seems to be a triumphant return and we see him awake, bandaged but cogent.

In the next scenes, a slurring and seemingly brain-damaged, still bandaged Cesar who repeatedly shouts "No, no, no!" for some reason forces his way into Crassus's mansion to find out why the billionaire's bank has frozen his accounts. This is revealed to be a scheme of Wow at the behest of Clodius. She once again attempts to seduce Cesar (even after he reveals his horrific transparent gold skull-face) but is forced to stop when Crassus arrives.

After this, Wow turns her seductive attentions to Lebeouf's Clodius and persuades him to get Voight's character to sign over control of the bank in a rather shoddy bathhouse scene that I think is intended to show Crassus having a heart attack and aides rushing to his rescue, but which I initially believed showed him being stabbed by Clodius's accomplices. When Wow seduces Clodius she cuts his hair (something Crassus told Clodius to do) in silhouette which should clue you in she's playing the role of Delilah.

At this point we should mention that Clodius has his own sub-plot where he has been repeatedly seen trying to build cred among the mob protesting Cesar's project. The mob is, I would guess, the ultimate antagonist of the film, and Coppola is strikingly loose with his real-world targets here. The mob resembles Black Lives Matter and anti-gentrification protesters and Clodius says they are 'immigrants' whose vote can be bought; they carry SPQR flags that resemble the hammer and sickle; their slogans suggest far-left sympathies; but Clodius gives a literal stump speech on a tree stump which has been cut into the shape of a swastika (real subtle there) and his minion now has a forehead tattoo of the Black Sun, a real-world fascist symbol (I think he also said something along the lines of 'We will make New Rome great again', though I may be misremembering). You might be tempted to think that, given his historical intrigue with Rand's Objectivism, Coppola views the masses as generically 'collectivist', subsuming fascism and communism. If so, Cataline is a bizarre choice for a hero, as in the real world it was he who whipped up a mob to attack the Roman Senate, and Caesar who led the 'populists', while Cicero favoured the optimates (aristocracy). We'll talk more later about Cesar Catalina's philosophy, such as it is, in 'Megalopolis'.

As New Rome collapses in riots, Crassus, who is revealed to be less senile than previously suggested, confronts his wife and nephew in an absolutely hilarious scene where he lifts his suggestively tented blanket to reveal a tiny bow and arrow, which he uses to kill first Wow in a comedic spout of blood and then repeatedly plink a fleeing Clodius in the backside with arrows; each time it cuts back to Crassus he has another arrow (barely) drawn with no indication where they are coming from, like a YouTube Poop. I think, generously, this was meant to be slapstick comedy, even if the context is very dark (aging billionaire murders his cheating wife).

Mayor Cicero semi-reconciles with his daughter (who has since had Cesar's child) on the train as they are evacuated for their safety.

In the climax - I feel sure it's the climax - of the movie, the mob gathers at the gates of Megalopolis, but an apparently fully healed Cesar appears, projected on the golden leaves of his utopian city, and addresses them. The speech is every bit as dense, philosophical, and frankly unrousing as his opening debate, but this time it wins the crowd around and suddenly they are no longer the collectivist menace but the upstanding majority who are now delighted to live in his city as the gates open.

Crassus declares he is throwing his entire wealth (and 'the patents to Megalon', which I guess he somehow acquired when the bank froze Cesar's funds) behind the project, so all's well that ends well? The mob turn on Clodius when they find out 'he owns the bank' (except that no, we've just established he doesn't) and shockingly string him and his henchman up, Mussolini-style; while the camera cuts away quickly it's pretty clear they have stoned him to death.

As New Year dawns, Cesar persuades Julia to try stopping time herself for the first time. She does so, but surprisingly *everyone* freezes except the baby, who has clearly also inherited the power. The End. Someone in the row behind me chuckled.

To be clear, this lends the plot a degree of cogency you simply don't get in the theatre. It's clear to me much of the movie ended up on the cutting room floor - there are fully acted, costumed scenes with different dialogue that appear in the facets of the Megalon crystal as Cesar works but are not in the movie. I think the order of scenes may have been dramatically changed and possibly the ending altered, which is why Driver's character appears fully healed without explanation but only as a projection in the final speech.

The central conceit, time stop, is not used except indirectly as something one character sees to make her intrigued in Cesar, and later as evidence that he has his confidence back after a single scene where he can't use it. Losing it doesn't set back his plans and we barely get a sense of how he uses it in his work normally. An architect who literally has all the time in the world is an intriguing concept and one could easily imagine eyecatching scenes where buildings seem to erect themselves in a blink of an eye, or where from the perspective of a normal human he flashes around a room, drawing up plans and blueprints at seemingly superhuman speed. Indeed, I was fully expecting at least one scene where Driver appears where he shouldn't be, revealing he has been listening in on a conversation or confronting someone in a secure location, because he can stop time to get into any location or do anything.

But we don't see this - we don't even, unless I missed it, get a line like 'Cesar always finishes his projects ahead of schedule - what's his secret?'. Time stop also doesn't work consistently; the first time we see it, Cesar's own body is part of the timestop; he can seemingly think in normal time but his body is suspended on the brink of falling. But later, it's clear that people who use timestop move normally and are affected by gravity (when Julia drops her purse on the girder it slows and stops when it gets a certain distance from her).

The secondary conceit, Megalon, is barely defined. It's a miracle metal that allows things like flowing moving walkways and roofs that fold in like flower petals when it rains. It also bonds with living cells and is eventually replaced with healthy tissue. It sometimes reflects his wife's face, and in the medical montage I think they put some of the wife's hair into the implant, which suggests to me Megalon *is* partially a ghoulish necromantic substance that harnesses his wife's unquiet spirit - but incredibly this isn't addressed in the final narrative other than a dreamlike sequence where he hears his wife telling him 'Go to her', apparently permission for him to move on. Again, it feels like a late-era MCU production cut to hell by studio interference - except there's no studio.

There's also an ambiguous line where Mayor Cicero seems to admit *he*, not Cesar, killed her - I think the intent of this line is he is willing to publicly admit he tampered with evidence to convict Cesar if Cesar breaks up with his daughter. Cesar later tells Julia his wife killed herself because of his obsessive focus on work and we have no reason to doubt him.

It's all such a weird missed opportunity - clearly you're meant to initially wonder if Cesar did kill his wife. There's a blink-and-you'll-miss-it newspaper headline that says the death was a 'Hitchcockian mystery' - which suggests a locked-room murder. Now, who can enter a room, kill someone, and leave to have an alibi elsewhere, all in the blink of an eye? Surely, surely this was intended to be explored at some point; less Chekhov's gun being visible over the fireplace and more being shoved up your nostril in the first act.

The tertiary conceit - New Rome itself - is intriguing as a stylistic choice. It's overtly a fable so it would seem churlish to ask how this Roman city-state exists in a world where both the USA (of which it's seemingly a part) and USSR existed. The limits of the budget are visible in the lack of stylisation in some areas (extras' costumes, cars, offices) but I didn't find it too offensive. I did notice that the architecture we see associated with Cesar early in the film is clearly Art Deco, but the Megalon structures later in the film are postmodern sweeping leaf-life structures, as though Coppola changed his mind about what the future looks like some time in the fifty years since first conceiving the movie.

The central conflict of the film is thornier. You might assume that Cicero represents populist, 'need'-based politics ("People need help now," the mayor says, objecting to Cesar's grand vision of a better city), while Cesar is a Randian rugged individualist, except that's not quite what we're shown in the final cut.

The Mayor's character isn't consistent - by the midway point he's become a law and order figure while the sleazy collectivist mantle has been passed to Clodius and the anti-gentrification rioters. And Cesar being a government official mixes the message on 'lone genius architect' - where we do get an insight into the philosophy of Cesar Catalina, it's also not especially Randian. The character talks repeatedly about the need for 'debate' - that even starting to talk about what we should do, or agreeing that we should talk, is already utopia. He responds to the Mayor by suggesting that 'people's futures' are as important as their present. I also think at one point he says civilisation was a mistake, which is a startling remark from a protagonist but which seems to be something Coppola has floated in real life (seemingly believing there was a utopian matriarchy before history). So at best I think you can argue he takes a broadly long-term-self-interest rationalist view and is being contrasted with the short-term populist Mayor and the short-term instant-gratification rioters.

He also briefly (as in, a single line) advocates for debt nullification, which was a position of the real Cataline, but which doesn't really seem to gel with anything else in the movie - we never get the sense that Cesar hates Crassus lending money and aren't shown the effects of usury on the people.

The cast of actors - including John Voight, and DB Sweeney who starred in the ill-fated Atlas Shrugged adaptation - makes me think it was sold as a rightish-wing endeavour, but I can't imagine the apparent both-sidesism on display will satiate red-blooded culture war types.

Certain aspects of the film also felt quite dated - the use of sapphism to shock and titilate (and the curious line where Cesar, challenged by a gossip columnist to confirm he prefers women, insists 'Everyone prefers women. Even women prefer women'); contrasted with the effete, crossdressing villain Clodius.

What's most striking (I said it was the salient word) about 'Megalopolis' is how much potential each element has relative to how it's actually used on-screen. Some of this is the tight budget constraints necessitated by Coppola burning through his own money to fund the film - the SFX were generally decent though I noticed at least one truly shoddy effect where characters walk into an idyllic field which is clearly a separate plate, and their bodies are sliding left-to-right as though walking on ice.

How might I re-imagine 'Megalopolis'? Keeping most of the beats and trying to refine the message rather than changing it:

- Cesar as a private architect, not a government agency. Put Crassus in the role of a Gail Wynand; a wealthy man and potential patron.

- Cesar has built a reputation as the man who always has time - he finishes every project ahead of schedule and under budget; his demolitions always proceed flawlessly and his staff have no idea how he does it.

- The Mayor champions sweetheart deals with contractors for cheap, trashy buildings that will fall down in thirty years (this might have been in the script at some point as Cesar calls him a 'slum lord') while Cesar wants to use Megalon to create an Art Deco utopian development.

- Julia sees Cesar stop time and he offers her a job. He demonstrates how when his staff see him flash around at super-speed he is really doing all the laborious work of drawing up plans in real time, totally alone as he previously had no-one who could do what he did.

- The press casts doubt on Megalon, with the unions pushing for proven materials like concrete and steel. A ghastly rumour emerges that Megalon contains human DNA. Cesar gives a speech, asking what would happen if the first architects using steel had faced the same resistance. What about fire?

- Julia proves her worth by securing a contract for Cesar to redevelop a large slum after a devastating fire, elbowing out her father's friends who want to use the same cheap cladding that caused the fire in the first place (anticipates and deflects viewer criticism about safety).

- Romance develops with Julia and Cesar. Scenes where they go out into the city and stop time together. Julia is pregnant.

- Clodius undermines Cesar by throwing red tape in his way. Cesar appears in his home and confronts him, showing a sinister edge, but ultimately leaves. Clodius uses this to deduce Cesar's time powers.

- Crassus's wedding is a huge event with (as in the film), chariot races and gladiatorial games. Cesar, Mayor Cicero, Julia and Clodius all attend.

- Instead of the vestal virgin scandal, Cesar is publicly accused of killing his first wife and the shock causes him to lose his control over time, causing chaos throughout the city. Unable to continue his work he locks himself away in his office.

- Time is frozen throughout the city; Cesar is subconsciously holding everything together so it doesn't change or decay (timestop as metaphor for stagnation!). Time only passes for objects if someone is holding them and if you drop them they freeze in place. If someone dies they freeze in place. We see how the city is surviving in this odd apocalypse.

- Julia investigates with a more murder-mystery focus - it's a locked-room murder and Cesar has an ironclad alibi, but a time manipulator could easily make it happen.

- She keeps digging however and a financial motive emerges for Clodius. She confronts Crassus who admits he covered up for his nephew; everything that looked supernatural about the death was possible with enough money. Facing disgrace he throws himself from the top of his skyscraper and his body freezes on the point of impact.

- Julia finds Cesar who tells her he did use his wife's body to create Megalon but insists that he found her dead. Why? Because love holds everything together (we're leaning into the cheese; amazingly I don't think they try to explain this in the real movie). Having expiated himself, Time once again hears his entreaties and begins flowing normally ("You can move on").

- Julia and Cesar brave the streets to reach the Mayor to clear his name and a mugger shoots Cesar. However, with his new mastery, he is able with a 'kick start' from Julia to turn back time and repair his own damaged brain.

- Mayor Cicero is reconciled to his daughter and meets his granddaughter for the first time.

- Clodius learns of his uncle's death and, blaming Cesar, whips up a mob to storm the construction site, but in a flash of an eye the city is completed before them as Cesar's expanded powers let him include entire construction crews in his timestop.

- Cesar emerges and gives a speech; reflecting that every one of them wanted someone else to provide for them but were ready to use violence to take what wasn't theirs, trusting there existed someone who was willing to be robbed; the city is complete, but none of them will live in it. 'Others, who saw and believed, will come, and they are welcome'.

- Clodius and his most devoted followers attack but the city itself folds in to protect Cesar, showing his wife's spirit in the metal recognises her murderer, and Clodius sinks into the ground.

- New Year's, magic baby, yada yada.

[tumblingxelian]

How does RWBY's worldbuilding hold up for you?

Ooh fun question, and one I can answer in a short amount of time!

Long story short, yeah it holds up quite well, I don't need to make any significant leaps in logic or desperately headcanon things to compensate the way I might with some other settings.

For instance most super hero settings don't hold up to scrutiny, or present themselves consistently/coherently once they starts whipping out the more ridiculous sci-fi tech and or magic.

This isn't to say its perfect, nothing is, or that there aren't more details I'd like to see explored or various minor nitpicks I could probably pull out if I felt so inclined.

But as it is, I don't, but its not because I just love the series.

See, as much as I love world building, I do think it gets too easily used as a cudgel by bad faith critics.

Let's be real here, even some of the worlds best authors do not have Tolkein's patience to create a whole new language, & I imagine even his stuff raised questions or inconsistencies.

The absence of local languages/accents, them not explaining the praying statues in the V4 trailer don't bug me. Cos their absence is not harming the story.

Meanwhile if there's an inconsistency or question, that too is fine as they are watched enough to avoid any real issues & so I can focus on having a good time.

Hell, let's bring up ATLA, the golden calf for critics who never watched anything else in their lives without asking "Where's the Zuko though?"

Off the cuff & late at night I can name many ATLA world building issues.

The writers one hundred percent do not grasp the philosophical ideas they are trying to espouse, showing a grasp of "Letting go" almost as wrongheaded anti Jedi people.

The origins and nature of bending is inconsistent even just within the first series, being and or coming from education, gifts, blood, spirits, some combination there-of or what have you.

If we jump to Korra the Spirits themselves are weird, initially presented as physical manifestations of a given land, they instead become essentially alien invaders & stuff like the Lion Turtles, Koi, Badger moles & more are just left as ???? Plus again spiritual misunderstanding.

Or heck, one of my biggest gripes ties into the plot as well but would be the introduction of "Bad firebending" and its counterpart "Good Firebending" introduced very late in the game at season 3.

The problem with saying it was meant to be a surprise is we've seen every Bender tap into anger when bending. Toph cracks the ground, Katara broke an iceberg, Aang goes into the Avatar State, ETC.

Anger & fire was only tied to two characters, Zuko during his season 1 lashing out period & Zhao where it was specifically cited as being unique to him and something to exploit.

Worse still, we've seen people happily Firebend, Aang;s issues with Firebending comes from having too much fun, getting careless with it & accidentally burn Katara. & we have seen sad or direction-less Zuko Firebend like a champ before now.

The 'revelation' of "Good Firebending" is the wrong solution to Aang's issue cos it does nothing about fires tendency to burn, & a solution looking for a problem that had to be tailor made for it to fix & did not exist before, Zuko.

The thing is though, while I will happily harp on the last one as part of a greater collection of issues in season 3. The truth is people are not bothered by these things if they watch a show in good faith.

One doesn't even need to like a show to do this, its just part of the deal when watching fictional media that some stuff is not always going to add up perfectly.

What matters is if the writers made it interesting, feel like it fit coherently within the world and kept it consistent enough that it didn't break the story.

Which CRWBY very much do.

They created a wide, vibrant, varied and interesting world, where a multitude of stories could and do take place that can be expanded upon if one wants.

They created and kept consistent its internal logic as best as it can be conveyed to we the audience when the characters also don't know everything.

Above all they used it to tell a interesting and engaging story, where skill & strategy matter so much in combat Where its so easy to believe bandits and criminals can thrive in the wild. Where the introduction of something like the Ever After can actually fit and feel like a revelation rather than break the story!

So yeah, I really enjoy RWBY's world building :)

[fanfic-lover-girl]

So i've learned recently that monks universally (in the real world) do not.... make love? Anyway I feel like that should have maybe been taken into account with Air Nomad worldbuilding- like maybe not all the Air nomads have to be monks, necessarily, but those who choose to be can be. Or that Air nomads come from all around the world- an air nomad could come from fire nation non benders, or an earth bender and a fire bender, or a water bender and a non bender. But that isn't what happened is it

sorry if this is weird

I have very little knowledge of the culture and religion the air nomad monks were based on.

But anyway, the worldbuilding for the Air Nomads was super weak. I never cared much as a kid while watching it, especially since the air nomads were wiped out so I never thought about them beyond the genocide. But that actually sucks. A whole culture and people are wiped out and we never truly learn about the hole left behind. Bryke did the air nomads a disservice.

like maybe not all the Air nomads have to be monks, necessarily, but those who choose to be can be.

I agree! I don't understand why everyone has to be a monk. Maybe the prodigies or the most spiritual ones were taught in the temples while the rest of the airbenders had communal or nuclear families at the base of the mountains or something. It's highly suspicious that the air nomads have such a high bender rate as well.

[bestworstcase]

general question that is not ... That ... deep (i think). do you think it matters where characters or their families are from in terms of cultural differences or like world events, like cinder's backstory reveal making the atlas arc more personal for her but also stuff like "sun's from vacuo, so of course he's going to show up in vacuo during that arc of the show" (i must admit i'm asking this because i have a pet theory that summer is from either mistral or atlas and that this informs her role as a paragon and also because when you start counting so many people are from mistral and it adds to the worldbuilding for me)

character origin is absolutely something that narratively matters and in rwby’s case these decisions are being made with imo a lot of intention. for example,

argus was founded prior to the great war as a client city of mistral, having been conquered with help from mantle’s military—thus sealing the alliance between these two powers. this political arrangement persists into the present day with argus still being a mistrali territory but under the protection of the atlas military.

one of the key sources of international tension leading into the great war was vale’s criticism of the mistrali-mantelian reliance on slave labor. from this we may infer that argus was probably built on slave labor and, because it served as a hub for trade between pre-war mantle and mistral, with mistral “providing goods [that were] unavailable in the frozen tundra,” argus was a central hub of the mistrali-mantelian slave trade. the vytal accords ratified by the four kingdoms after the great war abolished slavery worldwide, one of ozma’s greatest achievements; decades later, ozpin lifted atlas into the sky to serve as a shining example of his ideals to the rest of the world.

cinder fall is trafficked into slavery from an orphanage on the outskirts of what appears to be argus, based on the terrain. what does this tell us about cinder and the world she grew up in? slavery was abolished on paper, but mantle (now atlas) and mistral never enforced these new laws in any meaningful way—the industry went underground, likely mutating into new forms (indentured servitude, prison labor, child trafficking fronting as legitimate orphanages), and argus is still the central hub of the international slave trade. this reveals the weaknesses in ozma’s approach to social change (doing and saying things that look and sound right, but failing to actually stand for his notional commitments and allowing problems to fester out of sight rather than risk confrontation / unrest / division) and the rot behind the façade that salem alludes to when she calls this his “so-called free world.”

and so, cinder is in many ways the crowning achievement of ozma’s efforts since the great war—his gilded idealistic utopia, atlas, could only exist through the societal choice to accept the enslavement and torture of a child (and cinder is certainly not the only one, so in this narrative she symbolically represents a multitude of other victims).

<- this is why rewrites / “fixes” that either have her originating in mantle or being enslaved in mistral for all her life tend to lose thematic punch; the underground continuation of the pre-war order is fundamental to what the story is doing with cinder.

similarly, sun is not just from vacuo, he’s a vacuan faunus who went to school in haven, which is in mistral, which is notoriously the most overtly racist kingdom out of the four—token faunus headmaster or not. (mistral has anti-faunus sundown towns and in the CFVY books velvet is terrified specifically of people from mistral because in her experience all of them are virulently bigoted—this is a girl who spent a lot of her childhood in atlas, so her lack of aversion to atlesians says a lot about how bad it is in mistral). so when sun in v1 says stuff like the white fang are a bunch of cultish freaks who use force to get whatever they want, that’s an opinion he formed while living in the racism capital of the world and should be taken with several handfuls of salt, in the same way that blake’s view of the white fang in earlier volumes is clearly colored by her experiences with adam.

<- but at the same time sun functions narratively as a herald for the repair of this cultural problem and healing of the divide between mistral and vacuo, because he’s a vacuan faunus who went to school in mistral, unlearned that bullshit, and went home to vacuo to strive toward a better future.

personally my money is on summer being from either

vacuo (malik the sunderer -> sundered rose, sword of destruction + summer maiden -> summer rose being vacuan), or

mountain glenn (yang and ruby are well-informed on the tragedy, v9 called back to v2’s mountain glenn arc, and signs look pretty strong for the vacuo arc to confront the history with mountain glenn via the destruction of vale)

…both of which follow a similar principle to cinder’s backstory being reserved until v8, when it emerged to inform our understanding of the narrative events happening in atlas. (i know it was originally planned for v5 and time/budget considerations factored into the decision to delay, but narratively it ended up being the stronger choice to wait anyway). basically summer enters the story properly in the arc when her history carries the most weight.

[erisenyo]

I think you've answered an ask about reading 'Embers' by Vathara a couple months back, but I can't find it.

Sooo, have you checked that fic out? I kinda like the take on spirits and culture.

And in the same vein: care to share some ATLA longfic recs? Outside of your own masterpieces and the works if muffinlance (who is SUCH a classic and shouldn't have to be named)

Hello anon! I also now cannot find that ask...

I have not yet checked out Embers--unfortunately I've been swamped with work the back half of this year at the IRL job :/ I love fics that dig into culture and the spirit-world though, when I have the headspace to appreciate the world-building!

(I'd also be curious your thoughts -- I've heard the fic's rather Aang-critical? I am an Aang lover so I may be hurting for my guy...)

As for ATLA longfic recs, in no particular order...

The All's Fair series by @lovelyelbowleech is a MUST, amazing characterization, so many different interpersonal and plot threads that come together in such a satisfying manner

Two Drama Queen's on a Shirshu by mindbending is a delight, very much crack treated seriously and blending comedy with punching you right in the feels

While Mighty Oak Do Fall by @a-witch-in-endor delivers so much world building and cultural exploration goodness, on top of delightful character arcs and a wonderful take on Zuko (Where the Stars Do Not Take Sides is also an excellent more Azula-focused fic)

Fighting Evil by Moonlight by @sword-and-stars is an EXCELLENT modern superhero AU, I am absolutely obsessed with it

Unchained Melody and Another Brother by avocadolove are excellent, they really run with their canon AU premises and bring them to such fun places

hey, batter, batter, what? and the Boo Chronicles by @ofherlionheart are super fun modern AUs, really great characterization and great writing

Boomerangs and Rainbows by mindbending may seem heavy based on the tags, but its also so so clever and funny and so much fun. I think about the ending and giggle regularly

Mark Time by foil definitely *is* heavy, I stayed up for too late reading it and it absolutely broke my heart and the moments of catharsis were wonderfully done

At the Top of the World by Lady_of_the_Flowers is an excellent modern AU that is a really great exploration of colonial dynamics and the Zukka relationship within that (also, Epistles I always shout out as the Burning Bright inspiration--BB started basically as a fic of a fic of Epistles, and its a must read imo)

And I'll Do Anything You Say (If You Say It With Your Hands) by @goldrushzukka is EXCELLENT, its everything my "lovers to oh know this might be feelings" heart could want, with amazing Gaang friendships throughout

Feels Like We Only Go Backwards by @oldpotatoe is a wild ride, the emotional high are incredible and the narrative tension is amazing and you will scream and it will be wonderful

Will We Last the Night by VSFic and CSHFic is a super fun canon AU that spends such good time building the Zukka relationship and really delivers

And because you said "ATLA fics" and not Zukka fics, I'm also going to recommend the Substitute series by Dracze (modern AU) and People in the Mirror by Nele (canon-verse). Both are Jeeko, both build out Jee's character in amazing ways, and both do such fun things with narrative irony and outsider POV when it comes to Zuko. (The things Nele can do with a single sentence truly blow my mind, I cannot recommend it enough, especially if you love worldbuilding and cultural exploration and fun with bending. PitM is one of THE foundational, influential works in the ATLA fandom for me)

[burst-of-iridescent]

alright, i'm done dealing with this bullshit.

i didn’t want to address this any further but since these people seem utterly obsessed with me & and have now gone on to harass my friends, i have had enough.

first things first, and i can't believe i even need to say this, but aang is a fictional character. he is not tibetan, because there is no tibet in the world of avatar: the last airbender. aang - and the air nomads in general - are the products of two white men's (and a predominantly white writing team's) interpretations of buddhism, hinduism and tibetan culture, interpretations that have themselves been criticized by actual tibetan people.

criticizing, mocking, or even making fun of aang does not make me racist towards tibetan people, just like criticizing zuko wouldn't make me racist towards japanese people, or criticizing toph wouldn't make me racist towards chinese people, because none of these characters are actual depictions of real life groups or cultures. they can't be, because those groups and cultures do not exist in the world of atla. (xiran jay zhao discusses this very topic, and the show's "representation" of asian and indigenous cultures, better than i can in their video essays, if anyone is interested in hearing more about atla from an east asian perspective.)

additionally, even if aang were somehow an actual tibetan monk, i cannot recall a single instance in which i said anything derogatory regarding his cultural practices or beliefs (which, again, stem from bryan konietzko and mike dimartino's understanding of tibetan monks). when i criticize aang (and once again i can't believe i need to say this), i am criticizing the writing of his character and the worldbuilding of his culture and people. not, you know, an actual person and their actual heritage.

i have no problem with aang being a pacifist, or a vegetarian, or shaving his head, or wearing robes. what i do have a problem with is his entire dilemma about killing being brought up in the last four episodes of the show, only to be resolved by a magic rock and a lion turtle instead of character growth and agency. what i do have a problem with is his treatment of katara, and his disrespect towards her cultural beliefs in favour of pushing his own on her. aang is entitled to believe in non-violence and the sanctity of all life; he is not entitled to make that choice for katara, as he tried to in the southern raiders. each of them has a right to their own beliefs, and neither should use their individual beliefs to impose upon the other, or dictate what they should do.

the really ironic thing about all of this is that i love aang. i have said over and over that i believe kat.aang could have worked, that i thought they were cute in book 1, that aang is a great protagonist who had potential for an amazing arc, if only it had been followed through on in book 3. my criticisms of aang's character come from my love for him, because he deserved better than the writers who turned him into their own self-insert fantasy.

so whoever you are that's been endlessly hounding my inbox, and now my close friends', calling me racist because of my opinions on a fictional character: for your own sake, just block me and go on with your life. your social justice crusade against a singular stranger on the internet isn't helping anyone, let alone actual tibetan people.

[itsclydebitches]

I’ve recently joined the Twitter RWBY fandom(a horrible choice, really) and a lot of them hold this regard that Ironwood being a Military Man aswell as Atlas Academy being a pipeline to the Military being foreshadowing and, I can’t really understand that? No where in the show is any of that implied as bad. I was thinking about it a little bit and came to the inclusion that despite Remnant’s worldbuilding calling for a positive outlook on the military, because this is an American anime mostly 1/2

I've thought the same for awhile now, anon. RWBY, for all its many pitfalls, is trying to be a progressive show and that includes taking a hard, critical stance against military might—an argument that, yes, is very much born of America's history. I'm not going to turn this ask into a history lesson (one I'm by no means an expert on anyway), but suffice to say there's indeed a lot to criticize and thus it's no surprise that the queer friendly, unity-focused, American show about an individual "simple soul" would want to paint militarism in a negative light.

Personally, I've got no problem with that thesis. That's actually a show that I would love to watch. Thus, the problem is not RWBY taking a hard stance against a fictional military, it's—as you say—its failure to convey why Remnant's military is worthy of criticism. The work is simply not there. I could write you a novel-length meta on all the ways RWBY dropped the ball in that regard, starting with the world building question of, "Why is a military seen as oppressive when they exist to fight souless monsters instead of other people?" through "Not a single detail in RWBY implies that people are coerced, manipulated, or left behind once they align themselves with the military," circling around, "You spent six Volumes writing Ironwood as a flawed hero, gave us a few episodes as a misguided antagonist, and then a few hours in-world as a villain," straight on through to, "The group coming upon Atlas' battleships is meant to exist as a stand-alone argument of evilness—look at what Ironwood has done in the name of safety!���which is a problem all on its own, but the same image of battleships hovering over Vacuo is meant to exist as a stand-alone argument of celebratory unity and do you see how that doesn't work?"

RWBY wanted to write an anti-military story. They did not write an anti-military story until Volume 8, by which time it was WAY too late to undermine all the positive implications and unanswered questions we'd gotten. However, many viewers—particularly American viewers—picked up on those not-so-subtle hints (hi there, cartoon Ironwood) and ran backwards with the argument, ignoring everything that didn't support it in previous Volumes, or, in a few extreme cases, outright lying about what happened in the show until portions of the fandom heard it often enough that they started misremembering things. Then they passed those simplistic, inaccurate readings on, all of which is exacerbated by many viewers' real feelings towards the military and the knee-jerk assumptions they have if others appear to be promoting it. Even if "promoting it" just means saying something like, "This fictional character in this radically different fantasy world maybe isn't pure evil because the show forgot to establish why creating the means to destroy the literal non-metaphorical monsters is a bad thing."

Which is why it's so difficult to discuss RWBY's failure in this regard because the fan at the other end of the conversation has to acknowledge the nuance of, "Yes, I personally agree with this thesis, but it's a thesis that doesn't exist in RWBY. I'm not arguing that dictators are good, actually, I'm arguing that Ironwood never was one." The moment you talk about anything related to Atlas, Ironwood, their military, etc. and by extension start discussing the ways in which the show canonically wrote those all these as positives in Volumes 1-7, or at the worst flawed necessities, many fans simply jump to, "Oh, so you're okay with Ironwood shooting minorities? Got it." Most in RWDE (that I've come across, anyway) are discussing the depiction of the military within the show—what actually wound up on screen, regardless of the writers' intentions and regardless of our own, irl politics. In contrast, most non-RWDE fans are discussing what the military is meant to represent irl, despite the fact that this representation fails on nearly every level and, as a result, doesn't really exist. That's a huge disconnect that I doubt the fandom will ever get past, especially when these subjects hit close to home for so many and, frankly, it's far easier to toss out accusations that imply a real-life failing than it is to acknowledge that a favorite show is not only badly written, but thoroughly bungled a subject you deeply care about. (Insert the same problem with RWBY's queer rep here.)

[freevoidman]

Literally what was the point of V9.

It’s filler in the worst sense. Jaune’s changes are going to be brushed aside after he practically stole the show with his tantrum. Ruby’s suicide and resurrection didn’t have any change involved whatsoever and it truly feels like a pep talk and seeing her mom in a flashback is all it took for her to overcome her depression, grief, torture and trauma inflicted by Neo, and suicidal tendencies. Yang and Blake were practically stagnant this whole volume aside from finally being able to kiss on screen, which is great but like... a lot of people thought they were dating post V6 and into V7, their dynamic hasn’t changed, and they most definitely haven’t changed as individuals. Weiss didn’t change at all.

Let me try to put this really, really clearly: the volume that was billed to the audience for being an opportunity for the writers to separate the girls from the greater conflict and focus on their personal growth had absolutely none of that occur. It had scenes where it APPEARED that was going to happen, but ultimately did nothing with that. There wasn’t even any worldbuilding on the gods, like people suspected there would be when we saw the land split into “light/gold” and “dark/purple”, or the cat alluding that the gods created him. If you watch V8 and decide to jump to V10, would there be anything significant that occurred with the characters that would make V10 harder to understand?

Add into that the absolute fumble of Ruby killing herself and seemingly forced into changing herself, only to not change at all and come back fine, but less angsty? How none of the girls are going to acknowledge Mantle and Atlas being destroyed is, in fact, their fault? How Neo torturing Ruby with genuine criticisms against her means these criticisms against Ruby can no longer be acknowledged, bc they’re torture tools?

Like, are you serious? What was the point? Why did they bother making this? Why not jump immediately to Vacuo?