#real talk i love avatar and want them to continue the live action series....just with some notes and improvements teehee

[graunblida]

i'm curious. for those who watched netflix's avatar, did anyone notice how some scenes truly do have fantastic cinematography and direction....aaaaand then others play out like a disney channel series? maybe i was just zooted but i'd like to hear y'all's thoughts.

[zutarasbuff]

I watched the Netflix adaptation of ATLA today and being a hardcore fan of the OG series who knows every nook and cranny of the ATLA world, here’s my unbiased and truly honest review (It contains both the negatives and positives of the series, so dear reader please enter to read at your own risk).

Firstly, let’s talk about the wonderful additions to the already magical world of ATLA.

1. The depth of the genocide

Well, I always wanted to know how the air nomads were suddenly wiped out and how it would have been for them? Why didn’t they resist? I got my answers in the first episode where we explore how the unhinged power of the comet was “actually” used to create a genocide on a massive level. Before that, I had only heard about it in the OG series. Those few scenes were so powerful that they had left me sobbing uncontrollably and Gyatso’s concern regarding Aang had me bawling.

2. Suki’s Characterization

In the OG series, we do find our Suki the fiercest warrior, but here in the live action, she’s an absolute goddess. She is perfect in every sense. She understands the responsibilities she has being a non-bender and is fearless. Her character is what I believe to be was the strongest one of all.

3. Graphics & Music

We never talk about a film by M.Night (that didn’t happen), but this one is really a visual treat for you can readily set yourself up for some mind-blowing bending scenes, plus the fight scenes are quite impressive. It seems that the VFX team had really done their homework this time. Plus, both Momo and Appa are so freaking cute. I loved the fluffy Appa. Good work over there. The revival of the OG theme is also a highlight plus the sun warriors’ chanting in the end is given a new but intriguing twist. The background music especially in scenes where Aang unravels his Avatar powers is mystical in every aspect.

4. Life in motion

I don’t know about others, but I have always been a sucker for animation as well as live-action where characters are operating even in the direst of the circumstances. Life is there and even after they know what happened a hundred years ago, they are still trying to believe and regain their past confidence. This is beautifully portrayed and I was very much impressed by the way people are continuing their day-to-day activities even in the middle of a crisis.

Overall, the series serves the purpose of an adaptation carrying its unique colors (at least better than the previous live-action disaster that didn’t happen).

Now let’s move to the bad side, and when I say it’s honestly what I felt, you need to take my word on it being a hardcore Atla fan.

1. Weak writing & lots of exposition

ATLA remains at a 9.2 IMDB rating even after years because of its writing, strong plot, and very few plot holes. This time, the writers are the real amateur ones. Despite adding more to the already flourishing universe of ATLA, sadly, they killed the quest of the viewer to find answers. There is too much exposition. It seems that every character just wants to see the end of the war and keeps on revealing things after things. Plus, some of the OG moments that were the soul of the series are not even included. The way Aang finds Momo and then decides to keep it with him as a last remnant of their bygone air nomad civilization is nowhere to be found. In fact, the replacement of Roku with Kyoshi is the biggest disappointment. I love Kyoshi like no one else but that was unnecessary as per the cycle.

2. Bland acting

Even the worst writing shots can be digested only if the acting appears real good. Sadly, this is another issue that I found with the NETFLIXED version. No doubt the characters must have done a lot of hard work for this, yet, they lack the expressive power. Gordon as Aang is super cute but the goofiness is not even there. Katara seems a nerd who doesn’t like to talk much even when it’s necessary and Sokka’s jokes are forced. Meanwhile, Dallas seems to save the day at one point, but again his over-the-top angry young man attitude ruins it for me. Maybe the actors will learn from the criticism in the upcoming season (if Netflix plans to go with it).

3. Major changes

Yes, it’s okay to change the narrative while you are working on an adaptation, but targeting the loyal viewers who are OG fans of ATLA means that you have to be very careful when you are trying to implement your changes in scenes that are the real soul of the OG. You can’t change the Omashu myth as if it’s nothing when we actually see even the cute animated version of the folklore. You cannot portray Roku more as a perpetrator of the genocide and Bumi as the evil king when in truth he’s the mad king who’s known for his genius ways of teaching. I hated that. Plus, reducing Zhao’s authority and taking Uncle Iroh’s sarcastic attitude is just meh. Mai again doesn’t even seem perfect as a cast. Jet is good as far as the aesthetics are concerned but Jet being in Omashu doesn’t even sit right with me. The amalgamation of multiple storylines creates so much confusion and this persists till the end.

4. Bending at convenience

We all know how Katara’s bending progressed throughout the first season and it’s little effort each day. However, in series, one day she’s unable to bend even a droplet of water and the next day she is capable of producing ice crystals. This was unacceptable for me because I was anticipating her learning strategies. Besides, Aang doesn’t learn much water bending throughout this season and in the end, it’s him being the savior in Avatar state. Thoughtless bending sucks despite the great VFX and that’s one thing at which you can’t convince me otherwise.

5. Forced friendships

We all know how it took some time for Sokka to embrace Aang as a chum. However, here Sokka keeps on calling him “the kid” and remains mostly alienated from Aang. Talking to Katara, then she also seems more interested in helping Avatar fulfill his goal than being with a friend. I hated the scene where Aang comes into the Avatar state and instead of hugging him just like in the OG series, Katara runs along Sokka and keeps on calling his name. How is that going to build any organic friendship? I think the first mistake began right from the very moment when Aang was taken back to Wolf Cove on a boat in his unconscious state. Upon opening his eyes, the first person he finds near him is neither Katara nor Sokka but a tribesman who’s playing guessing games. Writers were really high when they wrote that.

6. Lack of the four nations’ biodiversity

Maybe in live action, it’s difficult to create all the marvels of the four nations when we talk about their natural biodiversity. In the OG series, it is indicated by Aang that even after 112 years, he has still not forgotten the animals that define different regions in the four kingdoms and that’s exactly why he wants to finish those “important tasks” alongside saving the world. His important tasks included keeping a check on the natural biodiversity of the lands and exploring whether the Hundred Years’ War had not damaged the majestic animals. Actually, his first dialogue right after regaining consciousness is to go for an otter penguin’s ride with Katara. When I thought about that I felt that somewhere in Aang’s mind he was always connected to nature and that’s why he wanted to regain that connection by being an avatar. Sadly we never see much of the biodiversity but I hoped that maybe they will.

Also, how come Aang had that silent whistle for one hundred years when in the series he only discovers that accidentally? I missed the OG Yip Yip for our Appa. There are lots and lots of problems with the Netflix version, and no I am not being a nitpicker. I appreciate how the current creators credited the original ones, but now I know why Bryan and Michael bade farewell to this project. On a scale of 10, it’s a 4 for me or 4.5 if I am being too generous.

If I am asked to review the live action in a single line, I would only say this:

“The Netflixed ATLA makes you go back to the OG series and you end up watching the animation to give your mind a much-needed respite from a carefully crafted artistic disaster aimed at the sensationalized generation.”

[nothing-more-than-hot-leaf-juice]

Why does everyone like Teo’s dad so much??? Personally I thought he was kind of a jerk lol Aang is rightfully furious that he’s desecrating a holy site and this mf has the audacity to just completely hand-wave it and go “nooo we’re making it BETTER!” Then when Aang won’t relent he just goes “buh-buh-but my poor son” And if you ask me, never shows any real remorse for that or all the weapons he sent the to FN. Like he felt kinda bad but it’s totally not genuine.

I don’t think people so much like him as much as they want to defend his (atrocious) Count Olaf hair. 

And I agree! He completely disregarded the sacredness of the temple and didn’t really understand why Aang was upset and that was super shitty of him. I’d argue he did get a redemption arc in the form of building submarines for the invasion, but for The Northern Air Temple as an episode, I think it set up an interesting aspect of Aang’s character that became more prominent in season 3, that being him dealing with the loss of his people and culture and deciding to carry on their legacy in his actions rather than focusing on the physical aspect. 

In season 1, Aang is rightfully angry that the Northern Temple has been industrialized all to hell and this place he thought was untouched is just as wrecked by the Fire Nation as everything else. That scene where he opens the door for Teo only to find that the Mechanist is already using it to build Fire Nation weapons? That’s heartbreaking. Because it was the last safe place and the Fire Nation already got to it. It’s similar to the scene in The Library where Sokka finds that the Fire Nation already burned down the wing with information on them. It’s the continuous feeling that everything has been and will continue to be ripped from them and they’re powerless to do anything. The Mechanist doesn’t get why this is important to Aang and Aang’s still barely coming to terms with the loss of his people. This is only the second temple he’s been to and it just makes him feel helpless. 

But then we get into a new idea: maybe the physical aspect of the temple is different and the people are different, but those aren’t the things that make the biggest difference. It’s the life and the spirit that persist. There’s a kid who can’t walk but with creativity and freedom, he gets to fly. There’s the whole hermit crab metaphor that actually matters a whole lot because it’s Aang deciding that his people would want the refugees to be safe and free from the Fire Nation over anything else. It’s kind of similar to Katara’s decision to let her mother’s killer go in the The Southern Raiders, he forgives the Mechanist and the refugees for his own sake, not necessarily because the Mechanist promised to change anything (which he didn’t and that was objectively shitty of him), but because that made Aang feel better about the situation. He lets go of the notion that the spirit of his people rests in statues and walls and appreciates the kindness and freedom of the refugees. 

And this idea of letting go of the physical world pops up again in season 2 with The Guru and the Avatar State. The guru tells Aang that in order to master the Avatar State he needs to let go of the physical things in the world that are grounding him. That in order for him to truly master it he must detach himself from what he loves. He refuses to do this because he thinks it means letting go of his love for Katara, but I don’t think it’s that simple. 

At the beginning of season 3 when Aang wakes up to find his hair grown in and the whole world thinking he’s dead, he feels lost. He feels like he not only failed the world because of Ba Sing Se, but if he’s dead that means there’s no more airbenders. It means he failed his people. His resistance to hiding his arrows and keeping his hair is indicative of this conflict, but the real climax of the conflict comes when he decides to burn his destroyed staff. This is a relic that is really one of the last things connecting him to his people, but he burns it in a volcano so it won’t give them away. He keeps growing his hair out and hides his tattoos in order to keep his group safe. And it’s devastating that he has to hide these parts of his culture in order to be safe, but he accepts these as necessary actions until the invasion. In the moment where he decides to burn his staff, he’s taking that step closer to detaching himself from the things he loves, but does it to keep the people he loves safe. 

Then he gets a new staff. And it’s one made by the Mechanist himself. It’s updated while still keeping the same agility as his old one. It’s not the same thing, but it’s not about the nostalgia of the tool that matters, it’s what he’s going to use it for. He’s going to fly free. He’s going to protect his friends from a river of lava. He’s going to save the world. He shaves his head and wears his tattoos proudly because he’s going to do right by his people as the last airbender and doesn’t want the world to forget them. 

And this is why I think Aang was finally able to master the Avatar state: he’s let go of these small things and adapted to this new world and decides that the monks would want him to detach himself from the world and earthly pleasures in order to find spirituality. He talks to Avatar Yangchen about why that’s why he doesn’t want to kill Ozai, because the monks taught him that all life is sacred and he needed to detach himself from the world, to which she responds that as the Avatar he can’t do that. But he’s not just the Avatar. He’s the last airbender. He’s going to keep the world safe and continue living and embodying his people, but he doesn’t do it in the form of holding onto statues and gliders, but in choices that he knows would make the Air Nomads proud. He masters the Avatar state and takes away Ozai’s bending because he’s decided that keeping the Air Nomads in the world is not rooted in physical objects or people or anything like that, but in his actions. It’s in his choice to show mercy. He ends the series in an outfit similar to Monk Gyatso because he’s reached that point of spirituality the Air Nomads strived for. As long as he has his morality and keeps the world free, he’s done right by his culture and at the end of the series, he’s accepted that that’s enough. 

[thebad---catholic]

Why I don’t think Azula should’ve gotten a healing/redemption arc

k so I made this meme a couple weeks ago

and I got a lot (a lot? Like 10 but that’s a lot for me) responses disagreeing with my post, which is fair because there’s really only a tiny subset of fans who fit into the “if you stan villains you’re a bad person” category, and Azula’s character (like most other things in atla) is fairly nuanced. I won’t dive into her personal psychology so much, just why I was satisfied with her arc as a viewer.

Note: I’m only speaking within the context of Atla. I haven’t read any of the comics or seen Lok so for the sake of this lil post those don’t exist.

Not enough time

Plain and simple, Azula didn’t have enough time for any sort of healing or redemption. She would’ve needed at least 2 seasons based on what Zuko went through. Adding more seasons for this purpose would feel kind of pointless. Maybe they should’ve explored this in other media but not within atla as the story works best as a tidy three season bit.

Along this same vein, I’m not viewing the show the same way as I would irl. If we’re being realistic, Azula was a horribly abused mentally ill 14 year old who most definitely should’ve gotten treatment. But this is a cartoon, where standards are a little different, which I’ll talk more about in a minute.

Iroh used to be a bad person/If Zuko changed so could she

This one is more complicated for me, but basically I view it like this. In the show, Iroh and Zuko display goodness before their redemption.

We see this with Zuko especially. He is banished for trying to protect the lives of fire nation soldiers from certain death. Twice he spares the life of his rival Zhao, even after that rival tried to kill him. In season two, he saves appa, risks blowing his cover to light lanterns for Jin, saves a town from mercenaries, and even when he’s robbing, he spares certain people (the pregnant woman for example) and mostly targets the wealthy. Zuko, even at his worst, had hard limits on his morality.

Iroh is more subtle. The most clear example comes from the flashback in “Zuko Alone” where Iroh gifts Zuko a dagger from the earth kingdom that he notes is of superior craftsmanship. This, to me, shows where the start of Iroh’s arc comes from: his appreciation of the other nations. It’s been noted before that Iroh has also mastered all four elements, even though he can only firebend. Redirecting lightning comes from waterbenders- likely learned before Iroh “turned good”. Even as their adversary, Iroh respects the people of Ba Sing Se for their resilience. (This again contrasts Zhao, who was so deranged he murdered the fucking moon just to win.) Finally, the dragons. Iroh is known as the dragon of the west even to people from Ba Sing Se- this means that he spared the lives of the final dragons before Lu Tens death. Like Zuko, Iroh shows mercy even when on the wrong side. Lu Ten’s death breaks Iroh because it forces him to finally come to terms with the fact that the fire nation is built on a lie. Fire nation superiority is a lie, and it’s one he’s known for a long time.

Azula doesn’t display any of these traits. The only time in the entire series where she apologizes is after she insults Ty Lee, and I’d argue it was an act of manipulation, as she quickly uses the apology to receive praise from Ty Lee. The beach episode is the only soft side we ever see to Azula, and all of her interactions can still be interpreted like my example. Was the comment about Ursa thinking she was a monster a slip of her mask or an attempt to “perform” like the others? We know Azula is a liar, so was she lying when she said ursa was right, or that it still hurt? Or both? And, mind you, I do love how this episode explores azula more closely, but I don’t believe being a nuanced villain makes you a redeemable one. Even as a child, Azula is cruel and takes pleasure in hurting Zuko, and animals, and her friends. She’s a master manipulator who makes friends through fear and intimidation. Imo, the only reason she doesn’t actually kill someone is because Avatar was technically a kids show, though that sure as fuck didn’t stop her from threatening multiple peoples lives. There is no action of Azula that signifies an ounce of good in her.

She was abused

1) a tragic backstory isn’t the be all end all of whether or not a character’s redeemable, and 2) So was Zuko. And probably Iroh and Ozai, and probably Azulan. The fire nation royal family is fucked up. Even if Azulan was a “good” father to Ozai and Iroh he was still a dictator who was grooming them to take over.

Having Azula be a puppet in her fathers game was an incredibly mature route for atla to take. Once again, it adds depth with a realistic take for Azula’s villainy. Very rarely are individuals born evil (enter nature v nuture debate here). Some of the worst people to ever exist were victims of abuse and neglect to varying degrees. Once again, though, this doesn’t suddenly render Azula open to redemption. And from a storytelling perspective, there’s parallels between Ozai and Iroh and Azula and Zuko.

Ozai continued the cycle of abuse, Iroh broke free from it, Zuko ended it, and Azula was broken by it. These are all things that happen in real life.

She’s 14

Oddly enough this is the argument that baffles me the most. I know I just said a whole lot about real life vs fiction, but I’m gonna pull the fiction card on this one. I can suspend belief with these characters and their ages. I don’t think any 12 year old could function after waking up from a coma and finding out his entire people were slaughtered and that he only had like, six months to save the world, regardless of his upbringing and power set. I also don’t think any 14 year old could lead a trio to infiltrate a city state, outsmart the shadow leader of said city state, and manipulate and entire little army for her favor.

There’s just a point where you have to suspend belief. The characters of avatar are fantastic, but are not realistic portrayals of people in their age group. Azula could be 14 as easily as she could be 25 and nothing about the narrative would change. The same is true for the rest of the main characters- even Aang, as youthful and fun loving as he is, also has more emotional maturity than anyone in the gaang, and more than most adults i know. If you want a realistic example of a child working through trauma, try Lilo from Lilo and Stich. Not anyone from Atla

Not everyone needs a happy ending.

This is ultimately what it comes down to for me. I like Azula as a villain. I like Azula as a villain who stays a villain and who is driven insane by power and paranoia. I like Macbeth. Azula is a tragedy- and that’s what I like.

So there ya have it folks. That’s my take. I’m writing this at five am with very little sleep, so please forgive typos and whatnot. I feel like maybe I haven’t explained everything the way I wanted to, but I can’t stop thinking about this, and the great thing about this show is that it’s fun to keep thinking about.

[keyofjetwolf]

Bonus Question Answers! (non-anime animated noms)

This was SO. FUCKING. HARD. This question went so much better than I expected, and I’m only sad I lack the artistic skills to make it all a reality.

Below, my PAINSTAKINGLY selected top answers, If yours is listed below, you’ve earned an entry in a random draw to win a GIFTENING liveblog OF YOUR CHOICE

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Q: The Senshi suddenly find themselves in a very different animated world. Which cartoon power (think Looney Tunes) do they each now possess?

*  Usagi can make literal rainbows happen when she smiles.  Rei can set anything on fire with her mind (she feels a bit cheated because she can do that at home too).  Ami can write down anything in her special notebook and it literally changes reality around her (she does not share this with her fellow Senshi, because she knows the full weight of this power.  She did, however, write Michiru having a bad hair day for just one day.  Just one.)  Makoto has the ability to pull out any ingredient she wants from any pantry/door/closet.  She usually uses this for cooking purposes, so she won't have to purchase groceries.  Minako has the ability to mimic any voice in the world, whether she has heard it or not.  Hijinks ensue.  The Outer Senshi sensibly escaped from the new animated world right after Michiru recovered from her bad hair day.  They don't speak of the experience. -- @amberlilly  [The whole thing was so solid, but what absolutely sent it over the top for me was Ami using her powers to fuck with Michiru in the most petty benign way, which is EVERYTHING.]

*  Usagi is definitely rocking the exaggerated tear gushers.  Ami can pull charts/diagrams out of nowhere at any time.  Rei combusts when she gets sufficiently mad.  Makoto has birds fly around when she sings while cooking or cleaning.  Minako breaks the fourth wall to make jokes and asides to the audience.  Chibi-Usa is somehow able to walk through ludicrous danger without getting touched, because the censors won't allow kids to be hurt in this show. Haruka can make girls melt into puddles of goo with her flirting.  Michiru can summon a servant at any time to take care of an unpleasant or potentially dirty task for her (including to take the slapstick comedy for her).  Setsuna has access to the script.  Hotaru just sort of appears sometimes, just standing there, silently and menacingly, but never does anything on-screen (though you may hear the occasional off-screen screaming).  Oh, and while I'd like to say Mamoru gains the power of inexplicable entrances... he kinda already has that one.  --Darkcloud k'California  [Again, I loved all these, but particularly Chibs saved by the censors, Michiru’s poor hapless slapstick avatar, and everything about Hotaru, thank you.]

*  Usagi: The power to be found charming by every character she encounters and somehow escape all consequences and damage by simply remaining oblivious, a la Tweety Bird.

Rei: The power to explode, reducing her surroundings to charred wasteland, but remain relatively unscathed (perhaps a bit singed)

Ami: The power to grow multiple arms, hands, and hundreds of fingers in order to do tech stuff

Makoto: The power to punch someone through a brick wall, possibly several, and into someone's family dinner. It's always some surprised-looking family's private event. Often the same family.

Minako: the power to, Bugs Bunny style, apply lipstick and seduce ANYTHING. Which, according to her, is a power she already has.

Haruka: The power to run off a cliff and keep going until she looks down. She never learns to not look down.

Michiru: The power to stick a pin into any other character and cause them to deflate like a balloon

Hotaru: She just gets to actually be used. It is thrilling.

Pluto: She will observe this strange planet from afar with her huge telescope and breathe the Martian air and look great in a kilt and Roman-style helmet. --  @incorrecttact  [Your set-up and punchline delivery style on all of these was perfection, and I legit lol’d at Mako and the poor family she continually interrupts.]

* to make dynamite go BOOM (Rei obviously); to have their opponent chase them to the point where they're floating in midair and then their opponent falls 5000 feet but they calmly walk back to land (like Wil E Coyote & the Roadrunner) (Usagi); the power to blow kisses to their opponent (which are clearly poisonous and end up killing the chap) (Minako); the power to have their opponent's entire arm shattered if they try to even punch them lightly on the arm (Makoto - this is canon anyways, but moreso exaggerated here hehe); to open a book and start reading it out loud and words start showing up on screen, confusing tf out of their opponent (Ami - also canon already)  --@midnightdrops  [Each of these were great, but Usagi and Mako as you described them totally sold me.]

* usagi: can now float on yummy aromas, so long as they lead her somewhere tasty! the others play a quick tournament of jun-ken-pon each time it happens to determine who will be responsible for steering her from blissfully drifting into traffic. again.

ami: is now possessed of x-ray vision! only she can neither turn it off, nor control its intensity. she is working on developing a set of goggles to dampen the effect, and secretly hopes they will make her look like geordi laforge.

rei: rei-chan is now blessed with the power of song! her heartfelt melodies soften the malice of even the most one-dimensional baddie, and influence public policy on a global scale. international success life, yo! i guess she's really a hard worker!

makoto: has become something of a cartoon cupid! in a poorly-ventilated room, her mere presence has bystanders declaring their love for one another within minutes*; and her decadent wedding cakes are the hit of second marriages across the country. *all of them so like her old senpai, and none of them falling for her, alas!

minako: employs her considerable powers of confidence and charm to convince the others she now has access to Plot Manipulation, mainly by engineering and taking ownership of a series of happy accidents. her real power is to literally jump out of her skin when she's startled*, and she has no intention of EVER letting the others know about it.  *minako discovered this new ability while she was changing a roll of toilet paper, and a spider dropped onto her hand. the leader of the inner senshi had never been so horrified. her bones were so slick and cold, her skin a hideous unwiped pile, and then THE SPIDER CRAWLED INTO THE PILE and she STILL doesn't know if it ever got out and sometimes her skin itches REALLY bad and you know what let's stop talking about this right now okay???

setsuna: can now manifest a giant pencil and erase the enemy! but doing so would be breaking The Greatest Taboo, and leave her impaled upon the pencil.

haruka: her new empathetic ability is remarkably similar to Ma-Ti's "heart" ring (Captain Planet and the Planeteers, 1990 - 1996). basically, she's just like really soft at you, and it inspires you to take more positive actions toward yourself and the world at large? she protests about wishing she'd received something tough and intimidating, but secretly is very moved by being made an instrument of kindness.

michiru: her intuition has mutated into fourth wall awareness, and the subtlety with which she makes this known to you is SO GODDAMN UNCOMFORTABLE OH MY GOD

hotaru: can now not only communicate with inanimate objects, but also render them permanently animate! you should have been there during the princess tutu crossover episode when she met lamp-chan - they're STILL inseparable, and chibiusa is SUPER jealous. speaking of which,

chibiusa: can now use hammerspace to store her endless series of magical geegaws and weird animal boyfriends.  -- @rasiqra-revulva  [Dude, you have got to stop making me snort laugh, it’s RUDE. Pure solid gold, every word, with a special nod to Haruka, MICHIRU, and Minako’s extended tragic cartoon backstory.]

* Usagi - like her name suggests, she is now Bunny. By which I mean she is now a very pink and blonde bunny (somewhere between Bugs and Oswald the Lucky Rabbit), but with super-elastic limbs to accompany her new form. Ami - Magical Science Powers up to and including ‘mix one brightly colored liquid in flask with another brightly colored liquid in flask, explosion, get hammer.’ Rei - An infinite supply of dynamite she can pull out of nowhere. This shouldn’t be as useful as it is. Mako - Literally suplexed a giant metallic youma not just untransformed, but before she has Senshi powers at all. I fully believe she could lift an anvil in canon. Minako - While Usagi looks like a rabbit, Mina now has the supernatural trickster abilities of Bugs Bunny. Implausibly effective bad disguises, persuasion, showing up out of nowhere. Chibs - Now that gun from her first appearance is a real gun, but it shoots anything from normal bullets to pies in the face to live birds. Pluto - The fourth wall is a real and tangible thing. Pluto can not just break it, but control it. If she wants to remove a layer of cel or suddenly turn things into sketch, she can do it. If she wants to teleport, she can skip in the animation. If she wants to suddenly appear as a Roger Rabbit-style cartoon in a live action field, or vice versa? Yeah, she can do that too. She basically uses this power to warp the layers of her cartoonish reality for pastry acquisition. Haruka - You’d think it would be Roadrunner speed. Haruka thinks it will be Roadrunner speed. But no, it isn’t. Space Jam is Looney Tunes, and Haruka’s power is Basketball. Michiru - Another power that’s just canonical: Wealth. Ridiculous, tremendous wealth. Hotaru - The funniest thing for Hotaru to be in a zany cartoon world is Even More Spooky. Nothing changes except the artstyle and a ridiculous supervillain cape.  -- Regalli  [Pluto, man. Fantastic and brilliant and I legit WANT THIS. Also though, Hotaru with a cape.]

*  Usagi gains the ability to eat anything and everything like the Tazmanian Devil, though she shares none of his aggressive personality; Minako enjoys fucking with people by bending reality (you know, diving into painted tunnels and stuff like that); Ami is able to utilize and test unreal technology without harm, like jet boots, massive bombs, tornado seeds, etc.; Mako uses body manipulations to change her size and shape--especially for blocking attacks to protect people or grabbing people (coupled with her immense strength); and Rei is the only one aware of the audience beyond the Fourth Wall... She tries not to talk to them but sometimes she just can't help it, especially when Usagi is getting on her nerves.  -- @thehubby  [I said pander to me, and you absolutely did. I can’t stop thinking about Rei trying not to make fourth wall eye contact, then just whirling around all “CAN YOU FUCKING BELIEVE THIS SHIT??!?” and as it turns out, that IS precisely what I wanted.]

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I’ll be drawing for the bonus liveblog around the start of THE GIFTENING 2020 (currently looking to be Monday, 11 January 2021). Each bonus question is another chance to earn an entry, so keep those answers coming! I CAN ABSOLUTELY AND SHAMELESSLY BE BOUGHT.

[semi-imaginary-place]

rewatching decadence part 2 because part 1 got too long

ep7: Getting to see the game Deca-Dence as a new player would with the opening cutscene, skipping the TOS, character creation and all was a good touch. Also the fact that Kaburagi could look like anything, but he wants to look like mid 40′s dad both times. I wonder who it was that decided Minato should vape. The conversation on the top of Deca-Dence is real interesting because its like only 20% of the actual conversation is spoken out loud and the other 80% left unsaid, so we have to guess what was left unsaid. Minato tells Kaburagi to not make things worse for himself, condoning his actions, but also vows to himself to help Kabu even though it is very dangerous for him. Kaburagi leaves after regretfully saying he doesn’t want to cause Minato more trouble, and yet his current and future actions are and will be doing just that. The obscuring fog in this scene adds to the sense of distance or disconnect between these two. Somewhere over the past 7 years they have fallen off the same page.

This episode again highlights how while for the Tankers this is life and death situation, for the cyborgs Deca-Dence is a game. We get a shot of some Gears lightheartedly discussing how fun the latest game event was, followed right after with what that event meant for the Tankers as we see a makeshift medbay in the streets filled with the dead and dying to really drive home the gap of compassion between the two groups. Minato is one of the few cyborgs we really see besides Kaburagi and the show uses him to show how cyborgs don’t think of humans as people. Humans to the cyborgs are just npcs in a game. Now anime and manga about videogames have been around a long time and were especially popular in the mid 2000s (mmorpgs especially) after which the genre dropped the “in a game” part but kept everything else which were today know as the isekai genre. Hot takes like “the videogame characters are actually people all along” aren’t new either, but Deca-Dence is one of the most successful in generating sympathy and compassion for the Other by flipping the script. Most of those series come from the perspective of the player and show the player coming to care about the npcs. This often isn’t done very well or comes off as patronizing, like the other characters act in service of making the mc look like a good guy instead of actually acting like fully realized people in their own right. (*cough* sao *cough*). In contrast to this, Deca-Dence initially starts from the perspective of Natsume who is human just like us the audience, and thus predisposing us to feeling with and feeling for her. So later when its revealed the humans of this world aren’t seen as people by the cyborgs or the the corporation that rules all their lives, it is granted greater weight in the context of all of us who have played videogames before and met npcs and maybe not cared all that much about them. Decadence places the viewer in the position of the npc, the Other.

Episode 7 is also the beginning of several letters exchanged between Kaburagi and Natsume. Its a presence that lingers long after the person has left and also acts as a contrast to the call/social networking apps of the cyborgs. In episode 5 we saw Kaburagi choose Natsume over following the orders of Solid Quake, but through to episode 7 he still believed in its system. Look even at episode 6 where he still believed that if he worked hard and played by the rules, the system would reward him and everything would be ok and compare that calm assurance in episode 6 to his mountain frustration in episode 7. He’s starting to see how thing are run in Deca-Dence makes life really hard and kind of terrible for the Tankers. This frustration at the system culminates at the end of the episode when he realizes the real human cost of perpetuating this system of oppression in how it hurts Natsume. I mean “Late stage capitalism made my adopted daughter Natsume cry, so I'm going to dismantle it.“ is a joke and pretty funny, but like, that’s what actually what happens. Both Kaburagi and Natsume further the theme of pushing the limits. Kaburagi realizes the limits of his society and why its time to break them down, while of Natsume’s side we see her struggle in the face of things much larger than her. Much like how the cyborgs are stuck in their lifestyles of working for Solid Quake, earning oxyone, and playing Deca-Dence, the Tankers are stuck in their role in society to leave their fates to the Gears and Deca-Dence. So Natsume asking everyone to take charge of their own lives and close that the hole is them stepping out of the comfort of what they’ve always done, which is leave it to someone else (deca-dence administration, gears, etc.). Natsume asks the Tankers to push their limits, the step outside of what they’ve always done and to believe in things they thought were impossible to do. We see Fei representing the belief a lot of Tankers that nothing needs to change, thus nothing should change and they will not act to bring change to their own lives. The Tankers live lives that are decided for them. The Deca-Dence administration controls their population, and the system eliminates any who would disrupt it. They don’t have a lot of control and are resigned to live like that, until Natsume comes along. This episode we see her do what she does the entire series, inspire people to be more. Natsume’s doing alright, she might not be where she wants to be but she’s taken steps in that direction. Where Nstsume is psychologically contrast Kaburagi who’s a bit of a mess realizing he can no longer live under the thumb of Solid Quake’s Deca-Dence system and is kind of floundering about. When kaburagi meets Natsume again... he is so awkward, I’m getting second hand embarressmen. and again the assault jokes have got to stop. The shot of the empty chair calls back to the first episode and another talk between Natsume and Kaburagi. I always love it when an anime plays the credits early.

ep8: again the importance of the individual over the group with kaburagi’s lines at the beginning on why he’s taking down the gadoll factory. I’m just thinking about how kaburagi is certain minato kept his avatar. and everyone just agreeing that minato has that vibe. I really love the avatar retrieval part of the first episode. Its a heist sequence. I love heists!. They also did a good job with pacing and tension in that part. Still can’t believe the creators put a sex toy in this show but at least this joke is actually funny. Oh Minato pulled strings to get Kaburagi out of the poor jail. I missed that part. but now the two of them are not only on different pages, but on different books. Minato doesn’t see the tankers as people and follows the Deca-Dence system on what is good and what is bad, so he can’t comprehend why Kaburagi is throwing away everything the Deca-Dence system values for something the system has deems less than worthless. While Kaburagi has formed a moral compass independent of this system, he sucks at communication and doesn’t explain anything to Minato. Interesting how Minato views bugs as bad but has made an exception for kaburagi and probably did some mental gymnastics to do so. It reminds of those homophobic family members that make an exception for their gay family member. Minato never wanted anything but to be by Kaburagi’s side so he prioritizes Kaburagi above pretty much everything else which is why while he defends the establishment, he also breaks rules for Kaburagi. Their little convo continues the same dialectic, Kaburagi’s been inspired by Natsume to push the limits of himself and society, to choose how he lives instead of letting the Deca-Dence system tell him. Kaburagi underwent character development when Minato wasn’t looking and he can’t recognize him anymore but desperately wants to. Kaburagi moving forwards without him and him realizing that he was never as much a priority to Kaburagi as Kaburagi was to him, means that Minato’s really hurting by the end of the scene, and he doesn’t take it out on Kaburagi, he just leaves. ...if it isn’t obvious by now, minato is my favorite character. gotta love the gay robot having a mid life crisis. (i mean his feeling aren;t necessarily romantic, but you know the joke I’m referencing). Turkey just wakes up and chooses evil every day huh. I predict someone on tumblr with a history of unhealthy relationships is horny for turkey.

ep9: why does the reactor look like a cyborg core? Again. WHYYY does Donatello have a gun??? idiots let him keep a working gun. I love the contrast of the actual pretty gritty situation of the prison riot being represented with super cartoony slapstick animations. This probably saves on frames as well as keep the series from getting too dark, because if you think about it the labor camp conditions are pretty horrifying but its disguised with cartoony designs and wacky characters. Kaburagi and Natsume are doing very important plot things, but the core of episode 9 are Sark and Turkey. Through them we see the same conversation that has been repeated through out the series of conforming to society and staying in line, that things won’t ever change so you should just duck your head and follow order, or the “I’m comfortable how things are” versus you should make your own choices with live life how to want to, to push your limits. Turkey sees the Deca-Dence system as absolute and eternal and thus tries to play by the system and help it continue by selling out everyone else. Sark is passive and doesn't really have an opinion of his own, just following whatever the others are doing whether its Kaburagi stealing his avatar or Turkey in betraying everyone. Sark unlike Turkey isn’t malicious, he wants the best for everyone but also isn’t quite willing to put himself at risk for others. After seeing everyone be destroyed as a consequence of following Turkey however, his new resolve and subsequent suicide bombing is the only reason the plan ends up succeeding. For total destruction of the gadoll factory two things were needed: flipping the kill switch on all the gadoll in the dome, and destroying the reactor powering the factory. We aren’t told how Jill and Kaburagi originally planned to destroy the reactor (like was he just suppose to wander around until they bumped into it?), but Sark’s explosion is what allowed Kaburagi and Natsume to get away from Hugin. Without Sark, Hugin would have totally caught them. So it was Sark taking charge of his own life and pushing his limits that saved them all. That said, if the explosion was powerful enough to reach all the way up the giant tube and destroy the reactor, why didn’t it break the tube and why didn’t it destroy everyone left in the prison? ah well it makes thematic sense so I’ll let this pass.

So I’ve talked before about how Deca-Dence’s ending could be improved to build on some of the themes established in the first couple episodes. The problem is that this show isn’t pushing a narrative of collaboration and the power of collective bargaining, its pushing an individualist narrative about how each and every person can reach out and better themself. Now I don’t think these two themes are mutually exclusive, but it would take a very delicate touch as well as an attentive and thoughtful audience to successfully weave these two theme together into a nuanced whole. And if a rewrite were to happen with the minimal amount of changes, I think ep 10 is a good divergence point. The final little arc is about the rogue gadoll outside of the Deca-Dence system and the threat of total annihilation by solid quake, and while big kaiju fights look cool, they don’t quite deal with dismantling systems of oppression at the hands of your corporate overlords. So, I would have preferred something like the cyborgs and Tankers coming together to seize the means of production, destroy Solid Quake, and take its assets for themselves. The ideal rewrite situation though would for this all to be 24 episodes and the big gadoll to be the episode 12 climax while taking down Solid Quake happen in ep 23-24. And since we’re doing a rewrite, Natsume kinda drops off as the main character after episode 5 and I’d like to see her back at the forefront of the show.

ep10: If this show had leaned more into the futility of Natsume seeking to improve herself within a system that rendered it meaningless, it would have ended up much darker, but I also think it would have been richer. Ah poor Natsume, she’s at a low point since the context of what she has been doing has wildly changed, afterall, what’s the point of improving yourself if nothing else ever changes and what you do doesn’t matter. The letter writing continues and it is good. So I’m not going to question how the exit tunnel is still intact, but watching into robot kaburagi angrily drive a car and swear is really funny. I’ve been wondering for a while, the humans literally live in a fuel tank, how is there enough light to grow plants in there? Like as part of the post-apocalyptic aesthetic, a lot of Tankers have little house plants which in addition to being inside the fuel tank, are also inside their houses. oh yeah for any who didn’t get it. The reason as a child Natsume went into cardiac arrest and her chip was read as dead wasn’t because of the severity of her injuries, Deca-Dence’s system had deemed her too dangerous to live and flipped her kill switch.

ep11: on a thematic level I might be meh, but the writing and execution are what really pull the ending through. Everything is nicely set up from the mutated gadoll the victim of animal abuse several episodes earlier to fighting hugin in the factory being how hugin finds out about natsume. I think about Jill’s lines here, that no matter how hard you try to keep things from changing, you’re just fighting the inevitable. Also Natsume took Kaburagi’s switching bodies really well like seeing someone you care about die in front of you but then surprise they just got another body would give most people such whiplash. “our bodies are under the system’s control, but our core’s are independent of it” I’m still thinking about this. It makes sense given how the first generation of cyborgs where humans with mechanical implants, but cyborg’s cores are still such a mystery. The things you can’t control are a part of life too. In Deca-Dence bugs are uncertainties that the master control system doesn’t know what to do with. More than just individualism good, here we get a little more nuance to Deca-Dence (the show)’s theme. Jill was one of the creators of the Deca-Dence game (giant mech, control system, and all), and they tried to create perfect system where everything was under its control and order could be maintained forever, and this inevitably failed (the show tells us). Trying to perfectly order everything is to attempt the impossible, disorder will always creep in and those little individual differences should be celebrated. and is to the backdrop of an old Deca-Denca(robot) part that is rusting away, plants and animals overtaking it much like how the Deca-Dence’s currently enforced status quo of the game will fall away in the face of those it deems bugs. wait did we ever figure out what the bug was that jill left in deca-dence? mmmm I’m still thinking about Minato logging out because the system told him to but unwilling to let things end this way so physically going back down to earth in his real body. Facing the possibility of truly losing Kaburagi forever is what pushes Minato to question following the Deca-Dence master control system. He totally became a bug for Kaburagi. I doubt Kaburagi had any idea how much Minato wanted to hear the words “let’s fight together to the end”, but offered the thing he truly desires, Minato probably would have done anything. mmm he’s got it bad. there’s also that linking Kaburagi and Deca-Dence’s core takes two people and yet, Kaburagi didn’t bring anyone with him. Which is terrible planning, but allowed for this really great scene. that he knew Minato would come after him. And then the last thing me sees in Minato. Minato truly is ride or die. literally. He could have gone back to the spaceship so that he’d survive no matter what, but he choose to stay. If the plan succeeds then he will see it through with/right beside/literally inside of Kaburagi, and if it fails and Kaburagi is annihilated when Solid Quake wipes the dome, Minato will also be annihilated along side Kaburagi.

ep12: so kaburagi just straight up demands admin privileges and the governing sys is like “sure”. Yeah pretty sure the governing system convo was a season 2 hook to show the big wigs. The independent all governing system tells Kaburagi that all this, him and bugs are a part of the system’s learning process, to which Kaburagi responds that all that doesn’t matter since he’s going to do what he wants independent/regardless of the governing system. the context in which you do things doesn’t matter. Also I never pointed it out since its like the 4th wall of scifi, everyone is just trained to suspend their disbelief, but oxyone is total bullshit. A non toxic liquid energy dense fuel that can be concentrated into orbit range lasers. The tankers all helping Natsume push the spare part is a feel good moment seeing everyone working together. Its an unnecessarily scene for the purpose of including the tankers in the action, since the part wasn’t ever really needed and the writers didn’t have to have it severed by the laser to begin with. the Natsume montage overlayed with the music is very good. wait. i just realized, limiter release can be reversed. Afterall, Kaburagi released his limiters with his first avatar, and if he had still been fully connected to it when hugin killed that avatar, cyborg Kaburagi should have died too but he didn’t and just immediately logged in on a different account. Kabu-Dence releasing his limits here and literally giving all of himself to destroy omega is fulfilling both for his character arc and on an emotional level. This entire show has been about pushing one’s limits and making your own choices, and it culminates here’s in Kaburagi literally releasing his limiter, thus putting him in mortal danger, and then giving every last ounce of himself to the path he has decided. The destruction of the mech fortress Deca-Dence is also symbolic of the end of the game of the Deca-Dence mmorpg as we know it. wait wait did Kaburagi hold on just long enough to hear Natsume thank him. aaaaahhh and then the ed song plays!! and then the play the new mmo intro scene. Still real weird that they’re using a cyborg brain as a ball.

[fakecrfan]

:DDD my friend I’m so glad you reblogged this I would love your director’s commentary on Domain of the Unseen, as that fic has living in my head since I read it.

(Domain of the Unseen for the Director’s commentary ask!)

Ohhhh this fic! This one was fun to write. The whole reason this fic became a thing was because I was in the RQ discord server at the time it was revealed that Martin had his own domain. I went “hey!! Probably not possible but wouldn’t it be cool if JON was in Martin’s domain? :DDD”

“Wow what a cool idea tell us more!” said absolutely nobody.

So, thus starved for people to talk about angst with, I had to run off and write fic about it.

She’s in both places at once,’’ Martin finishes. “Both in the burning building, and being eaten alive by insects. Wonderful.’’

“Bi-location isn’t any trouble in this world,’’ Jon says, and there is a bit of a grimace to it. “Not if it means the Eye can squeeze more terror out of you.’’

I had to come up with an excuse to have Jon both be walking the world, empowered, while also being tormented forever in Martin’s domain. Luckily for me, s5 canon runs on nightmare logic, (aka “whatever hurts the most is true”) so I decided that bi-location was a reasonable enough thing to happen in the apocalypse.

“If the Eye can extract terror from you, it will. As you should know,’’ he says. “You have your own domain too, Martin, but you also are—you still suffered in that Lonely realm.’’ (emphasis added after the fact.)

Next is my quick justification for that logic. This world wants to extract more suffering from people. So no one gets out of it completely. 

And then, of course, I imply that this applies to Martin as well. That part of him will always be in the Lonely, suffering. He’s just blocked it out, for a time. :)

But wait! If people can bi-locate, and avatars can be trapped in domains, and that probably applies to Martin, then does it...?

“Wait.’’ Martin knows it’s going to hurt, but he feels like it’s his responsibility to know who he’s hurting. “’Who are they?’’

Who indeed, Martin? Who is someone who you��ve hurt? :D

Martin looks to the figure’s hand. They are holding a tape recorder.

“Jon?’’ Martin asks, afraid.

:)

And then, of course, Jon can’t help but reveal his own unseen hurt.

He thought that he’d wake up to some kind of welcome. Stupid. As though anyone would care. As though he would deserve their care. He wishes they’d go back to yelling at him. He wishes they’d look at him, at least, instead of turning their eyes away.

So, obviously, this is Jon’s... fear of social exclusion based on his experiences waking up from the coma. Now, the thing is--this is the apocalypse. Do I think it’s true that none of the Archives crew cared about him and that he deserves that?

No, and no.

Everyone is cold and sometimes cruel to Jon after he wakes up from the coma, yes. But that’s not the sum total of their actions to him, and it doesn’t mean they totally hate him as much as he fears.

Basira, in canon, brings him coffee, makes sure he eats and drinks, and gets him new, better clothes. Georgie tells Martin that it’s not that she thinks Jon doesn’t deserve saving, just that she’s going to get hurt and exhausted if she tries and she doesn’t believe anything she does will make a difference to him, anyway. Daisy, who clearly isn’t used to being soft, reaches out and makes sure he has emotional support.

All of them care about him. But also? All of them are--emotionally-- at the equivalent of where Jon was in s2. Their allies have died in an explosion. They’re tired. They’re paranoid. They’ve just fought off a siege from a monster who tried to kill them all. They can’t leave the Institute because they get attacked, so they’re trapped living there. And they can’t be any more sure Jon is really Jon than Jon could be sure Tim wasn’t a murderer.

Just like Jon couldn’t be there for Tim and Martin in the midst of his breakdown, Melanie, Basira, Martin, and Georgie can’t be there for Jon in the midst of theirs. It’s just--a sad reality of people, that they have limits and fail each other in the midst of massive stress.

But Jon just--can’t see that?

Jon is still in a bad place and he catastrophizes like a motherfucker. So he sees all of this and he can’t step back and go “Okay, everyone’s really been through it. It’s not entirely about me.” No, instead he goes: “Everyone 100% HATES me, and also it’s my fault! I did ALL of this! I deserve anything bad that happens to me, any pain I feel.”

And of course, the apocalypse latches onto that subjective fear and turns it into its own reality. 

But for all he puts on his kindest, nicest voice, the One He Loves turns away.

And Martin! Of all the rejections that Jon received in s4, Martin’s hurt the worst (or at least, so I posit in this fic.) Because Martin was the closest, because he loved Martin, because he was used to receiving emotional support from Martin and then it was abruptly withdrawn. Of course that is going to sting like nothing else.

But we know, objectively, that everything Martin did at this point was for Jon. That Martin didn’t stop loving him at all! That he was willing to give everything for Jon, even to a suicidal degree.

But even though that’s the truth, it doesn’t matter. All that matters is that for a moment, Jon believed that he was entirely unloved, forgotten, his pain unseen--and he deserved it.

“It’s not true,’’ Martin says.“I know,’’

Jon manages. “Subjective reality, and all that.”

Jon is wiser now, honestly. He has a lot more knowledge and perspective, so he knows that his fears about Martin abandoning him aren’t true. But again--the the apocalypse makes it so that doesn’t matter. All that matters is that Jon fears it. It can turn that fear into very real pain, and make him feel that pain at all times.

That’s what it’s like to deal with insecurities IRL too.

Part of Jonathan Sims will always be here. Knowing this has happened before. Knowing it can happen in the ever uncertain future. Fearing what series of mistakes he might make that could cause him to be abandoned again.

Psychological pain, fear, can hound you at all moments, even over things that are done or aren’t entirely true. It’s true that it is quite possible that Jon will lose more people’s love in the future! It’s possible that Martin will get pissed off and leave him, or that Jon himself will fuck up in a way that ruins everything. These are all real possibilities that can happen to anyone.

And as long as you know it’s possible, your mind can use that possibility to torment you.

That’s what I was using the apocalypse/the fearscapes here to represent, actually. The... continuity of psychological pain. How some fears, even ones that seem fairly normal like “what if my partner leaves me” or “what if all my friends hate me” can live with us every moment for all of our lives, unseen and unknown to those around us.

But the whole thing is making Martin upset, and so instead of saying all of that, Jon puts on his softest smile. It hurts on his face, a pain that sears down into his chest.

“I love you too, Martin.’‘

I’m a bit torn on this. Is it a failure of the relationship, that Jon doesn’t feel like he can be honest with Martin here? Perhaps. But I personally don’t think so.

If Jon told Martin here that he’s afraid of him, that he will always be afraid of him, that loving Martin means that Martin will always give Martin the unique ability to hurt him--would that help? Would it take Jon’s pain away? Or would it just put more stress on Maritn.

So Jon bites his tongue on this one. It’s not Martin’s fault, of course. Martin is doing his best to comfort him here, saying all the right things.

Some things really do have to be dealt with alone. Some pains really do have to remain unseen. Or at least, that’s the conclusion Jon comes to here.

[alphaketoglutaricacid]

@onehithero said: also we know theres at least some actual animals besides gadoll liek the scorpion n cows tht show up for a sec in ep 1 so tankers hav tht going for them re: food sources ..SORRY FOR RAMBLING SO MUCH deca dence essay got sleeper agent activated

onehithero said: i rly like what usaid abt kabu from natsumes pov too but i cannot form a half cohernet thought abt tht one

onehithero said: ALSO ALSO i think its interesting how the ep 8 conversation w minato is i think the only time kabu talks abt being jealous of humans being able to choose their own paths

onehithero said: also how minatos convinced hes like a good lil cog in the machine yet hes done 50 things tht wuld get him labeled as a bug but he just ignores all tht. the both of them can be so disconnected w reality

onehithero said: like minato didnt know abt 1)natsume 2) how the system has made kabu so severely depressed n he culdnt put up w it anymore.n minato continues pushing the just go along w the system shit he doesnt understand tht he was contributing to kabus misery.. n bc of tht kabu doesnt trust minato enough to tell him abt natsume for so long but then he goes n asks smth so big of him as go against the system

onehithero said: thinks abt how kabu n minato r obviously so important to each other but minato understands him less n less over time & kabu kinda already knew its risky to confide in minato like minato did know abt pipe which was a long time ago but he didnt know abt natsume til kabu was already sacrifing himself for her sake. n yet kabu then goes n tries to get him on his side anyway cuz he wants tht so badly..

onehithero said: OMG OMG CHEWS THESE WORDS SLOWLY N THROUGHLY SO DELICIOUS THANK U THANK U u get it u understand i love reading n writing essay lengh responses abt deca dence & again u just hit the nail on the head w this

Please let me know if this @ u 8 times and sorry if it did.  I will reply under this readmore but i love this enthusiasm! I like discussing this stuff so if u want keep it coming. I wanna understand deca dence better and i think i will by sharing ideas w other ppl. 

I think kabu and minatos relationship  is as good as it is because theres clearly a lot of mutual love and respect between them even when they don’t understand each other and thats why minato still runs after him when he hears kabu going suicide mission lets go baby. I think its interesting that minato was like ready to lie down and accept getting mass scrapped until he hears kabu go im about to be hilarious and hes like actually living and staying alive sounds great actually forget what i said about it being over.   you are so right about kabu and trust and natsume. I will always cherish episode 5 where kabu gives this big rousing speech about how natsume inspired him and saved his life and minatos there like ..who? ..what?? I think they may not be used to hiding things from each other. Also I think them drifting apart mirrors natsume and feis drifting apart tho I think while feis the instigator on that side kabus more on his side and minato like natsume is like wondering what in da world is going on. I think someone else wrote about this better than I can.

I do think minato does know kabus severely depressed because theres this line in ep 4 where he puts his hand on kabu and says like you’ve toiled enough at that awful job. and also in episode 11 when he and kabu talk and kabu says he was in a similar place as minato now in that he was waiting every day to be scrapped minato has no reaction until kabu says but that bug saved me. I think he knows kabus very depressed but he does not know how to address it cuz the system never gives either of them the tools or options for it. Though also I feel the system discourages meaningful relationships between the cyborgs so I think what minato and kabu have is likely pretty rare. Kabu donetello and turkey also fought together for a long time but turkey turns on donetello in a second even tho they fought together, he was his number two, and they were in prison together, and were pretty much all they got and donetello kills him in turn. I also think minato probably knew because he’s empathetic. Like I’m not sure about compassion but he’s very good at understanding where other ppl are and how to meet them in the middle so both parties get something they want. That’s how he got all the gamers to collect the old deca dence parts. Not by cashing in on ppl doing the right thing but by framing it as the final mission. He gets his lgbt community center coworkers for fight with him one last time by appealing to their sense of duty. He got the system to put kabu in jail instead of getting scrapped when Mikey got scrapped for a lesser offense. The list goes on. A tangent but I think the fact he acknowledges the living conditions of the humans are gonna get worse if nothing’s done even tho he’s apathetic at best towards them shows even when the system tries to mold the cyborgs into the roles it wants, sometimes the traits they have just keep on going despite themselves. I’m gonna stop myself before I go into jill and this theme but I’m gonna talk about it someday. So I think its more likely than not he knew but he didn’t know how to navigate around it also because it’s heavily implied he’s going thru the same thing and I think kabu might genuinely have no idea Bc kabu lacks empathy but his heart... is huge. When he hears minato express his feelings of not knowing what he wants he instantly tries to reach out and explain minatos not alone in what he feels. This is why they’re good foils. while kabu moves past where he was in the start where he states he does not intend to oppose the system and his compliance while also trying to do the bare minimum drives him to suicide, and finds the willpower and a reason to live and rebel against the system through his connection to other people (first natsume , he hangs out w kurenai sometimes too, and then with the jail robots). Meanwhile minato whos stuck in his literal ivory tower (it’s a Metaphor) never makes any of these connections. It’s the irony of kabu working at a armor repair job giving him some ability to connect w others vs minatos higher position isolating him from everyone else. I think kabu living amongst the ppl he harmed drove him to give up on life quicker, while minato being far apart shielded him from rlly having to see the effects of his actions I think he was headed a lil slower in the same direction. I think we’re led to believe minatos okay where he is but I think towards the end it’s clear minato has spent most of the series also in a bad place. I think he views things very similarly to kabu in that he wants to use what power he does have to protect the ppl he cares about similar to how initially kabu tried to just convince natsume to quit several times and he was like whatever at the rest of the humans who are natsumes comrades dying but he chooses to put it all on the line and try for some systemic change when he sees natsumes determination to fight. Also I think minato holds very little loyalty to the system cuz he doesn’t only like breaks 1000 rules for kabu (the hypocrisy) but he also looks the other way a lot. For example, when he overheard the top rankers talk about limiters he’s like I’ll pretend I don’t hear it also turn on private mode next time and he doesn’t berate them for considering cheating. Also donetello has been using an illegal avatar to climb to S rank again (isn’t it interesting that even after the ranked system is abolished something similar took its place). And his avatar looks the same as it did when minato worked with the guy. There’s probably like not that many ppl in s rank. And he calls himself donetello. Minato knows he’s supposed to be in jail but does he tell anyone? He’s like well.. that looks like someone else’s problem if they notice *goes and vapes* it’s so funny how little minato cares but it’s also not funny Bc some of minatos cruelest actions and things he’s complicit in are born not outta malice but apathy to everything. I think it shows (tangent number 4?) how the systems use of excessive force is counter productive cuz neither minato nor kabu are willing to report anything to disrupt the order Bc neither of them think the level of punishment is warranted. I also think that minato is probably the first person kabu really opens up to about why on a personal level he feels the system needs to be destroyed after Ep 7 is really interesting. It really speaks to how deep their [mutual and not platonic relationship I don’t know how to label ] is. I also think that he admits to minato that he envies human is rlly interesting and would like to hear what u have to think! I think it’s interesting that what really sets minato off is kabu saying he wants to choose for himself and also wants other cyborgs to have that freedom and I think it’s one of the few times we see minato get genuinely angry and have it not stem from worry. Tangent 5 I’m really extrapolating here but I think it’s very likely given how high up minato is that he likely knows of several cyborgs that rebelled against the system for similar reasons as kabu and knows how it ends and I think it probably feeds into his defeatist attitude. I think his role in the system must really kill whatever grasp of whatever minato has cuz he constantly has to act like it’s almost the end of the world and he’s strapped for resources all the time for like decades and decades of having to fake that type of desperation to entertain ur player base and cuz ur also on tv to entertain the general populace to distract them from their soul sucking jobs. I think that’s gotta mess with his perception of himself and also his ability to see that struggle as real and genuine. I think that’s also gotta be hard cuz he seems like out of his whole fuck we r under attack persona he seems like he’s a lil closed off but generally chill and somewhat upbeat to ppl who know him and he just wants to be isabella from animal crossing. I got really off track here. I think what really gets me is their relationship is built on knowing each other so well and so long , and how it’s managed to survive and persist through all this tragedy. They really mutually respect and love each other and that’s why kabu let’s minato walk away from his revolution even tho it compromises everything he works for. It’s why minato ultimently accepts kabus willingness to die for a tanker even tho he really doesn’t get it at all and it means it’s goodbye forever. But it’s still not enough to save either of them. Minato can’t save kabu from trying to passively starving himself to death and I’m not sure if kabu even knows where minato is at mentally. Sometimes no matter how close u are to someone there r things u miss and things u can’t help each other with. Even tho the two resolve to fight and then die together cuz this seems like the best choice Bc the system they were born into offers no alternatives, the deca dence doesn’t even activate without the help of other ppl. I think it shows one relationship cant support all that weight. In the end it is through their bonds with other ppl that gets them to an ending where they both survive when they decided alone their only option is death. Also u are so right about the other animals existing I totally forgot ty I cannot believe I forgot about the scorpion which calls to natsumes hairstyle which is a visual gag on how natsumes a bug and how like a scorpion, although unassuming, and fucking kill u, just like how her trying to get her boss to open up eventually leads to the whole thing toppling down. I also have a lot of thoughts about natsume but I’m still thinking of them and thinking hard Bc sometimes she becomes kabus inspiration Pinterest board and I don’t like that. When she shines she really shines but it starts getting sloppy towards the end so I have to think a lil longer about it. Okay I’m done. Also it’s kinda hard for me to look like I’m agreeing to ur points and nodding in this format but I really appreciate ur thoughts and will try to convey this. Maybe by formatting as a response to each of ur replies next time

[mxrcayong]

the avatar series: 01.16

masterlist.

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chapter sixteen

It seemed as everyone was walking on broken glass today; creeping around as if the very words to even address the events of tonight were venomous. To replace the topic of great anticipation, discussions regarding the weather and newest music favorites echoed throughout the island.

The White Lotus Society hasn’t had to prepare for an event similar since even before Avatar Aang passed away. Consequently, even the most experienced society members are unsure how to help out Tari and her companions. Everyone, even Sukiara, has been walking around the island as if one wrong move – one misstep will cause the ocean to swallow Bak Mei whole.

The only society members who seemed to know what today needed were the chefs, as they produced what seemed to be an endless amount of food from all four of the nations in order to give everyone a little bit of home before the event of tonight.

Yuta was focused on the plate in front of him, his utensils digging deep into the series of dishes he chose from the buffet. “This reminds me so much of home.” He moaned, biting into the Komodo Chicken prepared for lunch.

“Okay but would you rather know every native language known to man or have all the knowledge, except languages, from Wan’s Library?” Sonan asked, ignoring Yuta’s praise, as she gulped down her Mango and Lychee tea.

“Wan’s Library, 1000%.” Doyoung insisted, furrowing his eyebrows and flinching his head back. The answer was obvious to him, he’d bet his extra bowl of tofu and mung bean curry.  

Yuta hummed, “I agree.”

“I’d say languages.” Jisung shrugged as he finished his side plate of octopus fritters. His answer made Yuta and Doyoung turn their heads harshly to face him in shock. “What! Native languages allows you to speak to everyone in this world, you can learn relevant knowledge from them!” His voice increased in pitch as he defended his opinion.

“No yeah, I agree with Jisung.” Kilari jumped up to defend him, despite her mouth still being full of smoked sea slug pieces. “I rather be able to talk to everyone living than know everything about the past.”

Yuta faked disgust, before turning to Johnny who was drinking his favorite cherry-berry smoothie. “You?”

“I would say languages so I can translate my articles and even reach out to larger audiences.” Johnny shrugged, “But, I would love the information on fighting techniques from the library.”

“You have to pick one!” Sonan challenged.

“You haven’t picked yourself!” Johnny teased, his head leaning in mockingly. Sonan remained tight-lipped as a result, playfully rolling her eyes as if she was annoyed.

Jisung furrowed his eyebrows, “Anyways, wasn’t Wan’s library a myth?”

To Tari’s surprise, it wasn’t only her who shook her head. Tari’s past life witnessed the sinking of Wan’s famous library, but she can’t be certain that he addressed it to the public. From Johnny, Doyoung, and Sonan nodding – she can tell that others have heard the tales. Sonan, however, might’ve been told the stories as a bedtime story as her father was actually there and one of the causes behind the sudden flooding of sand.

Tari smiled. Although the terrible events of tonight are ahead of them, they are able to relax for a while. Yes, through the last few days – they haven’t always been talking about the upcoming battle, but this is the first time Tari relished in this distraction. Despite her recent thinking she’d be better off alone, she can’t be happier with the people she was with now.

She felt overflowing with gratitude. Eventually, she dazed out of the conversation and observed the smiles on their faces – the laughter, the light-hearted conversation. For once, everything felt normal. Everything felt like it had been before the attacks. Tari ended up grinning at anything and everything. Right now, Tari can’t care less if her friendships with them doesn’t transcend lifetimes. What she cares about is that she’s with them now, and there’s no place she’d rather be.

“Tari?” Sonan waved her hand in front of Tari’s eyes, successfully breaking her out of her trance.

Tari’s eyes widened, her eyebrows lifting and humming as if to ask her to repeat what she said. She couldn’t say it with words – her mouth was full of five-flavor soup and she knew if she’d talk right now, it’d look disgusting.

“She said…” Yuta nudged Tari’s knee with his own, a small smirk playing on his lips. “…would you rather live in the Fire Lord’s old beach home or in a home Ba Sing Se?”

“Modern Ba Sing Se or past as in with the Dai Li?” Tari asked, knowing that’ll completely impact her answer. It’s all about being decisive, but like Aang said – the situation matters.

Climbing onto the bison felt like heaving a million rocks to the top of the mountain.

Maybe it’s the knowledge that there is a possibility they’ll die, or they’ll lose something about themselves, be it bending or a sense of carelessness about world events. Maybe it’s the knowledge that after tonight, the city will completely change.

The day full of distracted dialogue and varying conversations has long been forgotten with the sunset ahead of them. They have four hours until the bending event starts, which means around three hours to get there and get on the attendance sheet. It takes an hour and so to get there, but they need time to get out of their White Lotus robes, pajamas, and hand-me-down clothes.

Tari’s companions seem to have never flew a flying bison without the heaviness on their shoulders and the weights in their feet. From travelling there to travelling home, every moment on the bison was thick with tension. The Avatar only wishes that they could experience a ride free of worries. “Shall we sing a song?” Johnny joked, nudging Doyoung who took that as a sign to immediately start singing.

Tari looked at her friends’ faces - all smiling, singing and humming. Despite the anxiety coursing through her veins, she wished this moment never ends.

“I forgot how buff Johnny was.” Kilari gasped, spotting Johnny approach the meeting spot with his sleeveless V-neck black vest and tight black tactical pants Tari recognized from their adventures rock climbing.  His muscles were practically bulging, taking everyone’s - particularly Kilari’s - breath away. “Why doesn’t he show it off more often?” She whispered to Sonan and Tari, making the two roll their eyes – although they’re both truly impressed with his figure.

Sonan chuckled, “Don’t check out our friend, oh my gosh.” She rolled her eyes, “Plus, I thought you liked Yuta.” Kilari shrugged with a small smirk.

“Nothing wrong with checking out the views.” She commented off-handily before moving to look at Yuta, who like Johnny, was wearing a sleeveless shirt although more loose with the top buttons undone. “Yuta is definitely not as buff, but still, hot damn.”

Doyoung furrowed his eyebrows. “Why aren’t I getting any comments?” He playfully pouted. Tari immediately brightened up at that comment, chuckling, before going to lovingly hold his arm in a hug.

“We love you really.” Tari smiled up at him, resting her chin on his shoulder.

Sonan nudged Doyoung, “It’s just you came with us so we can’t comment discreetly about what you’re wearing.” Doyoung, unlike Johnny and Yuta who were flaunting their biceps, was wearing a windbreaker over his shirt.

“How we feeling?” Jisung asked through gritted teeth as everyone formed a circle, his anxieties and concern obvious to everyone. “I think we can do it.” Tari had a feeling he was saying that due to the Law of Attraction rather than his own belief.

Tari lifted her hand up and rested it on Jisung’s shoulder, “You can go home.” She smiled sadly, knowing what it’s like to be so young and forced into a dangerous situation. Her arm slithered around his shoulders and brought him to a tight hug, hoping to calm down his nerves. “You’re on the attendance sheet, but it won’t matter. After tonight, it’ll be over.”

And she means it. She’ll die before she lets anything happen to Jisung and her friends.

Jisung shook his head. “I can hold my own.” He insisted, his lips forming a small pout that Tari understands was supposed to be intimidating. Kilari, as a result, reached over and pinched his cheek and chuckled – making Jisung flustered.

“He’s the Mouse.” Yuta winked at Tari - an action Johnny didn’t miss. “Don’t underestimate him.”

Tari sighed. “I’m not,” she explained, “You guys can all go home. This is my fight.”

If Kilari wasn’t held back by Sonan, she would’ve slapped her. “This isn’t just your fight. We love and care about you.” Kilari basically barked, “You don’t have to be alone.”

But being alone is all I know, Tari wanted to respond. You guys deserve better, she wanted to let them know.

“Stop being stupid.” Johnny sighed, “You’d do the same for us.”

“And not just because you’re the Avatar.” Doyoung seemed to read her mind.

“I know I’ve been mad at you recently, but,” Kilari let out – obviously reluctantly. She always hated admitting her mistakes. “I love you more than you know, and I’ll do anything, anything, to protect you.”

Sonan let out a chuckle, “Sounding like a real Fire Sage there, Kilari.” She winked, before reaching out to the right and grabbing Kilari’s hand. Her left hand went to grab Jisung’s. “Tari, we’re in this together. You aren’t forcing us. We’re here because we love you…and because this affects us too.” She teased lovingly. Jisung and Kilari were quick to continue reaching to their sides, holding the hand of whoever is next to them.

Her heart felt elated as she noticed everyone nodding, and slowly start to hold hands. How am I so lucky? A smile graced her face before even realizing.

“Are we really doing this cliché?” Doyoung basically groaned, earning himself a punch from Johnny. “Fine.” Doyoung did the final connection – interlacing his fingers with Tari.

“I would say put our hands in the center and scream ‘Team Avatar’, but that’ll give away our position.” Johnny whispered loudly so that everyone could hear him, making everyone chuckle. Tari could always count on him for lightening the mood.

Sonan smiled at Tari, without Tari noticing. She smiled at how Tari finally looked comfortable in her own skin, how her smile didn’t seem forced. The oldest girl felt proud for how far Tari has gone over the last few days. Tari’s smile even was present when they let go of their hands and huddled closer together. But she had to get back on track. Sukiara wasn’t here and she was the one who knew the plan best. “Okay, Johnny and I will have to sneak in cause we aren’t benders.” She reminded, “so we need at least two of you guys to cause a bit of a scene – Kilari and Yuta, right?” The attendance was sorted out by gender, therefore Yuta would help Johnny sneak in while Kilari would help Sonan in. “But we need to spread out to cover more ground.”

Everyone nodded. “Everyone ready?” And the question was met with seven thumbs up.

Almost in an act of further disrespect, the government decided to hold the event at the NCT theater. The entrances were flooding with security, and Tari was so glad that The White Lotus society created pole weapons in the shape of pens.

The reason for pole weapons? Tari insisted on avoiding causalities. The supporters of the cause may be forced into it rather than wanting to do it.

Making her way through the crowd, her heart was racing miles per second. What if something goes wrong? She thought, What if I’m not a good enough bender?

But eventually, she got to the attendance paper. And Johnny was right. As soon as she said her name, the security told her to go to a ‘special’ area after giving her a stamp on her hand. As soon as she stepped foot inside, she noticed that the shrine for the bender killed in the attacks was ruined – the candles gone. His lights have been dimmed and Tari was infuriated. Her heart hurt for his family, for his children who may forget his legacy of fighting against wrong-doers.

I will die for this cause. She reminded herself. I cannot back out now. This is for the good of everyone. So, she started looking around and memorizing the stadium as organized by the government. She needed to have an upper hand, and that meant making sure they don’t have any upper hands they think they have.

The crowd felt like an overpacked can of tuna – everyone pressed against each other, unable to have their own personal space. They are cattle, stuffed together in one big cage to be slaughtered. But there was one easy way to make through the crowds – evident through the Equalist guards, who were wearing an all-black outfit with hoods and metal masks with green eyes. They looked like they’d be ready for anything, especially as they were armed.

Tari scanned each of the routes, trying to memorize their layout like the back of her hand. The stadium was divided into four parts – ordered like the Avatar Cycle. Water and earth on one side of the stadium, while fire and air on the other side. There were guards circling the stage where boxing would happen, and even more guards marching down and up the divisions. She, herself, was standing in the box where close friends or family would sit to watch the fighters.

She knew whoever was in charge must be in the underground room, where Yuta and Jisung explained most of the training and preparation happens before a fight. I need to find escape routes, she thought as she knew she needed to make sure her friends get out of the arena if needed once the fight starts.

Eventually, her inner voice hushed down as the entrance doors had shut after an hour of waiting. This is where it starts, she thought, no turning back. Tari focused on the sounds of the doors amongst the loud noises of the crowd talking to each other. No one seemed to notice the sound of harsh locks on the door.

She continuously searched the environment, her heart thumping viciously as if it’s trying to break out of her chest. In her smaller box, she recognized four other names from the list. Jaemin and Jeno weren’t there, although they were born the same year and from the North Water Tribe. Then again, they were cancelled out as they ‘showed no signs of being the Avatar’ when visiting Roddie’s house, according to the sheet.

And within minutes, the stage went dark.

“Good evening.” A haunting voice echoed off the floors, bouncing off each body. “I am the leader, Amon.” It sounded almost ghostly yet mechanical. “We are creating a society where no one will have to live in fear again.” From the voice, Tari could describe them as confident, regretless, and eerie.

Suddenly, the lights went back up. A man wearing a mask stood in the center, where the shrine was, with G-Dragon and the Big Bang Crew chained. At every side of the square box, there was a table with someone there. Hundreds and hundreds of metal bands rested there. But dead center - just right behind the man, was a large box that looked like a soundproof booth.  “We will be implementing measures to ensure your bending goes to check.” She heard groans from the audience, people trying to push through. “This is a mandatory change, and you will be arrested as soon as you leave the building.” The movement in the crowd stopped.

“Now,” Amon paused for dramatic effect, “are you ready to be equalized?”

She knows it has to be now, she knows this is it. But she wanted to make sure everyone is okay. She felt the breath leaving her chest when she realized she won’t be able to see Doyoung and Johnny – her usual peace of mind.

Tari looked across the crowd to look at the earth nation section. She saw Jisung and Sonan standing within a feet of each other, looking over to her.

You ready? She mouthed.

Jisung closed his eyes and nodded, she turned to Sonan who gave her a look that reminded Tari to do what she needs to do, to do whatever it takes.

And then with the click of the button, the stadium went dark and the only thing she could hear were thousands of screams.

request anything for future parts / penny for your thoughts here

[natsubeatsrock]

Should our heroes kill?

So remember how I said that I'm glad that a problem detractors of Fairy Tail have is people being too forgiving? This is part of the reason why.

I can't think of a time I've seen people seriously complain that anyone didn't kill another character in Fairy Tail. Gray had to rush to catch Juvia in Phantom Lord, Erza could have killed Jellal back in Tower of Heaven, and fans are glad as their potential ships are still not unconfirmed by death. The closest thing I can think of is fans being mad that someone like Lisanna didn't die. However, not too many people are going out to say that any character should have killed any other.

That feels kind of weird.

Don't get me wrong. I like that Fairy Tail fans don't have the desire to see XYZ character get killed off for ABC reasons. That should be expected from the guy that says forgiveness is generally good. I'm glad that Natsu isn't expected to kill too many of his enemies or that people aren’t sad when he doesn't finish off someone like Jellal or Gajeel or whoever.

At the same time, this doesn't feel normal.

Like, I know of only one person who has encountered My Hero Academia that actually seems to like Mineta Minoru. Pretty much everyone else seems to either not like him or outright hate him. It's common to see him excluded from fan depictions of Class 1-A and be glad when bad things happen to him. I think it can get to be a bit much at times, but I see where it comes from.

And then people wish for his death. And I have to stop. Ignoring in-universe issues his death would cause for the school, I find it troubling that fans can talk so casually about killing a character in a universe who isn't a villain. I get that the dude's a huge pervert, but Himiko Toga kills people unapologetically and has an actual fanbase. Something feels off about fandom priorities.

And of course, there is the big one: Batman. For the uninitiated, Batman has one famous rule: he does not kill his enemies. While there have been characters he has killed in the past, these are exceptions to this rule. Generally speaking, Batman is not one to kill even the worst of enemies. Part of this is why Zack Snyder's depiction of the character in Batman vs. Superman: Dawn of Justice is so contentious with fans, along with his insistence that Batman killing is within character. (among other stupid comments by him)

This all comes to a head in the famous story Under the Red Hood.  Before the actual story starts, one of Batman's sidekicks, Jason Todd, was kidnapped, beaten, and presumably killed by the Joker. (Thanks to an IRL fan vote, of all things.) It is later revealed that he's back as the titular Red Hood and is mad that Batman didn't kill the Joker because of what happened to him. A lot of fans sympathize with Jason and believe it was wrong for Batman not to break his rule to avenge Jason Todd. 

Though, I think that Batman's response to Jason's plea provides an important answer to this question. He admits that all he's wanted to kill the Joker, however, he refuses to allow himself to. Many interpret this to mean that he thinks he's strong for not killing the Joker. However, I interpret this to mean that he feels he's too weak to kill just the Joker.

And that is an important difference. Anyone who's even remotely aware of Batman knows that he should have no trouble killing the Joker if he actually wanted to. Some even argue he does exactly that at the end of the Killing Joke. The issue is whether or not he can draw the line at only killing the Joker. He could start by killing the Joker and end up becoming the very thing he's worked to destroy. 

Thankfully, the troubles of this aren't lost on Batman. In The Dark Night Returns, he even comments on how doing that means that he’s murdered people. To put it in another way, Batman’s one rule doesn't exist because he thinks of himself as a hero. It's there to prevent himself from becoming a villain.

That is an important question to ask. Is it within a character's nature to kill another human being? When Deadpool pulls the trigger on the person responsible for his mutation, we know it to be within his nature. When Spiderman doesn't kill Uncle Ben's killer, we know that to be within his nature.

I don't know that people fully understand what they ask for when they say "someone should just kill a character". You're asking them to take the life of another person. From our perspective, these characters aren't real and have no technical agency. At the same time, the people in-series are real within their own universe.

Does it make sense for this character to take the life of any character? Would they be willing to make exceptions and kill a specific character for a specific reason? Is this the start of a change in their character or does it not affect them much?

Of course, there's a reason this comes after the talk about forgiveness. A lot of the same kinds of questions you'd ask regarding one character forgiving another are similar to if a character would kill another. Part of the reason is that the choice a character is often faced with is if they should kill a character for something they did or forgive them. Considering I've talked about the forgiveness angle, let's talk about the killing option. 

I think that if you're going to set a character up to kill another character, go through with it. Don't set a character killing another and then fake us out by having them give the kind of weak version of forgiveness I talked about earlier. Have them die and get it over with.

If you want to have them change, set that up well in advance. Give them a reason not to want to kill them or to see them dead. (Note: there is a difference between the two.) Don't give them a cheap conversation about how "this isn't like you" or "you should do the right thing". Give the audience good reasons for why we should believe this specific hero shouldn't kill their specific target.

Rising of the Shield Hero somehow managed to do both in its anime adaptation (I've heard things are different in the original version). I don't love that Raphtalia was faced with a situation to kill and decided to not to go through with it. On the other hand, I appreciate that, when Naofumi had to make a similar decision, it was made under different situations. He decided to save the lives of his tormentors to help someone he actually cared about while coming up with a creative punishment for them instead.

That brings up a fun topic to end on. A lot of people argue that crimes against oppressors, whether they're abusers, ruling classes, or something similar, are justified if done by their those they're oppressing. This is something that I'd normally keep for the topic to come but it's worth talking about in the most extreme case possible - when it comes to killing them.

One of the most hotly debated points about Avatar: the Last Airbender has been its ending. It’s established early on that Aang has to defeat the Fire Lord to keep the world in balance. However, as the end draws near, it becomes clear that Aang has issues with how that may mean killing him. In the end, he is able to find a way to defeat the Fire Lord without having to shed blood. However, many fans think that he should have killed him and keeping him alive was a mistake. (In fairness, I was of this opinion until I saw the actual resolution of this conflict.)

At the same time, I’ve talked about Scar from Fullmetal Alchemist and his revenge quest. To be clear, I get why he went after State Alchemists but think his overall quest wasn’t good. I stand opposed to a lot of people who are very much willing to justify his entire quest, despite any and all drawbacks and in-series issues that his quest has. Mind you, this is one of the big reasons he starts the series out as an antagonist. In their mind, Scar killing the alchemists is a valid form of judgment and justice for their actions.

I bring these examples up to make an important point. Comeuppance comes in many different forms. Sometimes, it can mean getting one over the people who wouldn't think twice to help you. Other times, it can be making people hurt the same way they've made you hurt. I think that we do well to recognize that in our handling these types of dynamics, not everyone will agree with the conclusion your character makes in how they deal with abusers. Recognize that as you write these situations.

Or just don’t write abusers in fiction and let fans argue over ships, I don’t know.

To be continued...

[vios-rockland-corner]

How I’m going to tackle “Rumors of Rockland”

Hello there!  Today there was a RIDICULOUSLY large information dump on Outlaw’s Patreon about upcoming game layouts.  There’s far too much there to comment on right now, but there’s one thing in particular I wanted to focus on today.  This post actually is less of me talking about the possibilities of the game, and more so how “I” personally am going to approach these particular “games.”

Overview of what’s below:

- What is “Rumors of Rockland” (RoR)

- My OC Sasha Holmes

- What kind of posts you’ll see from me as these RoR installments come through

What is “Rumors of Rockland?”

Of the long list of future games to come from the creators in the Rockland Universe, one of the very first things mentioned that’s new is the “Rumors of Rockland.”  THIS might actually be the first bit of solid content besides the demos that you may see pop up.

“Rumors of Rockland” is a little interesting.  I’m not 100% sure I’d call it a “game” first of all.  I do fully believe it will be presented to us in the same visual format we get with Ren’Py.  The visual novel style basically.  But there’s two big keynotes on what makes this piece of media different from the creators’ other games.

1) The MC in these “games” is going to be more of an observer.  It’s specifically going to be different from the rest of the games where the MC is directly involved in the story.  Here, it sounds more like the MC happens to be in the same setting as another set of characters, but otherwise does not affect what’s going on.  With that being said, I don’t even know if we’ll be playing through with any choices to select.  The creators also said that it would ideally be the same MC in all the scenarios, further suggesting that the MC isn’t being placed in a perilous situation here.  They are an untouched bystander.

2) There will be several installments of this series.  Oh yes.  When I said “scenarios” before, I didn’t necessarily mean that there’s going to be a lot of things happening in this one...I’m going to refer to is as a “visual novel” until further notice.  What I mean is this is a series that will be continuously updated throughout the development of other Rockland games.  New installments can be called new chapters to the visual novel.  “Rumors of Rockland” appears to be a way to supplement extra information to the audience about certain characters and what is going on in Rockland.  That solidifies even more for me why I would prefer to call this a visual novel over a game.  Yes I know lots of games will sometimes continue to get DLC content to add further progression.  Call it a hunch though, I think the creators would want to save their time developing multiple games rather than developing one and just continually adding updates for it.  They have a lot of characters to go through, so this could be an effective way to show some elements that may not be able to make it into a main game.

Apparently, the release order of games has switched around once again and Rumors of Rockland is going to be released first, followed by “Welcome to Rockland” (this is a path focusing on just one character), THEN Misfits: First Blood.  I know, sometimes this gets a little confusing to keep track of.  Just trust me, a lot of this has to do with character shifts for the groups.

Right now the first Rumors of Rockland we’re supposed to get is just listed as “Introduction/Prologue.”  It might not be long, but we’ll see soon what we’re working with here.  There also was a BIG list of potential chapters touching on all sorts of different elements of Rockland.  It’s kind of wild.  Chapters may not be long themselves, considering how many they have planned.  But the good news is I think if they’re doing this the way I suspect...it won’t be difficult to pump out a lot of chapters at a faster pace than any of the other games.  I think all they need is a stock set of backgrounds and sprites...then it’s just recoding and new script each time.  That’s not really so bad if they don’t have the MC have to make a lot or any choices at all.  No complaints from me in that case.

My OC

Okay, little detour here, but this WILL become relevant to this blog and tie back into RoR.  I don’t make many OC’s, but I made one from scratch here.  Her name is Sasha Holmes and I created her specifically to be an NPC in the Rockland Universe.  

See I’m not really the creative type, but I wanted to try practicing character creation and development.  I’m NOT the type of person though who usually a) visualizes/creates my own MC for a game (I prefer games even with pre-made protagonist avatars) or b) self-inserts.  I have NOTHING against anyone who does either of these obviously.  My brain just...lacks the creativity to do the former, and since games are a form of escapism, I don’t self-insert because that’s not part of the fantasy and escapism aspect for me.

What’s more, lots of these games are going to be horror survival.  I feel even LESS inclined to craft an OC I may fall in love with only to throw them into the pits of hell.  Likely any character I make would die, and I don’t have the mental energy to create another OC for every.single.game, haha.

To get around this, I said: “Well what if I just make a character that solely exists in this universe, but never interferes with the story.  Surely there are just normal citizens that live in Rockland?”  What I was planning on doing was occasionally utilizing Sasha for extra posts when I couldn’t think of anything to write.  Something like journal entries she’d make about her day and gossip that she’s heard around town.  Perhaps gossip about people going missing even or shady dealings.  How would Sasha react?  Sometimes a normal person will wave something off as too outlandish to be true.  If it doesn’t directly impact you, it’s easier to ponder one second but push it to the side the next.  Or maybe what you hear could make you start to feel paranoid.  Especially if things persist.

Originally, I was going to split things so that some of the gossip or rumors Sasha heard were actually based on real things that “I” know happen in the games and universe, and some things that are false (because you know how rumors get pretty outlandish if someone mishears something or someone’s just looking for attention).  I was prepared to just kind of craft my own type of content like this in due time.  In addition to all the analysis posts, don’t worry.  The posts regarding my OC would have just been filler when I couldn’t think of anything else.

Now that Rumors of Rockland is a thing though…do you know what this is for me?  It’s a template. I am literally being gifted the EXACT kind of scenario I would have previously had to craft myself.  This visual novel doesn’t need an interactive MC, just one that observes the events happening.  If they’re the same MC in every chapter too, that means they should be safe!  I am beyond ecstatic and not going to look a gift horse in the mouth!

My Rumors of Rockland Posts

So here’s what going to happen in the future.  I’m going to try to do at LEAST one post for every Rumors of Rockland chapter that comes out.  Even if the chapters are short, they’ll still be enough for characters to comment on. The goal here is for me to try something new and have a little fun while also putting out content.  At the moment, I don’t know which of the two types of posts I will end up preferring to do:

1)     Journal Entry- The RoR event has already taken place, and Sasha’s just writing in first person her exact thoughts on the day/information. This would be beneficial if I don’t feel up to describing a whole lot of actions for Sasha or what’s happening around her and just want full dialogue.

2)     Present time fic?- Writing the story as the events of the chapter take place.  This means placing Sasha directly there and describing all that’s happening with her and getting her IMMEDIATE reactions to certain information.  I’m not going to lie, I need to see an RoR chapter first to kind of figure out how I’d write a present time piece.  I certainly don’t want to copy paste all the dialogue she hears. Could do a –cut to RoR chapter- note literally in there, and do more of Sasha’s before and after behaviors and emotions.  This one would be more dynamic definitely, but I would have the advantage where I could practice having Sasha interact with other characters I bring in such as coworkers or friends.  It could be interesting depicting Sasha conversing with another person about what she sees/hears rather than just focusing on her inner thoughts.  I also have another side character I might want to utilize to explain why Sasha is even repeatedly going back to where these events take place.

I will admit, I’m not really a creative writer.  So I’m going to apologize ahead of time if what I put out isn’t all that stellar. This is going to be practice for sure. Like I said, I may start to favor one post type over the other.  I don’t know if I’ll keep them short and sweet, or make it long.  Whatever I feel up to I suppose.

I will also mention that I may still end up doing an ADDITIONAL analysis/thoughts post of sorts along with my OC post for an RoR chapter.  This is only if there is information revealed that “I” personally want to comment on that I know Sasha can’t.  Sasha might not be able to either because she, as an in-universe character, is not aware of the bigger picture, or because her personality doesn’t allow her to think about something in a different way.  Sometimes characters are very set in their beliefs and views, which can affect how they perceive information.  So if there’s people viewing this blog who are more keen on the analysis posts and don’t really like OC content, don’t worry.  Not only will all the big games solely get more analytical posts, but the RoR chapters may still get some as well.  It just depends on what kind of information I get fed.

I need to stress again that Sasha is NOT a self-insert.  She’s a completely human OC, but she is not me.  Now, of course it’s not uncommon for a creator to put just a little bit of themselves into any OC they make.  Sasha’s no exception.  What’s more, I just realized she’s one of the few purely human OC’s I’ve crafted. I might accidentally end up having her share similar beliefs and mannerisms to myself simply because…that’s what I know best.  Sometimes you write better if you write what you know.  That being said, I do also try to go out of my way to give my OC’s both minor and major differences to myself, whether it’s small likes and dislikes, physical appearance changes or certain beliefs. The only reason I’m explaining this is because in the event I have both an OC post AND an analysis post that seem to contrast greatly, it’s because my OC and “I” are reacting differently to something.  Don’t assume necessarily that the way Sasha views something is exactly the same way I view it.  If you do, you might get confused, haha.  I’m sure there’s going to be plenty of times where it can’t be helped that Sasha and I think very similarly.  But for this, I want to try my best to give Sasha a consistent personality and system of beliefs. Big or small.

I don’t know if I will be putting out a post immediately once the first RoR chapter drops. I’m feeling pretty good about the image I have of Sasha in my head, but there’s still some BIG bio points I need to settle on before I can get started.  I know I shouldn’t try to nail down every little piece about her right away so that I can have some flexibility later, but a couple of things I think I need to settle on include:

·        Age and occupation- There’s a time skip I know we’re going to get for the Rockland universe, so it’s important for me to decide where I want to start and where she will potentially be in the future.  I know some of the other characters’ ages now, so that helps a little in deciding how much younger or older she is compared to some characters. It’s also a big deal whether or not she’s a college student pre-time skip, or already started a career.

·        Long term resident of Rockland vs. New in Town- As cliché as it sounds, I may be leaning towards “new in town” simply because it really IS an easy way to explain why she’s never noticed anything strange before in Rockland. While it’s true that children are often ignorant to a lot of the world happening around them, I don’t know enough about the Rockland universe to say WHICH things should be “common knowledge” to a local.

Those are the big ones.  After a lot of thinking, I’m sticking to my original plan that Sasha will just be “good.” Don’t expect her to be TOO sympathetic to a person who she hears committed murder for example, haha.  I just think not only will it be easier for me to write someone who is a “normal civilian” with a good conscience, but also because I think it might be fun later down the line to tackle a little fear that grows and pondering on why people do bad things to begin with.  She’s be a good girl, right now most likely lawful good.  Maybe if I ever wanted to craft a side character that’s a little more chaotic than her to bounce off dialogue with to get other perspectives in there, I could do that.  That’d be another challenge for me altogether though.  

I’m sure not every single chapter though in RoR is going to be about hearing characters describe how they’ve murdered someone recently though.  Especially not continuously in a public place.  Not everything is going to be crystal clear I’m sure. Sasha might brush off some things that happen, and other stuff seems so incoherent without the context that she won’t know WHAT to make of it.

I’m also still debating whether to not only wait for at least the first RoR piece to come out, but if I want to wait for “Welcome to Rockland” to come out as well before finalizing Sasha.

Last thing before I end this!  I wanted to get this post out as a just heads-up on what you’ll see from me in the future.  This should work fine considering the RoR chapters sound like information dumps in visual novel format for the most part.  I want to be make it clear though that I am NOT copyrighting this way of commenting on the RoR chapters.  What I love about these installments, is that you could literally have any viewer’s own OC operating in their own space and just reacting to what happens in plain sight. Anyone should feel free to imagine themselves as the MC here and it’s not going to interfere with anyone else’s story.  I would certainly love to see if anyone else tries to do something similar to what I want to do with the RoR updates.  There’s so many different types of MC’s people can make and I’m positive they won’t all react to things the same exact way as each other.

[low-budget-korra]

The legend Of Korra : Book 02-Philosophy Everywhere

I'm going to divide this one into two parts, talking about the episodes before the episodes 07 and 08 and after them. Due to this first half, I consider the 02 book the weakest of all and here are some of the why.

Beginning 6 months after the events of Book 01, after all that dark shit that happened, everything is great. Right away we had a significant change that was the change with respect to animation, previously made by Studio Mir and that in book 2 began to be made by the studios Pierrot. Nothing against the work of the studios Pierrot , after I started studying digital art I saw that it is something way more laborious than I already thought it would be, but Studio Mir's work was so good in Book 1 that this change is a "down" for the season.

We are presented with the danger of this season, evil spirits and the reality of our dear Fire Ferrets. Bolin is the only one who continues in Pro's Bending while Mako became a cop and Korra is just being the Avatar, and Asami is trying to deal with the CEO’s stuff of the Future Industries.

Now something that bothered me a lot in the first half of season. I felt that everything that Korra went through in Book 01 was for nothing, as there is no development in the character. She remains the same spoiled, arrogant from Book 1

The relationship between Mako and Korra is appalling, especially because of Korra's unbearable and inexplicable behavior earlier this season.

We are also introduced to Unalaq, uncle of Korra and soon we see that his relation with Tonraq is, at least ,troubled. Also we met Tony Stark .... cof sorry, Varrick and what a good surprise this character was.

Returning to Korra, this second season she is even more childish than the first. It's inexplicable, I dont know what happened. Like, I can understand her sense of frustration of still being treated as someone who is incapable of making choices, but what does she do? She goes there and shows that she is incapable of making choices.

Like all the building of partnership and trust that was made in book 01 between Tenzin and Korra, something that I unfortunately forgot to mention in my review of book 01, was thrown in the trash because in the first "fight" she exchanged the Tenzin that literally hugged her in the worst moments of her life until then, by an uncle she barely know

I think that when, soon in the first episode Korra dispenses the Tenzin, Unalaq must have thought : "Man, that was easy"

Then we have Korra with unnecessary anger for her father for him not  told he was banished from the Northern WaterTribe and why. Like, girl, this is certainly something your father is not proud of, maybe even blaming himself for the inexperience and arrogance in which he acted when, after chasing the barbarians who attack the city ,  ended up destroying a sacred place. I'm sure you did not tell him about how "cool" the first conversation you had with Amon was.

Okay, I'll take it easy with Korra, maybe this "Stop Protecting Me"  it is her trying to reaffirm herself as Avatar after all she suffered in Book 01. Then this almost desperation for not wanting to be seen as a child and wanting to be considered a capable person, made her, ironically, act like a child and show herself unable , after make some wrong choices.

You guys remember that when the NorthTribe invaded the SouthTribe, she chose to stay with her uncle and not her father. Even Tonraq being an incredible father.

 (Look at this? This  person is trustworthy right. The guy is sitting in a dark room, alone doing a bunch of nothing. IN THE DARK!)

Unalaq was another one that I did not like since the moment I saw it. He is by far the worst villain even more that Ozai's greatest megalomaniac style, worse yet, Ozai wanted his Nation to rule the world while Unalaq wants evil to dominate simply because he wants to. But I give him something, he was good to see that moment of “wanting approval” that Korra and exploits it in his favor.

**

When Korra discovers that his uncle was responsible for the unjust sentence of his father when Unalaq underwent an attempt of kidnapping and that he also was responsible for the banishment his father years ago. First of all I can not blame her for the violent way she approached the judge for the conversation because I think it would do the same. (Dont mess with the people i love)

**

Something very interesting to note was that this season was where everyone was further away from each other. And the frozen scenery of the northern watertribe helped amplify this feeling. The soundtrack of this season is also incredible,  all of the seasons are actually.

**

Another thing I liked was the interaction between the sons of Aang. It was a bit sad to know that despite being a great Avatar, Aang was a bit flawed as a parent. Paying more attention to his duty to the world than with his family. And clearly having a favorite son, Tenzin. I can understand why, but is sucks anyway

But I also think the character who was best explored this season was Tenzin. We can connect with his concerns. The burden of being responsible for the survival of the airbender culture, the fear of failure, and the quest to be a reflection of his father.

We know more about Bumi, and dude, the scene in ep.04 where he talks to his father's statue, apologizing for not being an airbender, and besides that , he did what he can to keep the world . And Kya is kind of a more lesbian cooler version of Katara in terms of personality.

**

One more “down” to this Book in the beginning was to make fun with the Bolin being clearly in an abusive relationship with Eska. This is not fun people, people die because of it.

Poor Mako in the first half,  his only getting slapped by Korra . Later on  I understand, but I dont agree with his position of delivering Korra's plans to get help for the southern tribe to Raiko. Episode 06 was focused on Mako, Bolin and Asami. We can see Asami, in a moment of weakness that I dont understand until today, kissing Mako. Bolin pursuing film career and Mako showing a certain ability as a detective. This I found cool because it gains another layer to the character , it is no longer just the romantic interest of Korra. It also had virtually the revelation of Varrick as a secondary villain for this arc of them

Bolin also has something nice, If in the first episode, he was shown was someone who only can fight with The Krew, later in book 2 he and we see that he is capable to fight alone for himself.

And Asami, this babe was her own “up and fall and up again” arc as CEO of her dad company. And she shows that she has what its need to take control of the business.

**

I really dont know what happened to the writers in this first half of book 02, way below the expected But Raava inspired them to make the wonder that is the second half of the season. And so I finish my analysis of the first half of book 02

**

Beginnings part 1 and 2 are my favorite episodes of the entire AVATAR series. Seriously, everything in these episodes is incredible, from the differentiated animation (Studio Mir is back baby!!!)to the soundtrack, and of course, the script.

In Beginnings we are introduced to the first avatar, Avatar Wan. And so, we are presented as the cycle began. From real, every time I see these two episodes I cry like a baby.

"Return to the beginning. Find Raava "

Lets talk about  Wan, he was a young thief trying to survive, in a  dangerous and authoritarian era of what might be considered the beginnings of the Fire Nation, a city that lay on the back of a Giant Turtle, protected them from the spirits -dominated forests.

I will not say much about these two episodes because even if you dont remember , go watch, seriously, it's incredible. And because if I start talking about them I will not finish.

In short. Wan receives the power of fire from the Giant Lion Turtle and  go into the forest. Then he  return home before entering the forest, and thus steals the fire power ,which was forbidden to use in the city.What is worth mentioning is that the bendinds there were not developed , dont expect  martial arts movements. 

 Here ,even with power, Wan is merciful and selfless. He did not think only of himself, he did not exposed who participated in the rebellion with him and still spared the life of a guard. He is then banished to the forest and .... aaa did not say, I cant not speak of these episodes man

Anyway, after going through "trouble" on his first night out in the woods. He seeks the help of a spirit who simply says "it's not my problem", so Wan tries to fantasize as spirit to be able to enter the oasis of the same spirit that denied him help. Then he discovers that there are other LionTurtles, and consequently, other cities.

And in his journey, even with hunger he decides to release an animal, which turns his animal partner. And so, seeing the altruistic action of Wan, the same spirit that denied him help, helps him to escape the hunters. And so he decides to stay and learn from the spirits.

And so, Wan learns the dragon dance, protecting the oasis and his friends spirits. My baby Wan <3

Back in town, Wan's old friend decides to lead a group of people who believe that only with the power of fire, it is possible to live in the forests. Needless to say that shit happens right ?!

Then Wan decides to travel the world with his pet, Mula. The music in these parts is one of the most beautiful things I've ever seen, really.

Then Wan discovers Raava and Vaatu fighting and, unknowingly, helps Vaatu to escape. With the help of Raava ,who at first dont like the ideat of joining with Wan to fight Vaatu), Wan finds the other lions turtles and is given the other bendings.

Raava is light and peace. Literally, the good. Vaatu is evil.

However, Wan can only change elements, when the spirit of Raava passes through his body. Wan is an example of a good person, he literally made the biggest shit in the world but instead of running away, as many would do, he took responsibility and face it.

And it is on this journey that he begins to train heavy, the elements, and learn about the balance of the world.

"He can not destroy light any more than i cant destroy darkess. One can not exist without the other "_Raava

"Most humans think only about themselves" _Raava

Man, this is so true, worse, it's a direct truth. There is no metaphor here.

There we see humans using the power of fire to clear the forest, nothing new  really. The same group as that friend of Wan. And so, these people attack anything (spirits) they see, not knowing whether it is good or bad, just by their own ignorance. What unfortunately happens in various parts of the world with minority groups that are attacked only by the ignorance of the aggressors.

In this 5-minute scene, we see all the power of ignorance and violence. Humans have invaded and destroyed the forest, and still set fire to any spirit that appears. In Brazil we have farmers doing exactly the same thing with the natives, with the moral help of the president. But we are not here to talk about the shit hole that is Brazil right now....

The stronger Vaatu gets, the smaller and weaker Raava gets.

(I'm almost crying because I'm writing while I'm watching this wonderful episode.)

It is then that Wan touch’s on the energy that comes out of one of the portals and this scene happens

(This scene gives me so many chills. Its simple epic)

Now officially as Avatar, Wan and Raava succeed together defeating Vaatu, imprisoning for the next 10 thousand years. It is also Wan who makes the decision to close the portal, separating spirits and humans.

We then see the Lion Turtles talking that a new era has begun, and we will no longer be given the power of the elements to the people. Then shows Wan's narration as he separates two armies, because it seems that war is what a human being does best.

Then we think the episode ends there. With the message of the duty of the avatar and all but ...oh boy we are wrong . We see a much older Wan, mortally wounded in battle. Regretting that he had not fulfilled his duty to bring peace, that darkness still surrounds humanity, he did not have enough time.

"Do not worry, we will be together for all your lifetimes and we will never give up" _Raava

Soon after this talk of Raava, Wan dies and the cycle of avatars begins.

(im not crying... you are)

Something I think is very important to mention is that these two episodes, as well as this season of The Legend Of Korra, use something that I hate, that is the megalomaniac villain and the megalomaniac consequences. Only, especially in these two episodes of the Wan, we are not focused on this  but on the learning of the character and all the wisdom of Raava(the hero).

Vaatu can be evil, he has to be evil because he is evil. Now, Unalaq? "Urrr I will release the spirit of darkness to become an evil avatar because I want, even if it destroys the world."

If Vaatu was the villain alone, trying to lead Korra to the dark side, I think it would have been better, or if Unalaq had been better worked for us to believe in his ambitions ... All the Korra villains have a very cool ideology be it equality, freedom or prosperity. Unalaq is only a classic religious fanatic, and a forgettable villain.

**

Moreover, the rest is just Korra and his friends preparing for Harmonic Convergence to beat Vaatu. And the end of the arc’s of Asami, Bolin and Mako.

Now, on this journey of Korra in the spirit world, when she misses Jinora and meets Iroh. Their interaction is wonderful.

I'll separate some quotes from Iroh to Korra, who at the moment is in the shape of a child.

Iroh says: "Even in material world you will find it, if you look for the light you can often find it. But if you look at the dark, heres what you will see "

Several things can be compared to this speech, but the first thing that came to mind was depression and its power to catastrophize everything. As depressive girl, I think I have the property to speak at least of my experience with it.

As depressive, I often see things on the more negative side and thus, "I search for darkness" and so, it is only her that I see. And as much as the search for light is arduous and tiresome, it compensates. It's a daily struggle. Even in the worst of times, look for the light in the dark and you'll be fine. Even if the path is dark and scary, we all have light and we can all walk that path, whether alone or with help.

And Iroh was also right in another speech, helping others is one of the best things you can do. I can not describe the good feeling that takes care of you when you help someone. I think if we all did that, the world would not be in such a mess.

**

Now let's talk about the shocking and sad scene of the loss of connections. 

Honestly I think it's something that can be reversed, and if I did it in a fanfic the creators can do in HQ u.u

About the fanfic, ~propaganda moment here~, I swear that I will continue translate it a and post at least once a month on Wattpad with the link here on Tumblr.Who was interested, here is the link of the chapters already translated. I still do not consider myself fluent in English, so I accept any corrections.

Link for the chapters in English: https://www.wattpad.com/myworks/117030440-the-legend-of-korra-book-5-legacy

(This is just to say how much i love Korra with loose and messy hair, my god how I find it sexy. And for you guys to see this gorgeus image and forgive me for the “propaganda time”)

Returning...

Anyway, at first, I found it very heavy and unnecessary but after analyzing the series as a whole and not just Book 2, I think I understood.

Korra is the avatar in a world practically totally different from the world of Aang and the previous avatars. A world where technology grows every day, a world each more similar to ours. That is, a new era. And this new age, perhaps it did not need other avatars. 

Dont slap me please. But like, for example, what am I going to ask a 19th-century person how she communicated, if we have the cell phone today? Things have changed, the experiences and how to deal with the things too. Perhaps Avatar Kyoshi does not have adequate advice for the Avatar in an increasingly political and complicated world.

The breaking of the cycle was literally the end of an era of Avatars, the avatars that will come after  Korra, in theory, will be more apt to deal with these problems so similar to what we experience.

But yes, I wanted her to somehow reconnect.

As you can see, although I love reading philosophical, political, social, historical, and psychological things, I do not quote any specific author in my interpretations, but I certainly use the knowledge I learned in what I write. "Lara, why dont you quote this guys here?" Cause my memory is terrible in memorising words, which means that I would have to reread, to know who exactly said what, and my college dont let me have this much time

Another thing I forgot to mention, the Gifs are not mine, more talented people than I've done them, and I just picked it up from the internet. Ican tag you in the comments if you are the author of those

Although it is not the book that most focuses on psychological issues, it does so through philosophical questions of "Who I am" and "What is my duty in the world"

Overall, book 2 of The Legend Of Korra is the most nostalgic of all, in my opinion. And in my view, the theme that stands out is that of "Search for own identity". 

We see this in Wan,Bolin, Korra, Tenzin, and Jinora in  a more prominent way.

Wan on his quest for Avatar's identity, even if it is unconscious. Korra for the exact opposite, her quest is for herself. Who is Korra? And would Korra be limited to just been The Avatar?

Who is Tenzin? He finally detaches himself from his father's image. As he says in the fog of the lost souls: "Im not a refletion of my father. Im Tenzin " Bolin who discovers his is not just a sidekick to his brother, he is more than that

And Jinora discovering and embracing without question her full potential with the spiritual side.

And besides, i hate it the all giant final fight. I simple dont like it. 

[consmcchill]

Avatar the Last Airbender movie FIXED

I did it. TLDR: I fixed the movie The Last Airbender. Feel free to skip this rambling intro and scroll down to the good stuff.

For the rest of you, my name is Conor McCahill, I’m an actor and wannabee screenwriter living in Chicago.

I wanted to post this on the internet for three reasons:

One: Avatar the Last Airbender means a lot to me. My high school friends would meet every week at my house to watch each premier live. Those memories are among my happiest. I was beyond excited for the movie, but, everything I found out about it pushed me further from it and when it finally came out I resolved never to see it. And I didn’t, until I was in a show with Francis Guinan, who played Master Pakku, and when he told me he was in it, I thought, “Hey, why not?” Watching this movie was one of the most disappointing experiences of my life. Fast forward to now and I’m reading Save The Cat, which is a book about screenwriting and one of the homework pieces is to fix a bad movie and make it a good movie. Obviously, the worst movie I can think of is The Last Airbender, so I chose it to fix it.

Two: Fans scare me. True deeply loving fans are like tiger mothers. You have high standards, and good for you! I can’t think of anyone who would enjoy this project more than a diehard fan and my goal is to impress you.

Three: Though I started this before the Netflix announcement of the Avatar the Last Airbender live action series, I’d still like to think that this could help get the movie remade. However, even if it doesn’t, maybe this can help you find closure that in some universe, a better movie exists.

I wrote this as if it was a wikipedia article describing the movie. I tried to avoid dialogue as much as possible, but sometimes, it’s just clearer. I used screenshots from the show to aid the reader though sometimes the pictures aren’t perfect, and other times I used real pictures or art. I linked to the websites where I did that.

The process:

I watched all of season one again, with an eye for character and story development. It was a real treat and I graphed each character’s development over the season, who was the main character of each episode, and how they grew in each episode. I painted a picture of tracking information about the characters, which characters know it, and when it is revealed to a character or the audience. I also tracked tokens, my word for props of importance like Aang’s staff and the water scroll. Adapting this cartoon to a movie was a huge challenge that I was not fully prepared for. The biggest challenge faced is reduction of the source material into roughly an hour and a half to two hours. Season one is very filler heavy, we get to meet our characters and watch them interact, and the first season takes its time and lets the characters be kids in a really nice way. Each episode is roughly twenty-two minutes long, making the season about seven and a half hours long which means inevitably something is going to be lost in translation because we’re losing six hours of content. Episodically is a great way to tell a story with lots of characters with multiple plot lines and over longer periods of time. Movies are better equipped to tell stories as an immediate chronological sequence of events with few characters. This just comes down to time and how much we have to tell the story and how the audience processes a story in “real time.” If you want the movie to be exactly the same story, well, that’s impossible and you should just watch the cartoon. It’s gonna change, there’s no way around it. After finishing the cartoon, I decided it would be a good idea to at least watch the movie again.

Overall and if you squint, Shyamalan got the story of the first season in the movie pretty accurately. His movie goes, southern water tribe, southern air temple, earth kingdom, northern air temple, and northern water tribe. The problem is that we don’t really get to enjoy any one thing for too long because we’re being whisked off to the next one. I didn’t want to make the same mistake, so I chose to limit my main settings to the number of my acts, for simplicity. I picked the southern water tribe, the southern air temple, and the northern water tribe capital.

Shyamalan decided to write each movie one at a time and I really think that doomed the project. I think he decided to do it that way, Nickelodeon went along with it, and by the time he realized his mistake, production has already started, and he couldn’t hold it up because it’s millions of dollars and our young actors are rapidly aging. Any kind of delay will hurt a project starring kids more than other movies. If you want to do it right, you need to be ready to pump out each movie so the kids can age naturally and not suddenly be adults, (see: Harry Potter.) Keeping his decision in mind, I decided to approach this project as if it were a trilogy. That helped me eliminate characters and plotlines for movie one, because they can appear later. I whittled my main characters down to seven, which is more than plenty; Aang, Katara, Sokka, Zhao, Zuko, Iroh, and Yue.

Let’s talk about Yue. Her sacrifice is the emotional apex of the first season of ATLA and is therefore the most important part of the movie. We need to care about Yue because the more we care, the more effective her sacrifice is and the more satisfying the emotional catharsis. In visual media, the way we make you care is we give you screen time. In the show, she gets three full episodes, but the development of her relationship with Sokka feels rushed. It still feels better than the Shyamalan movie, where she comes in at the last thirty minutes, and by all accounts gets half as much time as the cartoon. Considering her sacrifice, Yue needs to come into the movie early. Save the Cat talks about act two as the love act. Often in movies, it is when our protagonists meet a new character(s) who will nurture them through the end. It does not have to be true love or romantic love, it is often friend love. That seems like a perfect place for Yue.

I didn’t want to change the canon, but I had to get Yue into contact with Katara, Sokka, and Aang. I decided that the most important thing, at least in adapting, is not necessarily what happens to our characters, but that they grow in the same way. That freed me up to consider other, more exciting possibilities. Like, what if we bring Yue to the south, on a quest? Aside from Yue, the most necessary element of the north is the spirit oasis, so Zhao can kill the moon. So, I thought to place the spirit oasis in the ruins of the southern tribe capital, so we’re not suddenly robbed of a whole world crossing adventure where lots of stuff must happen. We can grow with our characters (Aang, Katara, and Sokka) in the illusion of real time, and not cut to weeks later at the northern tribe. That evolved into a portal to the northern water tribe, something heavily plot relevant, canon from The Legend of Korra, and it gives something new to longtime fans.

The Yue I came up with differs from the show Yue in very exciting ways. I develop her relationships with Aang and Katara and give Sokka a stronger interest, a love that could actually be returned and is hopeful. The best part is, I make her more active instead of passive. Since this will be her only movie, she should be there more, not to mention there are five main males and only one main female without her. All my own changes made me sympathetic to the way Shyamalan had to alter the plot and characters and it was the choice to boost Yue’s role that really lead to this entire piece.

Thanks to Bryan Konietzko and Michael Dante DiMartino for their work that continues to inspire me to this day. Thank you to all the long-time fans who run the Avatar the Last Airbender wiki. Your work was essential. I lifted some passages directly from the episode descriptions that match what I see as the movie, but where I did, I tried to mark with a *. Also, I used some art and photos and I provided a link to those artists. And, I dunno, thanks to Jim Henson who thought it was important and healthy for children to feel fear.

How I would open the movie:

Open on the fire nation palace: an imposing tower of red crowned with gold spires slices a sunny blue sky in two and looms over a vast courtyard. The front doors are open and we zoom into the darkness. Inside the palace, the air is thick and stuffy and ornate tapestries line every wall lit by braziers that fume and pop and crackle.

In a gallery filled with portraits of proud and angry men and women cloaked in red and holding fire in their bare hands, a teenage boy sits at a table, playing a tile game with an older man.

The boy squirms, agonizing over his next move. The older man is toying with him, but plants seeds of wisdom on how defeat a superior opponent. The boy tentatively places a tile, lingering his finger on the it before whipping it away. The old man examines the board.

With one decisive move, he places a lotus tile in the center of the field, winning the game leaving the young man in disbelief. The older man laughs as the younger man passionately demands a rematch, but they are interrupted by the sound of footsteps and they stiffen. A messenger comes. He bows low, and begs forgiveness from Prince Zuko for interrupting him, but he has come to escort General Iroh to a war meeting. The older man smirks and asks the younger man if he forgives the messenger. Zuko rolls his eyes and says he does but asks his uncle if he can join him in the war meeting. His uncle denies him, but the young prince pleads. He wants to be a good king someday, why not learn as soon as possible? Iroh relents and warns Zuko not to speak out of turn.

Iroh leads Zuko into the hall before the throne room. As the firebending generals go in, each makes a flame in their hand and adds it to a fiery bowl on a pedestal in the center of the hall. Iroh explains to Zuko, as he follows suit, that the ritual serves to show that no firebender will use fire bending in the throne room or face extreme consequences. Even the fire lord is honor bound to uphold his promise, he just never has to symbolically prove himself. Iroh puts his fire in the bowl. Zuko steps up after him and does the same, his face lit up by the flames.

The inside of the throne room is darker than the rest of the palace. Zuko is both frightened and exhilarated. As a particularly old and decrepit general drones on, Zuko admires the long war table, painted to display the entire world and littered with pieces that make war seem like a big game. This will all be his someday. His eyes draw him down past the far end of the table, to the wall of fire beyond which a dark figure, the fire lord, sits on an ornate throne obscured by the dancing smoke.

Zuko stares at the man beyond the flames and their crackle fills his ears. He feels the eyes of his father staring back. Zuko snaps to attention, just as the old infirm general outlines a plan to send fresh recruits into combat against a heavily garrisoned earth kingdom fort. The prince asks the general how he expects the recruits to survive, his interruption sending a wave of murmurs down the table. The general clarifies, he doesn’t. Their sacrifice will be enough to weaken the earth kingdom army, so they can be wiped out by a second wave of more seasoned elite fire nation soldiers. The mutters of agreement wash over the room. The prince is horrified. He cannot believe what he is hearing and stands and speaks, in defense of the new recruits and their lives. To send loyal soldiers to their doom is nothing short of treasonous. The color drains from Iroh’s face as the wall of flames flares up. He clutches Zuko’s robes and advises Zuko to apologize or be honor bound to settle the matter in an Agni Kai.

Zuko sizes up the old general. What could this old man, so near to death, possibly do to him? His uncle hisses at him to be quick, but Zuko is not afraid and accepts the fire duel. The wall of fire burns high beyond him.

High above the Agni Kai arena, the crowd that lines the stands chant ceremoniously. Zuko kneels, his back to his opponent and the chanting ends. He breathes deep, spins and rises, and throws off his cloak to face… his father, the fire lord.

Zuko doesn’t understand, the general he spoke against is in the audience, smirking, next to a teenage girl and his uncle.

The Firelord fumes at him, it was his plan Zuko spoke against and it was he, the fire lord, Zuko disrespected. His booming voice echoes in the vast chamber. Zuko falls to his knees, he won’t fight his father. The fire lord demands that he stand and fight, but Zuko refuses. The fire lord will give him one more chance but Zuko bows further, touching his forehead to the hard stone floor. The Firelord calls upon the crowd to witness his son’s cowardly refusal to fight. Only a permanent lesson is appropriate for such shameful weakness, he growls as he approaches his grovelling son.

Slowly, Zuko lifts his head and begs his father for mercy, but there is none.

In the reflection of his left eye, a fireball heads towards Zuko’s tear-stricken face. A girl’s voiceover begins. “Long ago the four nations lived together in harmony, then, everything changed when the fire nation attacked.” The fireball grows larger and larger in his eye until the whole frame is filled with fire.

https://www.dreamstime.com/stock-illustration-yurt-vector-drawing-portable-round-tent-covered-skins-felt-isolated-white-backdrop-freehand-outline-black-ink-hand-image80545151

The fire in Zuko’s eyes becomes a campfire in a yurt. “Only the Avatar, master of all four elements, could stop them, but when the world needed him most, he vanished.”

Reveal, a pretty and bright water tribe girl, Katara, telling the story of the Avatar to the young children she babysits.

The kids beg Katara to waterbend for them. She’s not supposed to, and they moan and whine. To appease them, she waterbends the soup in the pot in a swirl. They beg for more and, though it is difficult for her, she manages to suspend an undulating ball of steaming water in the air. It is a magical moment, even for Katara, and they all watch in awe until she lowers it back down. The kids go nuts and all take turns trying to waterbend the soup, but it soon becomes clear that she’s the only one who can. As she watches them all around her, there is a sense of how lonely and isolated she really is. 

The flaps fly open and a teenage boy on the brink of manhood barges in and asks what the ruckus is about. Katara blurts out Sokka’s name in surprise and passes the commotion off as just childish playing. She turns the conversation to his hunt. He pretends to be downcast, then reveals three small fish triumphantly. Katara squeals with joy and embraces him.

https://itadakimasuanime.files.wordpress.com/2014/11/seafood-shellfish-hitsugi-no-chaika-avenging-battle-06.png

Later, as the sun sets, the fish roast over the fire. Katara, Sokka, and an older woman, their grandmother, eat with appreciation as if a feast as meager as this is rare. Sokka finishes first and as he gets up, he rips his pants, again. He criticizes Katara, her stitching is still terrible, and since Grangran can’t do it anymore, it’s up to her. He reaches for his other pair of pants but stops when Katara admits that she hasn’t mended them yet. Sokka gets cross with her for not finishing her chores. Katara retorts that if he wasn’t so clumsy, he wouldn’t tear his pants. Sokka scolds Katara for just playing around and waterbending. Their grandmother drops her bowl. Quickly, Katara denies waterbending, but Sokka saw her. Grangran comes down on Katara: It is forbidden, but Katara can’t forbid who she is! Grangran snaps that waterbending will get them all killed. There is silence. Sokka brings the pants over to Katara. He puts food on the table, the least she could do is contribute. Defeated, Katara fetches her needle and thread but hesitates before she begins to work. She’s about to speak when Sokka pushes that his pants aren’t going to mend themselves.

Katara pops off that he can repair his own stupid pants and throws them in Sokka’s face and storms out into the night. Sokka sticks his head out and calls after her but Katara breaks into a sprint. She runs past her neighbors, out of the village and runs and runs and runs until she can run no more, collapsing at the top of a snow-white cliff, overlooking a frozen bay.

The cold light of the nearly full moon beams down upon her. She looks up, with tears in her eyes and screams out her frustration. She pounds her fists to the ground. The ice cracks inches from her fists and shatter the side of the icy cliff down down down into the middle of the bay. The ground shakes and Katara is avalanched over with the side of the cliff and is buried in the ice and snow.

She pushes a mound of snow off her with her waterbending. As she cleans herself off, she notices a soft glow emanating from the fissure in the ice. As she investigates, the light intensifies, rising, until the source, a glowing ice sphere, bursts through the floe before her.

Cracks splinter throughout the sphere causing the light inside to escape. The light is too much and Katara shields her eyes. The sphere goes dark for a second then a pillar of light erupts out the top.

Back in the village, Sokka mutters to himself as he struggles with a needle and thread. The light rips through the night sky and through the flap of the tent. His eyes widen. He whispers Katara’s name and grabs his spear.

A dazzling aurora fills the sky. The broken bay has frozen again by some mysterious power, leaving the landscape jagged and strange. A cloud of snow and swirling mists ebb and flow about the remains of the sphere. Katara approaches and sees in the remains a boy tattooed with arrows and a white six-legged bison, both fast asleep. She kneels beside the tattooed boy and touches his face. He dreamily opens his eyes and then closes them again as he mutters about how beautiful she is.

Katara is amused. The boy snaps awake, he’s not dreaming. He jumps out of Katara’s arms and admires his surroundings. With his hands on his hips, he announces that he has made it to the south pole as planned and immediately requests a snowball fight and before Katara can protest she’s pelted as he laughs. She pulls the snow off as the boy exclaims that she’s a waterbender, and that it is officially on! Katara puts on her game face and snowballs begin to fly back and forth. Katara hides behind a snowbank. She peeks out and sees the boy scooping snow into a ball, she turns back and uses her bending to mold her own. She peeks out again, but he has disappeared. Out of nowhere he lands behind her and unleashes an impossible number of snowballs. Katara screams as she’s hit. Sokka hears her scream and breaks into a sprint. He yells her name and runs towards the boy with his spear who dodges the thrust and the following swing. Katara, covered in snow, tries in vain to stop Sokka. Sokka thrusts again. The boy lands on the spearhead, faceplanting Sokka into the snow and bringing him to his knees. Katara, wipes the snow from her eyes and gets a full view of Sokka’s undercarriage. She shrieks, “Where are your pants!?” The boy helps him up. Sokka didn’t have time to put on pants, he thought she was in trouble. Katara is touched.

https://www.deviantart.com/akreon/art/Appa-132703919

A low grumble escapes the large, furry, six-legged creature lying motionless nearby. The boy climbs onto it and enthusiastically rouses it. Sokka asks, unsure, what the thing is, and the boy replies that it is Appa, his flying bison. Sokka expresses disbelief over the purported ability of the large bison to fly. The boy, looking around at his surroundings, asks if they live nearby, which triggers Sokka to tell Katara not to answer, as he is convinced that the mystery boy is a Fire Nation spy, a notion that Katara rejects sarcastically. The boy introduces himself as Aang, an airbender. Sokka tells him no one has seen an airbender in a hundred years. Aang laughs, they are very good at hiding. *

Aang offers to fly them back to their village if he can get shelter for the night. Katara happily agrees and climbs on with Aang, while Sokka refuses, convinced that Aang and Katara are crazy. Aang says, "Yip-yip!", and Appa leaps into the air, though immediately comes crashing down, while Sokka crows sarcastically about Appa's inability to fly, Aang decides Appa is still too tired to fly just yet. He looks over his shoulder and leans out to stare at Katara with a huge smile on his face, causing her, after a few long, awkward seconds, to ask, "Why are you smiling at me like that?" He replies, "Oh, I was smiling?" Sokka lifts his head back, groaning, while Katara, at first smiling at Aang's response, frowns back at Sokka. *

In the moonlight, they walk back to the village. A curious Katara asks Aang if he knows the fate of the Avatar; being an airbender, she knows that the Avatar was supposed to be an Air Nomad. Aang awkwardly states that he knew people that knew the Avatar but did not know the actual Avatar himself. A disappointed Katara drops the subject, leaving Aang looking guilty. *

Underneath the setting sun, a scout blows a horn atop a fire nation fort located at the foot of the southern air temple mount. The commander of the base, a fierce looking full-grown man, greets Iroh and Zuko in the courtyard, he makes sure to highlight Zuko’s scar to confirm that it’s him. Iroh shows his respect to Admiral Zhao, who asks what brings the exiled prince and his uncle before him.

Zuko demands access south, to the Antarctic seas, Zhao’s domain. This amuses Zhao and arouses his interest. Even if he had seen or heard any sign of the Avatar, he wouldn’t tell Zuko. Iroh reasons with him, then, that there would be no harm in letting them search. Zhao deflects and muses if Zuko’s quest to restore his honor will ever truly end. He continues that when he marries Zuko’s sister, Princess Azula, they will let him come live in the palace dungeon. Zuko retorts that Zhao is a fool if he thinks he can ask the fire lord for Azula’s hand in marriage. Zhao is confident, that when his mission is complete, the fire lord will offer his daughter’s hand. He denies Zuko’s request, his mission is too important, and sends Zuko back to his ship.

Later that night, Iroh finds Zuko glowering over the vast southern sea. He presses the prince to sleep, telling him that if he doesn't rest, he will, like his ancestors, fail to capture the Avatar even if they do find him. The prince refuses to his uncle’s wisdom, he will succeed because he seeks to regain his honor through the endeavor, a trait none of his ancestors shared with him. Iroh casts doubt on Zuko’s assumption that the avatar is in the southern water tribe. Zuko reveals his logic, that the old airbender has likely died, and a young waterbender would be next in line to be the avatar. If it was a northern child, the proud northerners would have announced it, like they did their runaway princess. Iroh still doubts, Zuko snaps at him if he has a better idea. The night sky lights up, the same pillar of light from when Aang was released, and the aurora casts a green glow all on the southern hemisphere. *

Zuko observes it through the end of his telescope, his eyes narrow.

From high above the fire nation fort, on a cliff side, a mysterious figure in leather armor watches Zuko’s ship leave and turn south in the dead of night. The figure stands, a beautiful young woman who’s white hair shimmers in the moonlight.

Back in the village, Katara leads Aang into a stable. They don’t have much room, so he’ll have to sleep in here with Appa. She gets him a blanket. As she hands it to him, there is a moment where they share eye contact. Katara breaks it off and leaves, but not before stealing one last glance at Aang.

That night, Aang has a dream that he and Appa fly through a terrible storm. They are buffeted by the full fury of the gale, struggle in vain to escape and eventually are forced under the waves. *

In his dream, Aang’s eyes and tattoos began to glow and he creates a giant bubble around himself and Appa. The bubble freezes over, encasing their figures in light which grows brighter and brighter.

In his sleep, Aang stirs and his tattoos dance luminously. The lights wax and wane in the slit of the stable door casting a strange light on the sleeping village.

The sun rises over an icy expanse the next morning. Aang throws open the flap to the yurt, but it is empty. Sokka and Katara and Grangran are already doing their duties. As he explores, the elderly villagers look upon him with suspicion. Aang bows to the villagers respectfully, eliciting a response of fear from them, and they hurriedly take a few steps away from the airbender. *

He hears Katara calling his name. Eager to impress her, he jumps high in the air and lands in front of her and her wards. The kids go nuts. They goad him into showing off, which he obliges.

Aang attracts quite a crowd, almost the entire village. He finishes his trick. Everyone is stunned. One villager erupts in applause, the others glare her into silence. The kids tackle Aang and climb all over him. His airbending is even cooler than Katara’s waterbending.

A stir in the crowd. Katara is a waterbender? Katara feels the eyes of the villagers on her. Grangran assures the other villagers that Katara is not a waterbender, as the crowd whisper amongst themselves and go about their business. She gives the younger children the evil eye and they scamper off screaming and grabs Katara and Aang to throw them both into the tent. She looks Aang square in the face and tells him that it would be uncustomary to kick him out without breakfast but that the airbender is no longer welcome here. She goes to find Sokka. There is quiet. Aang timidly asks Katara why she refuses to waterbend. She tells him it is forbidden. Aang doesn’t understand why. The waterbenders get taken away, by firebenders. There’s a war. Aang didn’t know of any war.

Just then, Grangran and Sokka return. Sokka has checked the morning traps and has brought oysters. He passes them out, they each pry them open and slurp theirs down, except Aang, who holds it awkwardly. Sokka apologizes and opens it for him. Aang makes a face, “Do you have anything vegetarian?” he asks. Sokka aghast, scoots away from him. Aang realizes he’s made a faux pas. He corrects himself. “Can I please have something vegetarian?” Grangran and Katara share a glance. Sokka doesn’t have any vegetarian options except for sea prunes for Grangran and they are nasty.

Grangran throws a shell at Sokka and thrusts a bowl of sea prunes into Aang’s hands. His stomach growls, and he eats one. He likes them!

Sokka does not get Aang. He and Katara share a look of disgust as Aang gorges himself. Katara leans over to Sokka and whispers in his ear that Aang doesn’t know about the war. Sokka asks how that is possible: the war has been going on for a hundred years.

Meanwhile, Zuko spies the village through a telescope. Everything is going according to plan. Just then, from around an iceberg, an armada of three of Zhao’s fastest destroyers cut Zuko’s Battleship off and he is forced to change course to avoid them.

Zhao boards Zuko’s ship. Zuko greets him, amazed he found the time to chase him and hopes his all-important mission wasn't jeopardized by this detour. Zhao admits it was easy to catch up with them, the battleship was built like a tank to hold a fully realized Avatar, which makes it slow, but necessary for his capture, which is why Zhao is commandeering Zuko’s ship. Zuko protests, the Avatar is his. Zhao reminds Zuko that he ignored a direct order and is trespassing in his domain. Zuko spits out that he doesn't take orders from anyone, especially a low born upstart rat like Zhao. Zhao's smile fades as he orders his men to take the prince into custody. Two guards grab Zuko arms, but he throws them off easily. He points at Zhao and challenges him to an Agni Kai, winner gets the ship. Zhao laughs, and asks how Zuko plans to survive stranded on an iceberg without a ship, doesn't he remember the last time he did an Agni Kai? Zuko will never forget.  

Outside their village, Grangran leads Appa with a rope as Aang, Katara, and Sokka head out with her. Aang tells them that it was very nice to meet them, and he’ll come visit the South Pole again soon. Sokka explains to Aang they aren’t actually in the south pole, they are much further north, less than a day to the southern air temple. Katara extrapolates: There’s nothing left at the south pole.

https://www.onthegotours.com/au/Iceland/Best-Places-To-Visit/Reykjavik/Classic-Ice-Cave-Experience

https://www.masterfile.com/image/en/679-07608205/moon-rising-over-trees-and-buildings-at-night

The tribes used to be connected by the moon gate.

Under the light of the full moon, the portal would open and northerners and southerners could walk between the poles via the spirit world to mingle and trade and visit family and make the pilgrimage to the spirit oasis. The moon gate connected the north and south cultures. Until the fire nation destroyed everything in south and the portal was destroyed.

Flashback: Fiery projectiles rain down on the southern capital and reduce it to rubble.

Everybody who was trapped in the south had no choice but to move away from the ruins because there was no food. The north pole is floating ice, and the waterbenders can fish beneath the ice year-round, but south pole is above frozen ground and there you can’t grow food in frozen ground. Grangran interrupts and tells the airbender that it’s time for him to go. As he turns to leave, Aang asks if they are sure the south pole is really destroyed. Sokka assures him sarcastically, that yeah, they're sure, and glares at Aang. Aang posits that the monks at the southern air temple would have told him, they tell him a lot of things, after all, they told him that he was the- he doesn’t finish his sentence. He climbs on Appa and they trot off. Katara calls for him to wait. As she approaches, she tells him the only thing they have at the southern air temple anymore is a fire nation fort. Aang looks at her with a twinkle in his eye and assures her, there are air nomad monks.

He extends his hand to her. Grangran yells that she’s taking too long and though Katara takes a breath, she doesn’t look back as she takes Aang’s hand and climbs aboard. Grangran pushes Sokka to stop her. Katara wraps her arms around Aang as he tells her to hang on. “Appa, Yip yip!” Appa grumbles and begins to move just as Sokka reaches them. He grabs Appa’s fur and tries to pull them back but ends up getting pulled himself and has to run to keep up. Aang leads them straight towards the edge of the cliff and Sokka screams that they are all going to die! He shuts his eyes and holds tight as Appa leaps and they disappear over the edge. Grangran cries out for them and falls to her knees. Appa and the gang reappear, flying. Sokka freaks as he clutches Appa's fur. Aang tells Sokka that when he says let go, to let go. Sokka protests but Aang leads Appa into a barrel roll and yells at Sokka to let go which he does out of instinct. The momentum flips Sokka up and over and plomp, directly seated behind Katara on Appa’s back. The daring move has made Katara cling to Aang close and she blushes.

Aang cheers and Grangran watches as they fly towards the sun.

The sun is directly overhead as the Agni Kai begins.

Admiral Zhao and Prince Zuko crouch, back to back on the deck of the battleship. Shedding their capes, they turn to face each other. Iroh counsels Zuko to remember his basics, as they are his greatest assets, but Zuko seems not to heed his uncle's wisdom, instead stating, simply and forcefully, that he will not allow himself to lose. As he assumes his stance, Zhao, doing the same, taunts Zuko, saying: "This will be over quickly." *

The two opponents stare fiercely into each other's unblinking eyes for a brief moment, waiting for the other to strike; it is Zuko who begins the duel with a series of fire blasts from his hands and feet. *

Zhao seems more than a match for Zuko, effortlessly avoiding and nullifying all of his fire blasts. As the prince catches his breath, Iroh continues to advise Zuko to remember his basics. Zhao throws his own volley of fire blasts; Zuko is able to block each attack, but he is slowly forced back with every parry he makes. For the final blast, Zhao, using both fists, sends a ball of fire that connects solidly with Zuko, knocking him to the ground. Pressing his advantage, Zhao leaps into the air, covers the distance separating him and Zuko, and prepares a finishing blast aimed directly for the prince's exposed face. An instant before contact, Zuko rolls out of the way, rises with a kicking flourish, and knocks Zhao out of his stance. *

With new-found vigor, Zuko releases a series of low attacks that cause Zhao to retreat, finishing him with a jet of fire from a full body kick. Prone, Zhao tells Zuko to do it, to give him a scar like his own, but Zuko aims beside his face instead. As the victorious prince walks away, a beaten and furious Zhao sends a jet of fire at Zuko's back. Iroh intervenes, however, stopping the attack with his bare hand and throwing the admiral to the ground. As Iroh stands over Zhao, Zuko tries to attack Zhao once more, but his uncle tells him not to taint his victory by retaliating. Iroh lectures Zhao about the dishonor he has brought upon himself through his actions and states that his nephew, even in exile, has proven himself to be more honorable.  *

From the crow's nest, a scout shouts. They all crane their necks to see a flying bison with a water tribe girl and boy and air nomad fly far above them.

Up on Appa, Sokka refuses to open his eyes as he clutches Katara's garments. Katara lets him know that he's missing the sights. Aang spies the fire navy ships below. The fear deep inside him grows. He’s never seen fire navy ships this far south.

Both Zhao and Zuko blink in their telescopes. Iroh suggests they try working together as the bison disappears into the clouds.

Aang and Sokka and Katara fly through clouds and above mists and fog. Sokka asks if they are they yet. Aang spots the temple at the top of a mountain and they fly closer. Katara remarks on how beautiful it is.

From a window, the white-haired girl watches them all land in a sky bison pen and jump off. She disappears into the shadows. Appa grazes happily.

Sokka wishes he could eat, that ride took longer than he thought. Katara shushes him. Aang calls out to his people, but nobody answers. The temple appears to be abandoned. They walk up the temple steps. Sokka asks Aang if the airbenders have any food and is berated by Katara for being one of the first outsiders to see an airbender temple and he can only think with his stomach. She apologizes for Sokka. Aang insists the airbenders are simply hiding. There are lots of hiding places. They walk through a large archway into a great hall beyond. In the rafters above, the white-haired girl shifts into position. As Aang, Katara, and Sokka pass beneath her, she drops a net down upon them. The girl lands and knocks them off their feet and they fall to the ground in a pile.

She brandishes a staff at the subdued trio. “Are you firebenders?” She barks. They tell her they are not.  “That’s just what a firebender would say!” They assure her they are not firebenders. They are water tribe, and Aang is an airbender. She releases them and introduces herself as Princess Yue of the northern water tribe. Sokka is impressed and bows, “your majesty,” Katara does a stiff movement she would call a curtsey. Aang recognizes the staff and grabs it but Yue holds fast. It’s a sacred air nomad staff, it’s not to be touched by outsiders. Yue is nonplussed. Sokka tells Aang that he can’t speak to a princess like that. Aang takes a deep breath and bellows, “LET IT GO!” His voice echoes in the halls. Yue lets go of the staff.  Aang apologizes for yelling and inspects the staff. Yue never got the names of the other two, Sokka and Katara. Yue is incredulous, “You are Sokka and Katara!? Your father saved my life! Hakoda’s ship arrived at our capital a year ago and he was granted audience before me and my father. My father refused to help, and, I had to make a choice. I ran away and boarded your father’s ship in secret with the moon scroll.”

“We’re going to reopen the moon portal!”

But where is their father now? “He was taken prisoner by the fire nation. The last thing he said was he’d be a boomerang, but, I never got to ask him what that means.” “Means he’ll be back,” Sokka explains. He shows her the boomerang his father gave him when he left. Aang asks her how she got here. Yue continues, “I was found by a fisherman and made my way south. I got marooned here about a month ago after my ship sank. Been looking for a way off ever since, but there’s so many fire nation... We could fly to the south pole on a sky bison, though.” Someone’s stomach growls. Katara admonishes Sokka. It wasn’t him, it was Aang! Yue calculates that there is enough time to eat.

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The air temple orchard is overgrown, though a thousand years of tending have given a sense of order to the older trees. Aang hopes they like mountain peaches as he hops high in the air and grabs one. He lands and hands a peach to Katara and jumps back into the air. Sokka, asks her for it, salivating, and Katara licks it all over, much to Sokka’s chagrin. Aang lands with an armful of peaches and one in his mouth. He hands them out. They sit and enjoy a moment of peace.

Yue asks how the boomerang works. Sokka hands it to her and instructs her how to throw it. She does her best, but it is a terrible throw. She puts her hands up to her mouth and yells “Come back!” Sokka offers to go get it, but she should, she threw it, and they both end up going together. When they find it, Sokka throws it to demonstrate. Yue commends him on the throw. Sokka smiles goofily and gets lost in her eyes. They smile at each other and the boomerang runs smack into the side of Sokka’s head and he yelps in pain. Aang and Katara come running. Though he’s bleeding and wincing, Yue laughs and says it’s nothing a waterbender couldn’t heal. Katara isn’t sure what she means. Yue furthers, waterbenders can heal, she thought everybody knew that, especially waterbenders.

Yue pours some water into Katara’s hands. Katara is unsure what to do so she waterbends the water onto Sokka’s cut. Nothing happens. She closes her eyes and concentrates. The water releases a soft glow. Katara gasps and her eyes pop open. The wound has closed and there is no scar. Yue tells Katara that she just did some high-level bending. Aang lights up, he knows where the airbenders are.

Aang leads them to an intricately carved door. If the airbenders are hiding, it will be here. They have storerooms and water reserves deep in the temple. It’s his last hope. Only high level airbending can open this door, he reveals, and he bends two focused currents of air into the large doors' ornate locking mechanism, and a strange hauntingly beautiful tone resonates. The locks disengage, and the doors open slowly. Aang walks into the darkened room as Katara, Sokka, and Yue follow him.

Aang calls out to the airbenders. The room is pitch black and his footsteps echo. Katap. Katap. Katap. Skrit. He steps on something. It is a wooden medallion. He picks it up and flashes back to a happy looking older airbender monk: Gyatso, wearing medallion on a necklace.

Monk Gyatso is Aang’s sensei. Aang in the flashback has no tattoos yet and runs up to him calling his name and they embrace. Gyatso leads Aang out of the wind lock doors and onto the terrace before it.

Flying bison of all sizes fill the sky above. Gyatso tells Aang to call to him. “Appa!” Aang yells. Appa roars and dives down to Aang leaving his siblings and his much larger mother behind. Appa nuzzles and licks Aang as he laughs and laughs and laughs.

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The memory fades as Aang’s eyes adjust to the shadows. He sees a sky bison skull among bones and piles of soot and ashes, all over the room. Firebenders were here. Katara gasps. “Oh no.”

Aang falls to his knees. He is not alright. His eyes and tattoos light up. Wind begins to circle around him. Sokka freaks, “Is he glowing? How is he glowing?!” Katara calls for Aang. The winds get faster and faster, lifting Aang into the air. Yue makes them take cover. The soot and bones in the room get caught up in the whirlwind, disintegrating into brown and black dust and debris. Aang’s eyes, emanating white light, widen. The swirling blackness closes in on him. He shuts his eyes and pushes the darkness away, forcing all the ashes out the temple. Aang stops glowing and he drifts to the ground.

Outside, the ash cloud drifts away.

Yue, Katara, and Sokka cough around the corner. Katara runs to Aang and takes him into her lap. He stirs. It really has been one hundred years. She cradles his head and opens up to him that she and Sokka lost their mother to the fire nation. Even though his people are gone, he has found a new family: herself and Sokka. He looks Katara in the eyes and tells her with conviction that he will never firebend. Never ever. He sits up and hugs Katara as she mulls his statement.

From their ships, the firebenders notice the ash cloud drifting down from the temple as they pull into the harbor of the fort. Something must be going on. They form a squad of male and female fire nation soldiers fresh from the base. Zhao tells Iroh that he is too old and slow for this mission and Zuko is free to stay behind as well, if he doesn’t think he can make the climb. Zuko is ready. Iroh warns Zuko that Zhao is not to be trusted. Zuko assures his uncle, he can handle Zhao. From the battlements, Iroh watches the troops begin the hike. He puts on a cloak and sneaks out after them.

Later, the sun sets over the mountain peaks. Aang and the others bring flowers to a stone alter. The medallion sits in the middle of it. They pile the flowers around it. Aang sets a peach down with the flowers and steps back. Peaches were Gyatso’s favorite, he tells them. He closes his eyes. They all do. Aang gives the airbender prayer of mourning. The sound of wings. They open their eyes and a winged lemur eats the peach on the altar.

Aang laughs, a long clear laugh as he takes the lemur, lazily eating the peach, into his hands and names him Momo. The wind blows through the flowers.

Night falls. In a clearing in the orchard, Aang strokes the sleeping lemur as Sokka builds a fire and Yue puts peaches on the ends of sticks. She pokes fun at his fire building technique. Sokka has been building fires his whole life. Yue retorts that she’s only been doing it for the last year and she’s already better then him. They race to light the fire and Yue wins, but just barely. “Best two out of three?” Yue asks Sokka with a cheeky smile.  Katara returns with a bucket filled with well water.

The peaches roast on the sticks as the fire casts an amber yellow on the kids’ faces. “So, are we going to talk about what happened?” Sokka asks. Yue and Katara avoid his line of questioning. Sokka extrapolates, “Aang was glowing. I haven’t heard of a glowing person before.” Aang is silent. Yue speaks up, “I have.”

“When I was born I was very sick and very weak. Most babies cry when they're born, but I was born as if I was asleep, my eyes closed. They told my mother and father I was going to die. That night, beneath the full moon, he brought me to the spirit oasis and placed me in the pond and pleaded with the spirits to save me. I began to glow and my hair turned white. I opened my eyes and began to cry, and they knew I would live. That's why my mother named me Yue. For the moon.”

Yue explains that Aang must be filled with immense spiritual power. Aang is silent. Sokka pipes up that it was the same light from when Aang came out of the iceberg. Still Aang is silent. Katara scoots closer to him and prods him why he told her he would never firebend. She asks him if he is the avatar. Aang stands, surprising the lemur and it scurries away. He never wanted to be the Avatar. He only ever wanted to be normal and play airball with the other kids. He didn't ask to be the avatar! They were going to send him away, to the eastern temple where he would be safer. Which means he was in danger.  Avatars aren't supposed to know they are the avatar until they are 16 because: what if they told you, you were supposed to save the world at twelve years old? That’s why he ran away. He was going to come back but ran into a storm and somehow he lost 100 years.

Sokka is confused, if he's the avatar, how come he can’t bend the other elements? Aang doesn't know how yet.

Yue smiles. Out of her pack she produces the moon scroll.

In it is more than just how to open the moon gate, but also advanced waterbender techniques as well. She gives it to Aang and suggests Katara give him his first lesson. Sheepishly, Katara unravels the scroll. There’s writing, but she doesn't know how to read. Aang and Yue are taken aback by this, but Sokka doesn’t know how to read either. They have chores all day, there wouldn't be any time for reading, even if they had books. Yue sadly remarks that everyone in the Northern tribe knows how to read and apologizes that life in the south has gotten so hard. Aang comes closer and reads the scroll to Katara. Water is the element of versatility. It is a liquid, a solid, a gas. Gifted waterbenders can even be healers. He smiles and Katara blushes and Sokka touches his head where the wound would have been. Water is Tui and La, Push and Pull, and the earliest waterbenders learned how to push and pull the ocean like the moon with its tides. The moon is the source of power for all waterbenders and they are strongest when the moon is full.

They look up at the moon above. Aang remarks that they will be really strong tonight. Yue informs Aang, it's almost full. It's waxing, it will be full tomorrow. Katara admits that from studying the drawings, she doesn't know any of these moves. Aang asks her what she does know. She smiles. She takes him by the hand down to the well. Katara thrusts her hand out over the edge of the well and instructs Aang to do the same. She moves her hand up and down. Aang isn't sure but she tells him to feel the water, even though it’s not attached to his body. Splashes echo out of the deep. Katara says “Ok, I'll pull it and you push it.” Splash. “Ok, now you pull it and I push it.” Splishy splash. He feels it!  Katara asks Aang to pull the water up with her. Aang is surprised on how it's almost like air, but heavy.

Together, they lift a large ball of water high into the air. Aang chuckles and starts pushing it over Katara's head, he lets go. Katara closes her eyes and shrieks but opens them when she realizes she's holding up the water by herself.

She celebrates and loses her concentration and drops the water and gets soaked. Aang laughs and she douses him with the puddle around her. Aang laughs again and dries himself off with a whirlwind. Katara, drenched, asks if he could dry her off too. He tries. Her hair is swept back and poofs out. They both laugh. They gaze into each other’s eyes. Between their faces, the light of the campfire sparkles in the distance.

The campfire suddenly flares up a pillar of fire 10 feet high. Sokka yelps. Aang and Katara turn to face the flames. A rustle behind them. Fire nation soldiers! They throw their spears. Aang whisks Katara down behind the well with him. Katara begins to panic. Aang tells her to use the water.

They lift a spout out of the well and repel the foot soldiers. They run towards the campsite. Yue and Sokka are held captive by elite firebenders while Zhao taunts her. He’s been looking for the princess’s hiding place. Zuko concludes she’s the reason he’s locked down the southern sea. Zhao nods.

Katara and Aang come running to a stop. Zhao is immediately taken by the air nomad boy. Where did he come from? Where are the other air nomads? Zuko wastes no time in taking Katara prisoner. He advises her not to struggle. Zhao stares at Aang while confirming with Zuko that the girl is indeed the Avatar. She's the one from the village, the one waterbender in all the south, therefore, she must be the avatar. Aang shouts that she's not the avatar. Zuko sizes up the air nomad boy. Then who is? Katara tries to stop him but Aang tells them that he is. Zuko retorts that he couldn't possibly be the avatar, he’s just a child! Zhao isn't so sure. The avatar would be over a hundred years old, Zuko reminds Zhao, they have the princess, they have the avatar, but if he wants to waste his time with an air nomad liar, he is welcome to. Zhao willing to be convinced, leaves Aang.

Soldiers take Katara, Yue and Sokka and form ranks.  

Aang drops out of the sky in front of the squadron. He declares himself the avatar and points his staff at the firebenders. They laugh at him. He calls for Appa. From above, Appa roars, then dives and the solders duck and cower. Aang makes an air scooter and zips through all the solders like a pinball. Appa lands where Aang was standing and charges the soldiers with his horns, they scramble to their feet to fend off Appa. Some run. The distraction gives Yue the chance to escape. She knocks her captor in the gut and off of her and throws him into Sokka's guard. Aang takes out the bender holding Katara, and they struggle to get the chains off.

Zhao calls for the men to form rank. Someone yells, “the prisoners are escaping!” Zuko and Zhao leap into the chaos. They arrive to hear Aang give up on getting the chains off of Katara and that they need get to Appa to escape. Zhao is a clever man, he turns and runs to Appa, manifesting a fiery whip in each hand. Zuko fire charges into the group and separates Katara from the rest. Aang spins in and spins Katara out into Yue and Sokka’s arms. Aang and Zuko duel. Katara won’t leave Aang so Sokka picks her up and puts her over his shoulder. Katara begs Sokka to stop, but then changes her mind and tells Sokka to take her to the well. Yue tells them she will get the key to the shackles and joins Aang against Zuko. Appa runs about the courtyard chasing a hapless soldier in circles until Zhao faces off against the beast.

Aang dodges Zuko’s fireball as Appa wails in fear from afar. In his distracted moment Zuko gets past Aang but runs right into Yue. Aang is torn, does he run to help Appa or Yue? Yue tells him that she’s got this, and he goes to rescue Appa from Zhao’s torment. Yue gets in close, Zuko is on the defensive. He dodges past her, and she doesn’t follow. She has pickpocketed the key.

Sokka and Katara are at the well and Katara is bringing up all the water she can with her hands behind her back. Zuko comes racing towards them. Sokka screams and Katara throws the water at Zuko, and completely misses him. Katara asks if she got him. Zuko didn’t even get wet. Sokka throws the boomerang and Zuko has to duck. Zuko rises to his feet and the boomerang comes back knocking Zuko’s helmet. The water pools by Zuko’s feet as he fixes his helmet and with menacing rage makes fire daggers in his hands. Katara closes her eyes. She spreads her fingers then clenches her fists with a quick breath out and the water freezes and Zuko feet are frozen to the ground. Yue slides by Zuko on the ice twirling the key on her finger.

Yue unlocks Katara’s shackles as, in the distance, a blast of fire. Appa roars and flees into the air. Aang screams his name as he runs after him, but Appa won’t come back.

Zhao turns to Aang with a sadistic look in his eyes and a fiery whip in each hand. Katara, Sokka, and Yue come running. They try to convince Aang he has no other choice, he has to run. If he’s captured, who will save them? Fire nation soldiers begin to compose themselves surrounding the group. Zuko, fuming melts his feet. Aang pops the wings out of the staff. It’s also is a glider. He runs and takes flight on the orchard path. Zhao barks a command and all the firebending infantry call out and punch the sky sending fireballs into the air above and beyond and all around Aang. The fireballs arc in the sky and land all over the temple. The peach trees left and right burn and Aang lands among them. The sight of temple burning sends him into a rage. Aang glows. The wind picks up and blows all the fires out. Zhao and Zuko see. He is the avatar. With the fires out, the avatar spirit leaves Aang and the light of his tattoos fade and he lands. Zhao and Zuko race towards him; the chase is on.

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Aang runs through a large archway and into a great stone rotunda with a corkscrew staircase in the center. He runs at the speed of wind up the staircase to the top. Zuko and Zhao are hot on his heels. At the top of the stairs there’s a hallway and at the end of the hallway Aang finds the door to the jump room locked. Zhao leisurely jogs, beast like, up the stairs. Zuko fire leaps up the sides to just beneath the top.  Zuko grabs the edge of the top with the tips of his fingers. He pulls himself up. Desperate, Aang hits the lock with the staff and it breaks open. The door swings off the hinges to a launch pad at the top of the mountain just above the tree line. With freedom before him, he turns around and faces Zuko as the prince rises to his feet.

Zuko promises Aang that if he comes with Zuko now, he and his friends will be unharmed. Aang asks how he can trust Zuko. The fire nation invaded and killed his people. Zuko retorts it was the airbenders’ aggression and illegal settlements on Fire nation land that brought this upon them. Aang claims the airbenders are pacifist. Zuko clarifies then, that Aang won’t just windblast him off and takes a step forward. Aang also takes a step forward. The people who lived here were mostly children. He accuses the fire nation of genocide. Zuko doesn’t want to believe it, but Aang’s conviction has awoken what he knows to be true, and he falters. Aang is still very vulnerable and emotional. His tattoos light up, his eyes glow, the wind rustles around his clothing: the avatar state emerges.

Zhao comes around the corner, not even out of breath. He sees Aang’s glow and smiles his crazy smile and charges Aang. Under the state of the Avatar, Aang is stiffer, more confident. He sends a blast of air with his staff down the hallway at Zhao, knocking him off the stairs. Zuko jumps after him and catches Zhao’s hand and saves him from falling. Zhao glares menacingly at Zuko as he pulls him up. The Avatar spirit fades as Aang realizes he just attempted murder. His actions horrify and confuse him. Tears stream down his face.

Zhao kneels, winded from the air blast. Aang turns to flee. Zuko takes off after him. Aang activates his glider and throws it out the window and leaps out after it, catching it and the wind. For a second, it seems like he’ll get away but then Zuko jumps after him at full speed and grabs hold of his legs, causing them to spiral and crash in the clearing below. Zhao approaches the edge and looks down. He jumps off. Aang and Zuko lie in a crumple before him. Aang tries to get up, but he can’t. Zuko is also injured. Zhao gags Aang and shackles his hands and feet. He goes to Zuko and helps him up. Zhao compliments him on his willingness to sacrifice everything, maybe they aren’t so different. Zhao throws Zuko towards the edge of the cliff and fireballs him off. 

Aang watches, in a daze, as Zuko disappears into the forest below. From afar, Iroh is lit up by the light of the fireball. Zhao lumbers back from the edge and picks Aang up and over his shoulder as Aang passes out. Darkness.

A knock on a heavy iron battleship door. Iroh opens it and stands in the doorway. A messenger tells Iroh to hurry, there’s been an accident with the Prince. Iroh pushes through the crowd to the deck of the boat where Zhao meets him. Zhao proclaims to Iroh that the avatar threw the prince off a cliff. A search party is to be sent immediately to find his body for proper burial. Iroh spits and claims he never liked the sullen prince who had no respect for his elders and they can leave the body on the mountain for all he cares. He asks if the Avatar is in custody. Aang, gagged and bound, is carried by two large soldiers. Iroh leads them into the bowels of the ship. The battleship is a marvel of engineering and the prison for the avatar is state of the art. Even so, Zhao expected more. Iroh states that it’s mobile, self-sufficient, heavily guarded, and the safest place for the avatar to be.  

In the avatar’s cell, Zhao has Aang’s arms chained up and his legs chained down. Iroh gets into Aang’s face, “So this is the great Avatar. Master of all the elements. I don't know how you've managed to elude the Fire Nation for a hundred years, but your little game of hide and seek is over.”

Zhao ungags Aang and asks him how it feels to be the only airbender left. “Do you miss your people? Don't worry, you won't be killed like they were.” Zhao turns to leave. Aang takes a deep inhale and breath blasts Zhao, knocking him to the floor. Zhao is triggered, and fiery. Iroh helps bring him under control. Zhao tells Aang, “Blow all the wind you want, but your situation is futile. See, if you die you will just be reborn and the Fire Nation would have to start searching all over again. So, I'll keep you alive, but just barely.” Zhao leaves in a huff. Uncle Iroh glares at the remaining guards and asks for a minute alone with the thing that killed his nephew. They oblige.

Iroh approaches Aang. Aang shies away, but Iroh lays a gentle hand on his shoulder and assures him he is not like the others. He reveals that he knows Aang didn't kill Zuko but that it doesn't matter because no one will believe Aang anyway. Aang asks what's going to happen to him. Iroh assures Aang that when the time comes, he will help Aang escape, but first, he needs Aang's help. He needs to know about the waterbending girl.

In the prison hold, Katara sits comforting Grangran. Grangran is babbling on about how the fire nation came not long after they left and rounded up the villagers onto their ships but Katara's eyes fix on Sokka. He’s worried about Yue. Katara thinks they should be worried about all of them. A guard rattles the door and tells them to shut up. Iroh enters, carrying a bucket of water. The guard tries to stop him from entering the cell but Iroh tells him the orders are from Zhao. The prisoners haven’t been watered all day. Besides, Iroh asks the guard if he thinks the dragon of the west can’t handle one young waterbending girl. The guard apologizes and opens the door. Iroh enters the cell, kneels, and takes out a ladle and invites the villagers to drink. They do not move. He drinks some water himself. Sokka takes the bucket and gently helps Katara quench their grandmother’s thirst. The bucket is passed around and Katara brings the empty bucket and the ladle to Iroh. He tells her, “Katara, I have spoken with Aang.  He needs you to come with me.”

Iroh takes Katara into his cabin. On the bed, Zuko lies suffering, his stomach wrapped in bandages from Zhao’s fireball. Iroh asks Katara to heal him. Katara doesn’t want to, Zuko put shackles on her and he is after Aang. Iroh understands why she wouldn’t want to. Zuko attacked her, he’s an angry young man, he’s fire nation, but he’s the only good thing in Iroh’s life. Maybe she can see past the anger and the pain and see that he has suffered at the hands of the fire nation, too. Katara eyes the scar on Zuko’s face.

Reluctantly, Katara dips her hand in a bucket by the bedside. Water clings to her hands and she brings them to Zuko’s bandages. The water glows for a few moments and Zuko is soothed. Katara asks to be taken back to the cell. Iroh sneaks Katara through the ship. He takes her back into the prison hold and in with the rest of the villagers. As he locks them in, Sokka asks him about Yue. Iroh tells him, she is with Zhao.

In Zuko’s former quarters, Zhao sits beneath a rack of twin swords, eating a feast alone. Yue is escorted in. She has been bathed and dressed in her gown from the night she left the north. She is seated in front of Zhao. He invites her to eat. He tells her about the captain who found the dress of the northern water tribe princess on a water tribe boat headed for the south pole. Yue asks what Zhao wants. Zhao wants peace, a permanent peace with the water nation. The southerners have wasted their land, like the earthbending savages and the airbenders before them. The north will be safe, it’s water, the fire nation doesn’t want water. The southerners can move to the north. Yue doesn’t understand. Zhao tells her, he’s going to help her open the moon gate. Isn’t that what she wants? Yue asks about the avatar. Zhao tells her she can either leave here and return home with her people or join him in prison. Yue wants to know where her people are. Zhao will take her there.

The prison hold door is flung open. Zhao leads Yue to the southern people. She sees them locked in a crowded cell. She announces that they will all be taken to the North Pole as her new subjects. Zhao will allow them to open the moon gate to let the water tribe members through to their sister tribe. However, the southerners will never return to the south. This news is upsetting, the south is their home. Yue assures them, this is their only option. Zhao tells the Princess its time for her to return, Yue asks to stay. Zhao locks her up in with the rest of the tribe. A soldier enters the hold and tells Zhao they have the beast.

On the deck of the ship, fire nation soldiers struggle to restrain Appa with ropes. Zhao appears. Appa wails and struggles harder. Zhao delights in his fear and what a fine present Appa will be for his bride to be. They take Appa below deck and set sail. Momo watches from the walls of the fort. He glides down and reaches the battleship and crawls through a vent in the side of the ship. He hears familiar voices, Sokka and Yue huddled close. Sokka asks her what the north is like. Yue tells him that it’s different. She has responsibilities, she’s betrothed. Sokka doesn’t understand she’s to be married.

Yue asks if she can do something she’s wanted to do since she first saw Sokka. He nods and she kisses him. She curls into his little spoon as he holds her. Momo gags and continues through the vents.

Momo passes by Iroh and Zuko in his cabin. Zuko is feeling much better after being healed. Iroh tells Zuko that Zhao captured the bison and maybe they can use him to gain the Avatar’s trust. Zuko bets that if the Avatar escapes under Zhao’s command, it will be a huge blow to his plans. There is a knock at the door. Zuko hides in the closet. Iroh answers, it is Zhao. Zhao wants Iroh to know that he grieves for the prince and they will want to get word to the fire lord, but first, Iroh is invited to the north pole, as Zhao’s advisor. Iroh asks if Zhao meant the south pole and Zhao smiles and leaves. Zuko peeks out of the closet as Iroh shuts the door.

Momo continues on through the vents. Finally, he finds Aang’s cell. Aang is delighted to see Momo. Momo gnaws at the shackles at Aang’s feet, to no avail. He curls up around Aang’s neck, giving him comfort deep in the bowels of the battleship.

https://www.popularmechanics.com/adventure/outdoors/a19228/ice-breakers-coast-guard-great-lakes/

Late day, over the icy seas, icebreaker ships take the battleship as far south as they can. The firebenders load sleds and snowmobiles with their prisoners for the south pole. Katara is lead out, the only prisoner in full shackles and even a muzzle. Iroh walks down the gangplank after the last of the prisoners. He passes a soldier, there is a familiar scar beneath the helm. The two nod to each other and Iroh joins Zhao on his sled. The fire nation troops take off, roaring into the distance.

On the ship, a soldier stands guard outside of Zuko’s former room. There is a clanging at the end of the hallway. The soldier investigates and is incapacitated by a masked man. The man enters Zuko’s old quarters and stares at the twin swords on the mantle. The door is left ajar and the swords above the mantle are gone.

Down in the prison hold, four guards play a game in front of Appa’s cell. One of them asks why they need so many men to guard this beast. Another guard tells him, that he’s a gift for Princess Azula from Zhao just as Aang will be a gift to the fire lord. There is a bang down the hall. The guards all jump at the noise.

The helmet of a Fire Nation soldier rolls down the hallway toward them. When one guard investigates alone, the other three suddenly see a flame erupt from the hallway and hear the muffled sounds of combat and of chains being strung up. When two more guards follow after him, they find their companion strung up with his hands to the ceiling. The masked man, clinging to the ceiling, wraps a chain around a hand of each guard and drops down, simultaneously pulling the guards up. The last guard standing in front of Appa’s cell, having heard the scuffle, takes his horn to sound the alarm, though before he could blow the instrument, it is knocked out of his hands by a well-aimed knife. Noticing a figure running toward him, he firebends, though the masked man extinguishes the fire by throwing water and proceeds to sweep the legs from underneath the guard with the bucket. *

Appa groans in interest as the masked man offers him some hay.

Inside his cell, Aang hears a commotion and eyes the door with apprehension. Momo hisses at the door as the lock is being turned. Aang gasps as a masked figure enters with dual broadswords. Momo attacks the figure and is easily subdued when the figure reveals Appa in the hallway. The man unlocks Aang’s chains and retreats to Appa without saying a word. Aang asks him who he is, what is going on, and wonders if the man is there to rescue him. The figure does not respond, and they are interrupted by the sound of the alarm. He signals for the Avatar to follow him. *

Aang, Momo, and the masked figure ride Appa through the halls of the ship. They burst through the door to the deck and are surrounded by soldiers. The masked man draws his swords but Aang yells, “yip-yip,” and they take to the sky. Firebenders all around them shoot projectiles the sky bison dodges or are deflected by the swords. The soldiers’ last hope is artillery that they point at the escapees. FIRE! A rocket heads directly towards the bison. The masked figure taps Aang on the shoulder, but Aang is concentrating. The figure shakes him. Aang sees the rocket but doesn’t know what it is. The figure unsheathes his swords and throws them at the rocket causing it to explode and sending the riders tumbling through the sky in the resulting shockwave. The firebenders below argue about who’s idea it was to shoot the rocket. Gaining his senses after the blast, Aang whirlwinds himself onto Appa’s back. They dive and catch the masked man in Aang’s arms. Momo lands on Aang’s shoulders as the mask falls off the man, revealing him to be an unconscious prince Zuko.

At the south pole, the ruins of the former southern capital are jagged and jut harshly from the surrounding icy waste. Zhao investigates the moon scroll as firebenders race to cut blocks of ice. They stack ice block onto ice block to rebuild the portal according to the scroll. When it is finished, it looks like a tunnel that leads into the side of a wall.

Aang lands Appa on the icy terrain. The tracks of snowmobiles run deep and are easy to follow, but that’s not his issue. Zuko lies motionless on the ground. Aang’s gaze follows the tracks into the distance, then returns to the unconscious Zuko. He can’t just leave him here.

At the south pole, Zhao watches the sun set. He orders Princess Yue to open the moon gate. She can’t. Only a waterbender can. All eyes turn towards Katara. They unshackle and unmuzzle her.

Katara approaches the rebuilt portal. It looks rough and raw in the twilight. She waves her hands over the ice. No change. She does again, but nothing happens. Zhao’s face darkens. He barks an order. The water tribe villagers are pushed to their knees as firebender soldiers brandish flames at them. She tries again and again to use her powers on the portal, but still, it does not respond.

Katara cowers. Zhao approaches her, his fury palpable. He suggests she try again. She doesn’t know if she can open the portal. He sneers that he hopes, for her family’s sake, that she is wrong. He snaps his fingers twice and Grangran is dragged forward. Zhao commands her to open the gate, and though Katara tries, she still can’t do it. Zhao scowls. He looks over at the villagers and spies Sokka. He orders Grangran returned to the others and Sokka to be dragged forward next. Katara begs Zhao. He orders her to open the gate. Sokka tells her that it’s okay, and that he loves her. Grangran yells that she believes in Katara. Yue joins them. The whole village shouts encouragements. The sun disappears over the horizon. The light of the moon is the only light in the sky. Katara closes her eyes and waves her hands once again. Nothing happens. Zhao makes a fireball in his fist and approaches Sokka.

A villager shouts and Zhao turns. A soft light creeps over each ice block until the entire arch is shining. The shining abruptly stops and the blocks have fused together. Zhao investigates.

In the darkness of the tunnel, one can see the moon, hanging in blackness, illuminating a path to a distant archway. Zhao laughs, an evil laugh. Yue stands and bids the southerners to follow her to the north, but Zhao stops them. Elite firebenders take hold of Yue, while others put Katara back into shackles and muzzle and lump her in with the villagers. Yue spits at Zhao for turning against his word. Zhao takes her personally into custody and leaves the rest of the water tribe with the elite guard as he and a small team, including Iroh, lead Yue through the portal.

As they walk the moon’s path, Admiral Zhao sinisterly tells General Iroh that they are in the process of writing history, as they will be destroying the last of the Water Tribe civilization. Yue is aghast at Zhao’s machinations, and Zhao has her gagged. Iroh warns Zhao that history is not always kind to its subjects, Zhao condescendingly assures him that this will not be like Iroh's legendary failure at Ba Sing Se; Iroh ominously tells Zhao he hopes not, for Zhao's sake. The firebenders and Yue reach the end of the path and find themselves in the throne room of the northern water tribe. *

Iroh confirms their location and inquires if it is wise to attack during the full moon, as waterbenders draw strength from the moon. Zhao states that he is aware of the problem, and that he is working on a solution. As he reveals a secret door behind the throne, Zhao explains that years earlier, while serving as a young officer in the Earth Kingdom, he stumbled on the secret of the Moon and Ocean Spirit's mortal forms in an underground library. When he declares it is his destiny to kill the moon spirit, Iroh angrily informs him that the spirits are not to be trifled with. Condescendingly, Zhao tells Iroh he has heard tales of his journey into the Spirit World and assures him that the Moon and Ocean Spirits, having made the decision to give up their immortality to be part of the human world, will face the consequences of that decision. *

They descend down the passageway behind the throne to the spirit oasis: a small bamboo forested pool in a glacial atrium. A low voice is heard up ahead. Zhao puts his fingers to his lips and the firebenders sneak in the shadows. Chief Arnook, Yue’s father, prays to the moon for his daughter and his people. The light of the full moon shines brightly above. When he finishes, he asks an older man, Master Pakku, to escort him back. Zhao reveals himself and his prisoner, Princess Yue. Pakku squares up but Arnook orders him to stand down.

Zhao commends the chief for his wisdom and releases Yue to him. Arnook ungags her and Yue tells him that Zhao means to destroy the water tribe by killing the moon spirit. Arnook and Pakku share a look.

Arnook is incredulous that Zhao could kill the moon, whose bed is the sky and the horizon, but Zhao assures him confidently, that the spirits are close, closer than he thinks. He gestures to the pool, two koi fish swim around each other. Yue is in disbelief that Zhao thinks the fish are the spirits, but Arnook and Pakku are silent with secret knowledge.

Meanwhile, at the south pole, Katara breaths through her muzzle, now hoary with frost. A firebender yelps and points at the sky, it’s Aang riding Appa. The firebenders form a defensive perimeter. Katara takes her chance, she ices the locks to the point that they break and she frees herself from her bonds. She begins taking out firebenders as Aang does the same. The firebenders run to their snowmobiles and sleds and retreat. Katara throws off the muzzle and hugs Aang as Sokka inspects the gate. He runs through it, after Yue. The rest of the southerners follow with trepidation. In the palace, Sokka begins to call out. He sees the door ajar behind the throne. Sokka finds it out of place and passes through it. Katara and Aang ensure all the remaining southerners go through the portal. Aang shows her Zuko on Appa and they decide to leave him in the south.

Suddenly, as if he had been conscious for a while, Zuko makes his move and attacks. Katara trounces him. She freezes him in a block of ice and she and Aang and Momo try to pull Appa through the moon portal. Appa resists; after being cooped up in the ship, he is not interested in going through a small door again.

Sokka sneaks down the path to the spirit oasis. Zhao arrogantly applauds his own efforts to fulfill his "destiny", speculating as to which names by which future generations will call him. From the shadows, Sokka makes eye contact with Yue. He retreats to get help.

A water tribe scout on an ice tower watches the fire navy ship’s blockade. It’s nothing unusual.

Katara and Aang desperately pull Appa with a rope onto the moon path. Zuko the ice block begins to steam.

Zhao takes a burlap sack and charges into the water. After a moment, he rises with the fish in the bag. As he hoists it over his head in triumph, the full moon above transforms, turning from white to blood-red. *

The scout sees the red moon. His waterbender comrade in arms reacts: he can no longer waterbend.

On the moon path, the moon and path are red in the blackness. Katara feels weak. She collapses. Aang releases Appa’s rope and helps her up. Appa pulls back into the open air on the south side. Aang hobbles Katara over to the north side and lays her down in the throne room. He tells Momo to watch over her, he has to go back for Appa. The path beneath him cracks and Katara tells him to hurry. Aang runs through the gate to the other side. Before he can make it to the south, a shadow appears in the doorway and fireblasts him back. Prince Zuko who corners Aang in the disintegrating moon path.

Yue begs Zhao to release the moon spirit. The chief holds her and comforts her. Iroh pleads with Zhao to consider his actions: they will bring harm to all, not just those in the Water Tribe. Reinforcing the point, Iroh promises Zhao, "Whatever you do to that spirit, I'll unleash on you ten-fold." Zhao confirms what he knew all along, that Iroh is a traitor. To save the moon spirit, Arnook offers Zhao the unconditional surrender of the northern water tribe.

Water tribe warriors swarm into the throne room and surround the villagers coming through the portal. Sokka appears in the door behind the throne and bids them to follow him. The arch of the moon gate begins to crack and Katara yells for Aang. Zuko’s firebending keeps Aang on the pathway guarding the south door as it splinters here and there.

Zhao confirms with Arnook, that he has his unconditional surrender and releases the fish back into the water. The moon turns white. Everyone, the water tribe scouts, fire navy sailors, Sokka, Katara, Aang, Iroh, and even Zuko is relieved. The floor beneath Aang and Zuko solidifies again and Zuko takes a defensive stance.

Zhao watches the fish swim. Something dark and unsatisfied crosses his mind. Without a hesitation, he fire blasts the white fish.

Iroh watches the fire bolt hit the moon spirit in horror.

On the moon path, the full moon above Aang goes out like a light. The path beneath Aang and Zuko disappears and Aang falls into darkness. Zuko jumps to the southern portal and pulls himself through as the pathway vanishes behind him leaving an empty black tunnel.

Katara yells for Aang, and approaches the portal, but the portal in the north now ends in an icy wall.  Momo scratches desperately at the wall.

The scout blinks in the darkness. He is at a loss. One by one, on the horizon, the fire navy blockade lights their trebuchets. They fling fiery projectiles in waves. The scout blows his horn.

Appa huffs at the gate. Zuko tries again and again to jump through the threshold, but without the moon, the gate is shut. Zuko lights the sky up with his fire blasts.

Iroh bellows and lunges on Zhao. The elite squad do their best to protect Zhao but are subdued by Iroh’s fury. Zhao realizes he might be in trouble and flees up the ice wall, his fingers sinking like molten rods into the ice to climb his way out through the opening above. Iroh falls to his knees and mourns the spirit with the chief and Pakku and Yue. Sokka returns with warriors and villagers. The first round of trebuchet projectiles hit the palace and bits of icy debris fall from the ceiling. Grangran pulls Katara wailing for Aang to the safety of the path to the spirit oasis and down to join the others. The northern water tribe capital is in chaos. The dead white fish is prodded by the living black fish.

Aang floats in darkness thick as water. A giant black koi fish finds him and swallows him.

Katara clutches Momo as a ripple in the water breaks the stillness of the spirit oasis. Aang rises out of the water in the avatar state.

Katara is filled with joy, but Aang does not respond. He rises into the sky. Ice and snow from the land and sky begin to swirl around him and envelope him the form of a giant snow-white koi fish. The fish swims through the air out over the bay and dives into the water between fire navy ships. They are hit with a minor wave, but the sailors braced themselves. The snow fish becomes slush and the fish shape decompresses, filling the seas. Then the shape recollects and rises pulling all the water with it. The ships try to flee but are caught up in the gargantuan shape. The rocky bay beneath is revealed as some ships are beached on the seafloor. The water pillar takes a vaguely humanoid fish shape.

It collapses, and the navy ships are tsunamied away.

Back at the spirit oasis, Iroh notices, with astonishment, that Yue has been touched by the Moon Spirit, and that as a result, some of its life force is within her; Yue affirms the conjecture, then decides that she should try to restore the spirit to life by giving hers to it. Her father, upset by this idea, protests, but she is unmoved by him. Sokka takes her hands into his own and assures her there has to be another way. She calmly replies, "I have to try," and places her hands on the dead fish. *

The fish glows as Yue’s spirit leaves her body, she closes her eyes, exhales one last time, and collapses into Sokka's arms, dead. *

Moments later, Yue's body evaporates, and the fish, suddenly filled with life, swims into the oasis, looking for its partner. Floating, Yue appears above the water as a spirit, clothed in a flowing white dress. She tells Sokka that she will always be with him, kissing him one last time before disappearing; as she vanishes, the moon reappears in the sky, restoring the waterbenders' abilities. *

On the walls of the palace, Zhao sees the moon’s return and screams his frustration.

Aang fused with the Ocean spirit, in the meantime, has laid waste to the Fire Nation's navy but ceases as the moon reappears. The Ocean Spirit acknowledges the moon's restoration and, ending its violent vendetta, places Aang atop the outer wall of the city as it melts into the ocean water. *

Zhao finds a hole in the ceiling of the palace as jumps down. He has no choice but to escape through the moon portal. Except a figure blocks his way, Prince Zuko. They begin to fight. Iroh returns to the throne room and catches their duel. As Zhao and Zuko weave in and out of moonbeams let in by breaks in the ceiling. The beams seem to bend and sway as if attracted to Zhao. They wrap around him like a web of fine hair and he is stuck. Tentacles of light pull him into the air. Zuko, forgetting the duel, tries to help Zhao, reaching out a hand to him, but Zhao stubbornly refuses to take it, and he is pulled through the hole in the roof, where he vanishes in the light of the moon. Iroh puts his arm around Zuko and leads the teen back through the moon portal to the south.

Zuko is already planning, they will camp in the south and wait for the Avatar to return for his bison. Iroh looks at him sadly as Zuko begins to make camp with Appa tied up nearby. With a decisive move, Iroh unleashes a fireball that destroys the moon portal in the south. Zuko is speechless as Iroh retrieves Appa and mounts him and pulls Zuko aboard. Zuko says “uh… yip-yip” and the three lift off.

Back in the north, a drained Aang makes his way to the throne room as the rest return as well. Aang looks distraught at the closed portal’s dead end and whispers Appa’s name. The water tribe surrounds and embraces him as a group, with Katara, Sokka, Grangran, Arnook and Pakku in the center. The fire navy ships retreat out of the north and the moon glows high in the sky.

Post credit scene

In the Fire Nation, Fire Lord Ozai imparts the knowledge of Iroh's treasonous behavior and Zuko's failure to his daughter, Azula, and entrusts her with a special task as she looks up at him, a smile on her face. *

[blue-mint-winter]

Star Wars doesn’t learn from the past mistakes: LOTF and Sequel Trilogy

I already talked about how The Last Jedi is the opposite extreme of Legacy of the Force book series, now belonging to the non-canon Legends. There is a similarity in premise of both of them - set about 30 years after OT, a son of Han and Leia fashions himself after Vader and kills a family member to complete his turn to the Dark Side. This is a very general resemblance and the details of the circumstances in both stories are vastly different, from the villain’s motivation to the series attitude towards Jedi. To me however, it’s absolutely startling how sequel trilogy makes the same mistakes that LOTF made.

1. Round Robin

Both sequel trilogy and LOTF are passed from author to author. In LOTF there was an attempt at a general outline agreed between the writers, while Sequels don’t even have that, but in both cases this form of storytelling leads to big inconsistencies in the works, especially in characterization. TLJ doesn’t feel as much of a sequel to TFA as its own movie. Rian Johnson admitted there was no agreed plot and that he wrote his own screenplay before he even saw TFA. In LOTF’s case may I remind you all Karen “never read a Star Wars book that she didn’t write” Traviss and Troy “forced prequelization which makes no sense in 30 ABY and total disregard of EU continuity” Denning? Every author is pushing their own vision without much care to making the whole a cohesive story.

2. Unlimited Power

The authors in both got handed a lot of “creative liberty”. Rian Johnson said how surprised he was at his freedom to do whatever he wanted. Even if he faced opposition about some of his choices he could safely disregard it. The Story Group which was supposed to make sure the canon is unified and everything fits together completely dropped the ball. With LOTF, it was basically a Troy Denning show with his vision being the deciding factor, further reinforced by the fact that he always got to write the third, ending book in every cycle of the nine-book series. Many times I wondered if anyone was reading these books before allowing them to be published. Anyway, in both cases it looks like TPTB just told the authors: “make up some shit, I don’t care, you can go nuts”. And they did.

3. Plot over character

I mentioned inconsistency in characterization, right? So in TLJ it’s the most evident, because it looks like all the characters took a stupid pill so that the contrived plot could even take place. There’s nothing organic about their behaviour, they just acted as they needed for the plot to happen. And this is the exact same thing that happened ALL the time in LOTF, constantly. Jacen’s turn to the Dark Side which wouldn’t have happened if his character arc from NJO wasn’t conveniently forgotten and Mara’s actions leading to her death are the prime examples.

4. Characters as mouthpieces of the authors

One of the greatest sins is when you know the character wouldn’t say something, because it doesn’t suit their personality or their knowledge. Instead they act as the author’s mouthpieces, spouting the author’s views. Karen Traviss did that regularly, making the characters worship Mandalorians or say anti-Jedi propaganda. Troy Denning liberally used Luke, Han or Leia to condemn “Jacen”, also his pet character Saba was his mouthpiece. In TLJ, it’s clear that when Kylo tells Rey “you’re nothing, what did you think? that your parents were important? They were just some random drunks”, he’s not really speaking to Rey who never said she thought that her parents were important. Kylo was obviously Rian Johnson’s avatar speaking straight to the audience, mocking them for having fallen for the “Rey parentage theories” trap. Many times when Luke Skywalker opened his mouth to mock the Jedi, his past, being a hero and everything that was ever good in Star Wars, it didn’t feel like something the real Luke would ever say. That was Rian Johnson speaking through him.

5. Destruction of the old without giving anything new in return

In both cases, there’s a deliberate cannibalization of what had been built up in previous works without offering anything new in return. LOTF destroyed the EU established characters like Jacen and Mara, among others, to prop up Big Three, so they could stay main characters forever. Even the covers showed them much younger looking than they should have been at this point in their lives. Unfortunately, the values and core messages of OT were also lost to this destruction. In Sequels, we have right off the bat the denial of the final OT victory with the return of Empire as the First Order. The New Republic we’ve never ever seen is destroyed and the characters of Big Three are regressed, ignoring their character arcs from OT. This trend was continued in TLJ with its nihilistic outlook that nothing matters, for example Jedi training doesn’t matter because Rey can do anything without it anyway. Established rules of the universe don’t matter, which invalidates all the continuity, because if ghost Yoda can shoot lightning why didn’t he do that to Palpatine before? Both LOTF and Sequels really love to bring back those old characters and just kill them - see Ackbar or Coruscant World Brain (dhuryam), Han and Lumiya. Instead of building the new, the series are more concerned with bringing back the old so they can destroy it. And it’s not good and leads nowhere.

[milanmatens-blog]

Film: Ready Player One

Never, ever underestimate Steven Spielberg. That’s the biggest takeaway from “Ready Player One,” an immersive sci-fi spectacle about a future overrun by virtual reality gaming, and the world’s most famous commercial director has transformed it into a mesmerizing blockbuster steeped in callbacks to the best of them. It runs too long and drags a bunch in its final third, but make no mistake: This is Spielberg’s biggest crowdpleaser in years, a CGI ride that wields the technology with an eye for payoff. It’s also his most stylized movie since “A.I.: Artificial Intelligence,” though a lot more fun, with a cavalcade of visuals leaving the impression that he watched a bunch of Luc Besson movies and decided he could outdo them all. The result is an astonishing sci-fi spectacle and a relentless nostalgia trip at once.

Ernest Cline’s 2011 novel compensated for its literary shortcomings with a phenomenal premise, a precise futuristic vision just familiar enough to seem viable. In the year 2045, while much of the world lies in poor shape and the bulk of humanity wastes its days in the Oasis, a massive virtual reality designed by the late billionaire tech genius James Halliday (Mark Rylance, seen in flashbacks under an unkempt wig and a strange American accent) and his business partner (Simon Pegg). Diehard players wear avatars of their choosing as they roam through the Oasis’ sprawling galaxies, engaging with a plethora of pop-culture reference points (Batman! Transformers! “Back to the Future”!) that inspired geeky Hallidan, an ’80s kid who probably grew up on Spielberg movies, too. The premise is ideally suited for a pricey studio production: The bulk of its scenes unfold in a digital world, opening the floodgates for an overwhelming CGI pileup that steals from revered big-budget movies because that’s what the players do, too.

Spielberg and screenwriter Zak Penn are faithful to the book’s protagonist, disgruntled Ohio orphan Wade Watts (Tye Sheridan) who escapes a drab routine with his aunt and her abusive boyfriend by living in a trailer nearby. Most of the time, he’s buried in his VR headset and wandering the Oasis as Parzival, who looks like a cheap Final Fantasy knockoff, and hangs with his best pal Aech (Lena Waithe). The friends have never met in real life, but they don’t really need to — their entire social lives exist within the confines of the Oasis, where they join an endless stream of players in following the breadcrumbs Halliday left when he died: Find all the clues leading to a series of hidden keys in his world, and his company’s stock belongs to you.

This futuristic Willy Wonka setup leads players to engage in a trepidatious online racetrack populated by a hilarious range of threats, from King Kong to a T.rex straight out of “Jurassic Park” (one of the few times Spielberg references one of his own credits). Wade’s an expert gamer, but nobody gets past Kong — not even Ar3mis (Olivia Cook), the pink-haired speed demon with whom Wade’s utterly smitten. There’s nothing particularly unique about Wade, but the movie’s throwbacks extend to its live-action scenes as well: He’s the typical white kid ready to rule the world, a Spielberg staple since  “E.T.”, and through perseverance he finally cracks the code to get to the first key. Intrigued (and possibly a little smitten herself), Ar3mis joins forces with Wade/Parzival and Aech in a quest to find the other keys.

This prolonged setup inevitably leads to some major complications courtesy of the movie’s central villain, corporate overlord Nolan (Ben Mendelsohn), who employs an entire army to find the keys before Wade and his pals. Aided by a gothic monster henchman named i-R0k (who talks like Skeletor and sounds, hilariously, like T.J. Miller), Nolan concocts an evil scheme to take control of the Oasis before those annoying kids nab the prize. From there, “Ready Player One” trips over its exciting momentum, tumbling into a series of flashy battle sequences and rapid-fire strategy sessions until it finally winds back to a satisfying conclusion.

Nevertheless, the first hour marks some of the most viscerally engaging filmmaking Spielberg has ever done, starting with the moment Wade speeds through a virtual racetrack in a DeLorean time machine (Robert Zemeckis gets more than one nod) and continuing into a holographic showdown that pitches into the real world.

In Cline’s book, a lethal twist leads the character into a bleak, solitary chapter of his life that Spielberg’s too earnest to touch; instead, the movie becomes a triumphant tale of gamers taking charge on the battlefield. “Ready Player One” wants to make people who love its references celebrate them all over again. While it lacks edge, subtlety, or the genuine dread to explore life in a complete technocracy, it does find the Iron Giant battling Mechagodzilla while a rock-heavy soundtrack featuring everything from Blondie to the Bee Gees underscores the mayhem.

Penn’s screenplay (co-credited to Kline) lands on a few enticing moments outside the Oasis, most of which revolve around Mendolsohn’s character, a wonderful caricature of an executive eager to exploit his product even as he knows nothing about it. (When Wade challenges Nolan with trivia about John Hughes movies, Nolan shoots back with help from a lackey whispering the answers in his ear.)

“You think I’m just a corporate asshole,” Nolan says, and Spielberg may as well be saying the same thing to a skeptical audience: On paper, “Ready Player One” certainly looks like another ill-conceived Hollywood product, but this 71-year-old Hollywood veteran is determined to make something better than that. The movie’s greatest sequence is a prolonged homage to Stanley Kubrick’s “The Shining” too rich with details to spoil here, but needless to say, this is not a brainless blockbuster so much as an attempt to elevate the blockbuster form in its own language.

Once “Ready Player One” winds down, it can’t match the ecstatic contact high of encountering the movie’s trickery from the outset. The bulk of the live-action scenes lack the crisp energy of the Oasis, and Spielberg can’t match the forward momentum with character depth to spare. Wade and his pals have backstories, but they mostly just dangle in the background. This should come as no surprise in a movie that fetishizes its technological polish. As one savvy player puts it, “Reality is a bummer.”

Eventually, “Ready Player One” becomes the very thing its characters admire, a preponderance of commercial entertainment smashed together into singular blockbuster chaos. Spielberg’s roving digital camera (for the first time, this celluloid fetishist has reason to abandon ship) is aided by effective motion-capture performances and ever-changing landscapes. None of that changes the retrograde gender politics: This is a typical boy’s movie that will strike younger audiences as being out of sync with the current moment (just imagine what might happen if Waithe and Sheridan traded places), but then, so’s the nostalgia-laden Oasis.

“Ready Player One” is one of the more clever excuses to run wild with special effects. Of course, that outcome makes sense from a filmmaker whose entire legacy has been steeped in showmanship. As it cycles through dozens of references to past achievements, “Ready Player One” amounts to a frenetic attempt at remaking the past 30-odd years of popular culture by one of its greatest architects. Without seeing the movie, it’s hard to imagine anyone could turn it into a satisfying product; by the end, it’s clear that only Steven Spielberg can.

Eric Kohn

Mening:

Als eerste wil ik meegeven dat deze film mij vanaf het moment dat ik erover wist aansprak. Steven Spielberg is met deze film dan ook gericht op een specifieke doelgroep. 

Vooral het eerste uur zit de film vol met CGI. Ik ben akkoord met het feit dat dit Spielbergs meest aantrekkelijke film is om te kijken. Je fantasie slaat op hol bij het kijken van al de mogelijkheden die ‘The Oasis’ te bieden heeft. Steven laat duidelijk zien hoe creatief hij kan zijn en trekt hiermee veel mensen van mijn leeftijd aan. 

Trouwe gamers zullen veel van de ontelbare referenties in de film zonder enige twijfel hebben opgemerkt. Ik persoonlijk heb redelijk wat personages gezien van games die ik zelf speel of ken. Dit was een groot pluspunt voor mij en waarschijnlijk ook voor vele anderen. Mensen die niet gekend zijn met de gamewereld zullen zich niet thuis voelen in deze film. Zoals Eric Kohn zegt: Het is een echte jongensfilm.

Jammer genoeg ben ik ook akkoord met het tekort aan diepgang van de personages. Het eerste uur vol CGI laat je met teleurstelling wachten in het tweede uur. Het hoofdpersonage en zijn vrienden net als de slechteriken hebben amper tot geen achtergrondverhaal. Het contrast van actie in ‘The Oasis’ en van in de echte wereld is te groot waardoor alles wat er in werkelijkheid gebeurd ronduit saai is. 

De humor in het verhaal is zwak en vaak zelfs misplaatst wat de scène en de identiteit of het karakter van het personage in kwestie verpest. Het plot is ook wat teveel zwart wit naar mijn mening. Het cliché ‘Het goede verliest altijd van het kwade’ komt teveel tot uiting.

Al bij al was de film aangenaam om te kijken. Steven Spielberg is de geknipte persoon om een evenwicht tussen inhoud en beeld te zoeken. Ook al was het alles behalve perfect, niemand had het beter gekund. Het acteren was zeker meer dan ok. Tye Sheridan paste perfect bij zijn personage als Wade. Ik had hoge verwachtingen die niet volledig werden voldaan maar het is niet je alledaagse blockbuster.

[aion-rsa]

An Introduction to the Works of Rebecca Roanhorse

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Rebecca Roanhorse launched into high visibility in SFF with her short story “Welcome to Your Authentic Indian Experience” in 2017, and her works have continued to wow readers of all ages (she writes fiction for adults, middle grade, and young adults). Her prose is gorgeous, and she takes a hard right turn from more traditional, European-influenced fantasy in her epic new novel, Black Sun. Along with her original works, Roanhorse has also written several Star Wars stories, and is a contributor to Marvel’s new comic anthology Indigenous Voices. If you’re interested in the future of SFF, you can bet your stars that Roanhorse is going to continue to be in the spotlight.

“Welcome to Your Authentic Indian Experience”

Roanhorse’s short story, published in APEX, won both the Hugo and the Nebula. It’s a story about identity, both who you really are and who the world expects you to be. Told in second person, it follows Jesse Turnblatt, who works at a virtual reality Experience, giving Tourists “authentic” Vision Quests that he’s created based on what the typically New Age customers expect from television and movies. When he meets a lonely young man who seems to want something actually real, he realizes that he also needs a friend. But the story takes a Single White Female twist, and leaves Jesse questioning his own reality. It’s a chilling story about erasure and gaslighting that uses SF tropes to maximum effect.

The Sixth World

With Trail of Lightning, Roanhorse’s first published novel, the author entered the urban fantasy genre, telling the story of Maggie Hoskie, a monster hunter, in a post-apocalyptic, flooded world. She’s been trained by a legendary immortal—with whom she also fell in love, but who abandoned her. Now, she’s struggling to decide whether her talent with violence makes her the hero or just another monster. When she becomes involved in solving a string of killings, she accepts help from modern medicine man Kai, who balances her violence with healing. Den of Geek talked to Roanhorse about bringing Native American characters into the urban fantasy genre, and centering Indigenous heroes in the spotlight.

The second novel, Storm of Locusts, follows Maggie out of the Navajo reservation, Dinétah, as she searches for Kai. The medicine man has fallen in with a cult, according to her leads, but Maggie doesn’t think that’s quite right—there’s more going on than meets the eye. Maggie heads out on a post-apocalyptic road trip to track down her friend, and fight whatever monsters she has to take down to save him. Like Trail of Lightning, the book is told from Maggie’s point of view in a clipped, first person present tense voice.

Roanhorse told Den of Geek that four books are planned, and noted that the most difficult part of writing the series was in getting the representation right. Maggie is Diné—Navajo—and Roanhorse is not. “I’ve lived on the Navajo reservation and I’m married to a Navajo man, but it’s not my culture. I wanted to be very careful about the stories I chose to use, the way that I portrayed people and places and everything that went into the world-building I tried to be very conscious that this was going to be a lot of people’s first introduction to Navajo culture, and that I’d have a lot of Navajo readers. I didn’t want to let them down. I didn’t want to get it wrong.”

Critics have praised Roanhorse’s work—Trail of Lightning was a finalist for the Nebula, Hugo, and World Fantasy Award, and it won the Locus First Novel Award—but she has also received criticism from the Navajo Writers’ Association and others for writing Diné characters when she is not Navajo herself. Nick Martin in The New Republic summed up the criticisms, writing an article ultimately supporting Roanhorse and suggesting that, because Roanhorse is also Black, some of the criticism stems from anti-Black prejudice.

Race to the Sun

With Race to the Sun, a middle grade novel for the Rick Riordan Presents imprint, Roanhorse introduces readers to Nizhoni, a Monsterslayer—heir to the Hero Twin of the same name—who has to stop monsters from taking over the world. The mission of the monsters is to destroy the earth (Nizhoni’s first foe, in his human guise, is the CEO of a pipeline fracking on Native Land). Nizhoni has always wanted to be special, but she’s not quite sure she and her younger brother—who takes on the role of Born of Water, the second Hero Twin—are ready for these challenges. Like the Sixth World books, Race to the Sun draws heavily on Navajo tradition and religion and features a fast, first person present-tense voice that makes the action feel immediate. Nizhoni’s personality shines through her narrative, and because she’s a seventh grader, her voice has a lot more levity than Maggie’s. (She also has her horned toad stuffed animal come to life and serve as a guide to her adventure.)

Like several other books in the “Rick Riordan Presents” series, Nizhoni is a chosen hero, given a time limit to fix a grave supernatural problem, who meets up with the supernatural beings of her cultural tradition over the course of her adventures. (The heroes of Riordan’s own “Percy Jackson and the Olympians” books and Roshani Chokshi’s “Aru Shah” books helped establish that pattern.) Nizhoni’s voice also parallels those heroes: she’s got some sass and sarcasm in her narrative that she might not share out loud, but readers are tuned into her inner thoughts, and they hear it all. Race to the Sun includes more of all the things fans love about books from this imprint (which also includes works by Carlos Hernandez and Yoon Ha Lee).

Star Wars: Resistance Reborn

Roanhorse has also contributed fiction to the Star Wars universe, including her Darth Maul vs. Obi-wan Kenobi story in Star Wars: The Clone Wars: Stories of Dark and Light (narrated in audio by Maul’s voice actor, Sam Witwer) and her novel, Resistance Reborn. Set between The Last Jedi and Rise of Skywalker, the novel opens with General Leia still grappling with her near-death—and too-brief reunion with her brother—as she tries to find out why Resistance allies never showed up to help on Crait. Meanwhile, Poe Dameron and his Black Squadron play diplomat while struggling to come to terms with that same question. Is the Resistance really alone in the Galaxy? Unlike Roanhorse’s other novels, Resistance Reborn takes a more classic shared-world style of narration, shifting perspectives among the different characters. Her inner narration of Leia is spot on, depicting both her suffering and her continual ability to move on in spite of it. The tone is reminiscent of the old Star Wars Expanded Universe books, and for readers curious about that same question of why allies didn’t show up until the end of Rise of Skywalker, this is likely to offer a few answers (while giving readers more time to spend with favorite characters).

Black Sun

With Black Sun, Roanhorse moves in an entirely different direction from all her previous work, creating a stunning epic fantasy in a lush secondary world. Like Resistance Reborn, she uses a third-person narration who switches between the characters’ perspectives, but here, she uses beautifully lyrical prose, steeped in the mythology of this new world. Moving in and out of time, Roanhorse weaves together the story of a broken city, once governed by benevolent priests who kept the peace, but now corrupted by political struggles and the interests of foreign nations. The story opens with Serapio, whose mother is engaging in a ritual she’s prepared him for by carving his skin; it culminates in her stitching his eyes shut. As the narrative progresses, readers learn that the ritual allowed Serapio to become an avatar of the Crow god, whose people were brutally murdered a generation earlier by the priests dedicated to the Sun. The point of view characters—Serapio, earnest and justice-driven Sun Priestess Naranpa, and earthy Xiala, a ship captain descended from Mother Ocean herself—are all deeply drawn and sympathetic, even when they are at odds with each other, making it difficult to know who to root for.

In her worldbuilding, Roanhorse leaned on pre-Columbian civilizations, and borrowed a bit from Polynesian navigators, to create a fantasy that feels both familiar and entirely new. “It still seems incredibly rare to find a fantasy inspired by the Americas,” she writes in her acknowledgments. “I think part of the reason is the persistent myth that the indigenous cultures pre-conquest were primitive and had little to offer, when the opposite is true.” Roanhorse’s Meridian is pure fantasy, populated with megafauna such as giant crows that can be ridden, and huge water striders that pull barges, but it shows the richness of being inspired by cultures of North America. The city of Tova borrows designs from the ancient cities of the Anasazi, built into cliff faces, but the divide between the Sky Made who live above and the people of the Maw, who live below in poverty, feels both modern and relevant. Though Black Sun concludes a full story and brings this first volume to a satisfying close, the story is by no means over; Black Sun is clearly the first step in a longer epic narrative, and it’s one readers will be impatiently waiting for until the sequel comes out.

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Whether she’s taking on your favorite franchise characters or in her original works, Roanhorse is absolutely an author to watch.

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