#reminds me of Deus Ex

[kobadit]

Rogue City was so good, you guys

[danni-whatshername]

As someone who was active when rod was just coming out. It’s hilarious to see it’s a beloved book now. The amount of VITRIOL at the book and hate at the writers was craaaaazy back then.

[deus-ex-mona]

aUAUAUAUUZUZUDUXUCHWHSHWJA ASUNAAAAAAAAAAAAAAAAAAA

[amodernpersephone]

you know the funniest part abt lipxlip is really that no fanfiction or fanart or anything will ever top the realization that they can be gay in canon much much worse than what we could ever create

[dawnssummers]

sorry i enjoy when characters have combination issues and trauma and lash out because of it this is about angel when he was liam and connor. like yeah be an angsty bitch you deserve it. though the repetition in liam's father kicking him out and angel doing the same to connor that hurt . different circumstances leading to the same place angel loves connor but can't be a father to him if connor doesn't want him to and also probably just feels like he doesn't know how to because he only ever seemed to disappoint his own and he already watched connor get taken from him and then connor for his part is left open to being manipulated and feeling increasingly alone and unloved. okay yeah that hurt

[smileflowcr]

Gyeong Bulyeong alias 𝒑𝒓𝒐𝒍𝒐𝒈 / 𝙟𝟬𝙨𝟯. capricornio.

Prototipo beta para el cuerpo de Adán

Posee una sangre única y muy especial, la AB con RH positivo.

Tiene dos alias, el primero (𝒑𝒓𝒐𝒍𝒐𝒈) fue adquirido tras escapas de las instalaciones y como una forma de camuflar su verdadera identidad, el segundo (𝙟𝟬𝙨𝟯) le fue dado cuando es seleccionado para el proyecto beta del deus ex machina. Últimamente prefiere ser llamado 𝙟𝟬𝙨𝟯.

Fue ‘ofrecido’ por las personas que lo trajeron al mundo, creyendo que el niño tenía algo especial.

Fue llevado a unas instalaciones donde conoció a otros niños como él o a otros cuyos padres los vendieron por un poco de dinero. Bulyeong siempre ha sido alguien reservado, así que no fue nada fácil acercarse a los demás.

Ha sido sometidos a cientos de experimentos desde que pisó ese lugar y a pesar del dolor nunca lloró frente a los adultos, comprendiendo que no detendrían sus actos.

A pesar de ser callado logró ser amigo de un chico muy distinto a él llamado Sooan. Este era una gentil luz, siempre con una sonrisa en su rostro y quién tenía la esperanza de ver los paisajes en los libros que tenía acceso o las constantes simulaciones que les presentaban. Hicieron la promesa de, cuando esto terminase, buscarán el colorido lugar plasmado en las páginas para vivir.

Con el paso del tiempo los sentimientos por Sooan comenzaron a brotar, pero no era el único interesado en él. Un tercero aparecería en la vida de ambos y por desgracia, terminó conquistando el corazón de su amigo. Bulyeong nunca intervino en su relación a pesar que el corazón le dolía cada vez que les veía juntos, porque para él la felicidad de Sooan siempre fue los más importante.

Los años pasaron y todos los niños con quienes se crió, su familia, perecieron al no ser capaces de resistir el constante sufrimiento, siendo desechados como si fueran basura y él no podía hacer nada, solo rescatar el juguete favorito de cada uno como una forma simbólica para que el mundo no los olvide.

La sangre en sus venas le brindó también un fuerte cuerpo, siendo elegido como el cuerpo de Adán pero sufriendo modificaciones en sus brazos y piernas, los frágiles huevos han sido reemplazados con metal irrompible, dándole la capacidad de usar su propio cuerpo como escudo sin sufrir daños.

Al quedar Sooan, el otro chico y él es que deciden huir del lugar antes que el corazón de Sooan y el cerebro del segundo fuesen transferidos a Bulyeong y así terminar el proyecto.

Decidió hacer su propia vida, asumiendo que Sooan nunca podría amarlo como amó otro chico, manteniéndose en contacto a través de cartas hasta que dejó de esperar un "te amo" por su parte a pesar que Bulyeong no es capaz de olvidarlo hasta el día de hoy.

Trabaja de pirata cibernético o en misiones por encargo que requieran su fuerza bruta. No sabe porqué sigue viviendo, a veces se pregunta si alguien le echaría de menos al desaparecer o acabar con su vida, pero siempre que tiene esa idea la imagen de Sooan sonriendo aparece entre sus recuerdos.

Tiene su hogar en la ciudad 11 pero suele moverse por todas, así que rara vez está en casa.

[caramel-ribbons]

I love how the Titan isn’t a God; he’s a father who has used his power to try and communicate with the girl who has shown nothing but love and compassion towards his son. She wears the Bad girl coven shirt. There’s a Hooty piece where he’s missing an eye. Her last words to her son are “I loaf you” because she knows he likes bread puns. The Titan has more in common with witches and humans than he does with the immortalized version Belos created.

I love how Belos intentionally turned the Titan into this Godlike figure because he’s a colonizer. White colonizers thrusted their religious beliefs onto the people they deemed lesser. They actively took over entire continents and actively stole from and killed people because of their perceived superiority. Belos thinks he’s better than the witches, and so he stole the magic from the Titan, appointed himself its ruler, and attempted genocide against the witches of the Boiling Isles.

And I love how Luz saves the day, not because she was a chosen one with some innate power, but because she’d proven to the Titan that she deserved power.

“Almost as if the world wanted to hide them from me.”

“Almost like the Titan himself didn’t want me to have that knowledge.”

Because he didn’t. Because the Titan knew Belos didn’t have good intentions. But she showed the glyphs to Luz. He chose to show his power to her because he knew she would use it for good, and she did. Unlike Belos, Luz appreciated the culture of the Demon Realm and she learned to love the people of the Boiling Isles, including King, in a matter of months. Belos was there for centuries and yet he never bothered to treat the Boiling Isles with any respect. Why should he earn the Titan’s power when he can’t even respect her or any of the beings she shelters?

I’ve seen a few people (mainly on Twitter), reducing all of this to a “deus ex machina” or, “another cult metaphor”, but it’s so much more than that. It’s about respect. Respect of land and the people who occupy it. It’s about respecting people enough to understand them and their culture without forcing your own beliefs onto them. More than simply being an obvious criticism of the witch trials and the Catholics responsible for them, it’s also a criticism of people who use religion as an excuse to hurt people. Belos used the Titan as a substitute for his own God and then weaponized her against her own people, while Luz treated her offspring with nothing but love and respect.

Luz won because she loved and looked after the Titan’s son and thus, loved her. Belos lost because he didn’t even bother to learn anything about King, his Dad, or the people he protected.

Edit: A really nice commenter reminded me it was the Puritains and not the Catholics who were responsible for the witch trials. Thank you for that. Message still stands but just keep that in mind.

[dandelionjack]

something about the fairies taunting jack with rose petals no less. something about the toymaker covering the unit hq in rose petals while he gets shot at. you’ll never get away from the sound of the woman that loves you blessed you with the curse of eternal life

jack loses everybody he loves over and over again and as a reminder of that, rose petals.

the doctor loses everybody he loves over and over again and as a reminder of that, rose petals.

tell me that doesn’t sound remarkably similar to the way fifteen describes the goblins to ruby. the goblins are part of the toymaker’s “legions” — ancient and mysterious entities from the dawn of time, slipping in through the cracks in reality, stimulated by human belief and superstition. goblins abduct little children for their own ends and so do the “fairies”. you don’t know where the chicken or the egg is, where history ends and mythology begins: did the folklore emerge from sightings of the real creatures, or did the creatures coalesce like an egregore because of the proliferation of the folklore about them, a manifestation of humanity’s deepest fears come alive ever since the toymaker changed the rules of the game?

but was it the toymaker? could this all be a chain reaction, kickstarted billions of years ago (or only nineteen, depending on how you look at it) when one headstrong young woman looked into the time vortex and turned herself into a literal deus ex machina, defying all laws of reality, raising the dead and disintegrating the death-bringers? could that have been the moment (lol.) when it all began to unravel?

i haven’t seen classic who. what do i know. but maybe it wasn’t the line of salt at the edge of the universe. maybe it was one girl, seeing everything that ever was, everything that will ever happen, anything that ever could be. the fairies haven’t stopped pursuing jack ever since: he’s the living evidence of her miracle. they slaughter his entire train carriage but they don’t touch a hair on his head. other children are the fairies’ chosen ones, yes, but jack is the chosen one of their goddess. the bad wolf

i wonder who that jonathan groff character in the upcoming series is.

[tfp-miko-zine]

Hey do you mind if I ask, do you think Miko felt out of place I'm Japan. Like she was putting on an act and when she came to the United States she was able to act as her true self?

Hello again!

So I re-watched TFP, and probably one of the only times we got a glimpse of Miko's backstory was this bit from the Darkness Rising premiere (S1E2 I believe):

So, from the sound of things, Miko has a rather privileged upbringing. I'm guessing her parents work in the business field or somewhere elite for that matter for them to afford piano lessons and send her to an elite school, which is pretty typical here as someone who's currently living in Japan myself, and being able to speak to local youths in the area about something like this, and most agreed that they too had a similar upbringing.

For some who don't have that privilege like Jack, we think that sounds awesome, but then we get this response from Miko:

So, yeah, you're absolutely right about Miko feeling out of place and having to put on an act, probably because of her responsibilities (school, extra curriculars, school clubs, even going to school on a Saturday) and the pressure from her parents wanting her to go to a university (Bulkhead's conversation with her in the episode, "Deus Ex Machina"). Stuff like that sounds like a typical Asian stereotype, but it's true, sadly...

So, her jumping at the chance to study abroad in Jasper gave her freedom to really be herself, and it's something that she most likely didn't have back in Japan (possibly a societal thing too).

Things like: getting to wear what she wants to school instead of a uniform, being able to dye her hair, and not being bound by the shackles of her parents' presence, and feeling a little bit rebellious for once (possibly by the people she met at Jasper High prior to meeting Jack and Raf who knows).

This reminded me of a foreign exchange student from South Korea back when I was in high school in the U.S. and how he had that strict upbringing back home. Eventually, he became a jerk jock, became (for lack of a better word) "whitewashed," and occasionally got busted a lot, according to word of mouth at the time, and was eventually sent back home halfway of the semester 😬

Anyway...at least that didn't happen to Miko 😆

This is a long response, but I just have to share this. Thanks for your question!

💜 Mod KAJiRA

[notmoreflippingelves]

So like I'm pretty much in complete and total agreement with everything said here, but I'd just like to build upon what you said a bit more especially in the reference to the writers largely ignoring Esteban's trauma. Partly because "well, it was kind of his fault" and partly because "this guy spent 41 years in captivity wallowing in guilt and desperation without a break or a friend" is admittedly rather a lot to put on the eight-year-olds watching.

But even knowing that does not make it any more frustrating to watch as an adult. I already did a little word vomit of my own about how "Island of Youth" is actually rather heartbreaking in an understated way. But at least, he does get considerable focus in that ep, unlike the other microagressive moments in S1-S2 which Esteban's past experiences (or even the man himself) are either ignored, played for laughs or both.

Don't think I didn't notice how quick everyone was to ignore his stated wish for a quiet, traditional Navidad at home with the familia in the first holiday episode ! Even though he has probably been dreaming of that very thing for decades! Nope, this idea is not even worth considering for everyone else. (At least, he got his family Christmas time the second time around).

Don't think I didn't notice that he straight-up *wasn't* there during the "family" vacations in "Royal Retreat" and "The Gecko's Tale"! (And yeah, he was probably working but would it really have been so hard to have someone quickly say "It's really too bad Esteban was too busy with that trade agreement to join us. Next time, we'll take him with us even if we have to pack his entire study to lure him here.")

And on a similar note, his absence in every Dias de las Muertos episodes is also super-glaring. Word of God says he's visiting his parents' altar but like... you could've showed that and you chose not to. Because apparently, he's the only one who isn't allowed onscreen grief on the day where people remember their lost loved ones.

But all of that is absolutely nothing at all compared to the glaring hole of wasted potential/unexplored complexity that was Esteban's characterization in S2 in particular. (Adding further insult to injury, he's not even listed at all as either a "main character," a "recurring character," *or* a "supporting character" on the official wiki's page for S2. King Verago's listed and he's only in 1 episode. Esteban is in 8-9 but apparently he's a non-character).

It's incredibly frustrating considering that S2 as a whole is arguably the most plot-consistent and has the least filler. More importantly, Esteban has long-standing and very important connections to the driving forces of said S2 plot (namely Elena, Shuriki, and Victor). And yet, the only real things of substance the S2 narrative gives us for him (apart from a few funny moments) are his rap battle with Elena and the Navidad episode. (Ironically, both of those are only peripherally related to Esteban's connections to the S2 plot as a whole)

Even both of those great moments are undercut by the fact that in the latter case, he has to share focus with Elena, Mateo, and Naomi all of whom get at least 1 additional character-focused episode of their own that they don't have to "share" with anyone else. And in the former case, the fun Hamilton-esque beat makes it far too easy to ignore what is actually happening during "The Right Thing to Do." Namely, Esteban doing a literal song and dance in order to convince the Grand Council to protect Elena from Shuriki--since Elena sure as hell isn't going to protect herself.

However, the most aggravating to me personally is the absolute wasted Esteban potential in "Song of the Sirenas." This is arguably the most important episode of the show since "Secret of Avalor" and it should've been nearly as huge for Esteban's character as it was for Elena's. He comes face to face again with the person who manipulated him and terrorized him for forty-one years, (!) the person who had thought he was finally free of but turned out to be mistaken (even if the reunion was mercifully temporary). The narrative owed him a direct interaction with Shuriki, one that would've brought him closure or at least would've acknowledged how painful and terrifying his situation is. I would've gobbled up that delicious angst like Esteban gobbles up tres leches cake.

Instead, we get only two tiny little character moments from Esteban in the episode, both of which involve his "cowardice" being played for laughs and neither of which stop to consider that his self-preservation instincts are normal considering what he's been through.

The first of these moments is Esteban immediately darting behind Francisco for protection when he sees that flash of green smoke for the first time in two years.

This is especially striking as it's a direct contrast to his behavior in S3. Long before his sacrifice in the series finale, we see multiple occasions where Esteban inserts himself as a physical barrier between Elena and Ash Delgado. Even though Elena sees him as the "enemy" and arguably "more" of the enemy than Ash, Esteban still refuses to let any harm come to his cousin, even if he has to put himself literally in the line of fire.

And yet when Esteban sees his former queen, his first instinct is to hide behind his grandfather like a scared little boy. Shuriki terrifies Esteban in a way that nothing else in the show seems to--not even Ash or Zopilote or Cahu. He reverts to being the child he was forty-three years earlier and waits for the older, braver man to save him from the nightmare.

The second notable Esteban moment in "Song of the Sirenas" is pretty similar to the first and nearly as striking. And it's played for laughs even more so than the other. After Esteban, his cousins, the abuelos, and Marisa are locked up in the tower ("for now" as Shuriki made sure to remind them), they are rescued by Naomi, Gabe, Mateo, and the jaquins. When Mateo asks who should be taken to safety first, Esteban's response is an immediate "me, me, me." And then two seconds later, "Or Isabel."

Unsurprisingly, Esteban's first instinct is to protect himself from the person who made his life hell for decades. But equally telling is the fact that just a few short moments later, his priorities reorient towards protecting the youngest and most vulnerable person in the room. Even though no one was able to protect him when he was nearly as young and nearly as vulnerable. (I'm fairly meh about Mateo overall but my opinion of him did shoot up dramatically when he subsequently decides to save Isabel and Esteban at the same time. You done good, wizard boy. Keep it up)

It's all so much and Esteban is just so much, the most character. But still not nearly as much character as the narrative should let him be.

Both my twitters are locked now due to the increase in spam and bot issues since the Muskrat's hostile takeover but here is the original "losing my mind about Esteban Flores" thread for posterity and your reading pleasure*

[lsunstreakerl]

Sunny, depending on the analogy you want to use, you are either a mafia boss (haha) or a high priest(ess)

you decide what approximately 100 people (based on your ask box and the recurring usernames I see) hyper fixate on for a time.

Because I had this thought while brushing my teeth, Crow is your right hand, there in your ear reminding you to remove your precious commas.

This is literally due to tti and dark rb happening in a weeks time and the only difference is you and the amount of info we gained from you vs the community ( as someone who sold my soul for tti, im not upset with where we are right now in the new verse) (adds dark rb to tti somehow)

hijacking your ask. demographics time!!

- as of this post, there are 192 people following this blog

- as of this post, I have 92 asks in my inbox

- most posts range from 9-20 likes

- most ficlets range from 40-80 likes

- most of my 24 hour polls range from 50-70 votes by the end, so that's a lot of you that check my blog frequently (I see you, lurkers)

- a few of you might have my post notifications on, most notably @burningallofmybridges and @thebrokenellevator who are usually the first people to like literally anything I post (I don't have confirmation that my post notifs are on for you two, but unless you are on tumblr 24/7 there's no other way for you to be that fast.)

- most serial reblogger of my posts is @max-verstappens-boy-car, who reblogs I believe every ficlet, as well as my more comprehensive ask responses.

- @farvres is entirely responsible for darkbull/dark redbull, and a few other brainworms here and there. they're also partially responsible for 1+1+1, along with @coldplums

- @decidedly33 is a complete saint for putting up with me complaining about school or work or quite literally anything. they're also the artist of any of the art you see floating around for my fics!

- calling @ahappycrow my right hand is certainly a choice. I think they were put on this earth to humble me, actually. (the historical definition of a jester maybe?)

- tti is still happening, I just also have to get dark redbull wrangled into a fic or something, because it's completely invaded my head.

- tti verse, max multiverse, whatever you want to call it. you guys are ridiculous, making me Deus Ex Machina the rookies. how am I even supposed to write that it's going to be so hard to keep track of

Anyways, potentially more yapping than you intended but I thought your ask was an interesting opportunity to point out some of the fun numbers stuff I've noticed on my blog :)

[tossawary]

I still think that the ending of "Avatar: The Last Airbender" was poorly foreshadowed, specifically the lion turtles and the energy-bending. (Not Aang not killing Ozai! I like that part! It suits the themes, it suits the characters! That part is fine. I am glad that the last airbender found a way forward that respected his people and beliefs.)

Like, I saw ATLA when it was originally airing and I thought these things kind of "came out of nowhere" at the time. I have heard the arguments to the contrary over the years and I have never really been persuaded by them, while at the same time personally agreeing that the lion turtles and the energy-bending absolutely do fit the world and lore! They are fitting elements! They work! I like this ending at the same time that, in my personal opinion, I think it was poorly established.

I think that the story BEGINS to establish lion turtles and energy-bending well enough. We meet both many other spirit beings and bending-capable animals earlier on, including the Moon and Ocean Spirits who apparently gave the world water-bending. S2 introduces Ty Lee's chi-blocking techniques and Guru Pathik teaching Aang about chakras. There are also a handful of lion turtle easter eggs in the background of some episodes, the most prominent perhaps being on a scroll in Wan Shi Tong's library.

But the story then jumps from these various establishing elements all the way to "lion turtles are real and not extinct and telepathic and can also energy-bend and Aang has suddenly mastered this new art well enough to take someone else's bending away permanently, and these relatively new elements are going to resolve the main conflict of the show". It feels like "1+1=3" to me. I think that last jump in the story is too big. Like, we're REALLY close, but I personally needed another 1 in there somewhere to bridge that final gap and get to that 3.

(Includes some fic ideas / suggestions on how to maybe add to strengthen the foreshadowing under the cut.)

The fact that a lot of people, especially more casual viewers, were really confused by the way all of these elements suddenly came together at the end says to me that, no, the foreshadowing that WAS done (there WAS foreshadowing, I cannot rightfully say that it all came completely out of "nowhere", but it) was not good enough. Or maybe I should compare it to someone presenting me with all of the necessary ingredients for a cake and then telling me that it IS cake? Yes, all of the right ingredients are HERE, I agree, this COULD be a really great cake, but... you still have to mix it all together in a bowl and then put it in the oven to bake to get that specific cake. It's not quite cooked yet.

(Okay, wow, that sounds kind of mean. Maybe I should compare it more to a missing stair? We have MOST of the staircase, I just need one last step to get to the Deus Ex Machina at the top. To be clear: I don't think a "Deus Ex Machina" is inherently bad. I often like them a lot. I just wanted a little more foreshadowing than the stuff that is already there.)

In storytelling, there's this technique casually called "The Rule of Three". (And yes, of course, rules were made to be bent or broken depending on what story you're trying to tell, but usually, these rules exist because they are effective.) This rule is also sometimes known as "Introduction, Pattern, and Payoff". (It has other names, but that's how I remember it.)

Very loosely, this rule states that an important element of the story must appear at least three times. 1. It must be introduced / established in the world. 2. It must appear again to remind the audience that it exists / and establish a pattern such that the audience begins to expect it to appear again later. (And is hopefully excited for it.) 3. Payoff. The element returns in an important way, probably to resolve part of the plot. The previous two appearances have acted as foreshadowing for this ending.

There's also a "Rule of Two" version of this general storytelling technique. Like, "If this special crystal can zap the bad guy and save the day, we have to have shown or at least told the audience that it can do that BEFORE the big final fight scene."

In regards to ATLA, no, I don't think that a scroll in a library or a statue in the background of some scene served as adequate introduction and reminder for the existence of lion turtles, so it didn't necessarily feel like a payoff for me that they solved the main conflict. (It's the "solved the main conflict" that's most of the issue for me. If the lion turtles had just appeared in another episode as a random cool thing like those sea monsters by Kyoshi Island, I would not have cared.)

I actually think that the establishment of other spirits like the Moon Spirit and bending-capable animals like sky bison and dragons can serve as a decent enough "Step 1) Introduction". Though this does not establish that lion turtles specifically exist, we have established that powerful creatures similar to lion turtles exist. But I still needed a solid "Step 2) Pattern / Reminder" that would have established that lion turtles specifically exist and are important BEFORE one shows up at the end like that.

I think that there's at least one episode somewhere in Book 1 or Book 2 that could have been cut in favor of an episode where the Gaang meets and rescues a young lion turtle baby or something.

Maybe Guru Pathik could have learned his ways FROM a lion turtle? Aang could have gone to an isolated village somewhere (with more brown people besides just Guru Pathik?) where people are living in harmony with a lion turtle, or maybe even on the back of a lion turtle! That would be cool!

Concept: Aang encounters Guru Pathik living alone on the back of a lion turtle which doesn't talk to people anymore (Aang swims down to look at its face and it doesn't even look at him), because its kind have been hunted nearly to extinction and it's tired of violence. Guru Pathik learned his ways from his old teacher, who learned from his old teacher, all the way up the teaching lineage from a person who once learned from the lion turtle itself before it gave up on the world. Guru Pathik tends to this nearly empty temple on the back of a silent lion turtle who ignores him, because he will not forsake his teachings even when the world seems uninterested in hearing them and the old lion turtle seems like it could die any day now. The people in the fishing village on the shore think that Guru Pathik is crazy and most of them don't even believe that the floating island really is a lion turtle, it's just weird geography.

Guru Pathik could also have chi-blocking abilities! We could see him demonstrate them in self-defense! He could teach a few chi-blocking moves to Aang, who could later go on to use them occasionally in Book 3, and it would have been really cool to see Aang exploring non-bending skills. We don't need Guru Pathik to explicitly name energy-bending here, but I would like to connect him just a touch more strongly to chi-blocking. Like, he IS connected already by helping Aang clear chakras, which is kind of like a reverse of chi-blocking, but it would be nice to establish Guru Pathik as somewhat capable of the opposite but perhaps not liking to use the skill.

Aang really vibes with this dying culture of pacifists, but he still has to leave Guru Pathik before he can finish the training. Later on, he can encounter Guru Pathik and the silent lion turtle again, and he can confess to them how desperately he doesn't want to have to kill anyone, no matter what his past lives say. He just wants to STOP the violence and restore balance to the world without sacrificing himself. And THEN the lion turtle could wake up and gift him with energy-bending.

Or something like that! The foreshadowing doesn't have to be THAT heavy-handed, but SOME brief appearance by an actual lion turtle would have served as a better "Step 2) Pattern" to me.

Things like chi-blocking, chakras, water-bending healing, water-benders losing their bending when the Moon Spirit was killed, and even Zuko's spiritual turmoil serve as a good "Step 1) Introduction" to the concept of energy-bending to me. The ingredients are THERE. But again, I would have liked some clearer "Step 2) Pattern" that had actually baked the cake in regards to this being a skill Aang had specifically.

The above episode concept with Guru Pathik on the back of a lion turtle could have worked as a "Step 2) Pattern / Reminder" for energy-bending.

ANOTHER option would be to have Aang temporarily lose his bending at the beginning of Book 3, after Katara resurrects him with that special spirit water after Azula killed him at the end of Book 2.

I think Aang losing his bending for at least 3-4 episodes would have been really good for him / the show. So much of Aang's identity is tied up at this point in being the Avatar and the responsibilities of being the Avatar. Losing his bending, especially his AIR-BENDING, and his connection to the spirit world and his past lives would send him into a personal crisis. The Gaang could worry over whether or not a new Avatar has somehow been born or if the Avatar powers are gone forever. The characters could confront the fact that perhaps they've been relying too much on Aang as the Avatar and what they'll do now without the Avatar.

Also, it would be really funny if Aang woke up and picked up his glider to jump off that boat, then just fell into the ocean, and Katara needed to fish him out. (Which would then transition into the dramatic revelation that he has lost his bending!!!)

Katara could use her healing abilities to tell Aang that what's happened to him feels a lot like Ty Lee's chi-blocking. Katara would then probably try to emphasize with Aang, who gets angry with her and says she has no idea what this feels like! Katara could then have a really good intimate scene with Aang over how scary it was when the Moon Spirit was killed, what it physically felt like to lose that spiritual connection, and how scared she was even afterwards about what it would have been like to permanently lose that connection to her people and her culture. Aang then apologizes to Katara and they resolve to find his bending again.

Aang then goes on some spiritual journey with his friends to reconnect with his bending and his past lives as the Avatar. Probably some partially internal spiritual journey with Guru Pathik's teachings. Katara and Toph could both talk about what bending means to them personally as different people, and also what it feels like to them as they interact with the elements of the world around them.

Aang could have some cool fight scenes where he dodges some random thugs using all of his bending skills (martial arts) without the actual bending, air-bending techniques, water-bending techniques, and earth-bending techniques, and then finally some chi-blocking techniques that Guru Pathik showed him. There could be some scene where Aang saves a kid from these random thugs and realizes that he can still do good in the world even if he's not the Avatar! Even if he's not a bender anymore!

There could also be some REALLY funny scenes of Aang trying to get Appa and Momo to teach him how to reconnect with his air-bending. Aang mimicking their movements and so on. (Sokka: "Is that... working so far, buddy?" Aang: "NO! They're terrible teachers!!!" Cue sad Appa bleating and offended Momo chittering.)

You could even do it in a cycle of sorts, where Aang reconnects with his air-bending first using Guru Pathik's teachings and his friends' help. (He is OVERJOYED.) And then Aang slowly regains water-bending and earth-bending over the next few episodes, culminating in him having to face his fears learning fire-bending again. I think you could accomplish this storyline by squeezing it into about 3-4 episodes, or else starting off with losing then regaining air-bending plus the Avatar state in the first 2 episodes of the season and then threading relearning the other elements in the background through later episodes.

ANOTHER option where Aang temporarily loses his bending is after the eclipse, because he has a spiritual crisis over the fact that he was resolved to kill someone and he really doesn't want to do that. I don't like this option so much because it feels a little too late in the season compared to kicking off Book 3 with the drama of Aang losing his bending(!!!), but it's an option.

See, if Aang temporarily loses his bending and has to find it again somehow, then the show could establish what this kind "energy-bending" and spiritual manipulation within a person looks like. If Aang has had to get his bending BACK, then it would better establish Aang then using this ability he has now practiced on himself to take bending away from another person. It's a pleasantly surprising twist that Aang figures out how to reverse a previously established energy-bending technique and successfully uses it against Ozai.

And then the ending, though arguably still in the realm of a Deus Ex Machina (which is cool), would feel more like "Step 3) Payoff" instead of "What just happened?" We needed to see more obviously that Aang was capable of ANY kind of energy-bending before it saved the day like that.

Anyway! This post became way longer than originally intended! I hope this has made it clear that I like both the lion turtles and energy-bending as concepts. I think there are many elements in the show that begin to introduce lion turtles and energy-bending as Aang uses it as things that COULD exist. I just think that the show needed some kind of additional baking step in the middle to establish a pattern and use those ingredients to foreshadow that specific "an ancient lion turtle teaches Aang energy-bending and Aang then uses it against someone else" ending.

[bestiainfinita]

I had a discussion on Instagram about Eurylochus and wanted to share it here , the post where this conversation happened is irrelevant but it was about Eurylochus and the end of the Thunder Saga, anyways I made a comment and this guy’s responded:

Then I responded with this across some comments (I chose not to use screen caps for most of my things because they are a lot of comments and it might be over the limit of them, and I had the stuff I said saved):

Lol what are you in buddy???

First of all, since the start Eurylochus has had one objective in mind just like Odysseus, Eurylochus wanted to protect the crew and to get them home while Odysseus wanted to go home to be with his son and wife, that’s the main reason the diversion between Eury and Ody happened, because Ody cared more about getting home than about the crew, while Eury cared more about the crew than getting home.

In ‘Full Speed Ahead’ (Song 03) he tells Ody that they are out of food and they need to feed THE CREW so he asks the captain / king what they should do, because that’s is what he’s supposed to do, he proposes attacking and just taking the food because he wants to ensure food for the crew no matter what, this is also proveen in ‘Polyphemus’ (Song 06) when the first thing he says is “There are enough sheep here to feed the entire fleet” he was thinking about the crew again. Then in ‘Remeber Them’ (Song 09) he’s the one who ask “But captain, what do we do with our fallen friends?” because he CARES about the crew.

Also he not only cares about the crew but he cares about Odysseus too (he’s part of the crew but anyways), this is better shown in ‘Luck Runs Out’ (Song 11); “You could be caught off guard and lose your life” “I just don’t wanna see another life end” “You are like the brother I could never do without”.

Then in the same song (‘Luck Runs Out’) we understand why he opened the wind bag. He was afraid, he was afraid of the Gods and what they might do to him, Odysseus and the crew; “You could be caught off guard and lose your life” “Or piss off this God and infuse us with strife” “Don’t forget how dangerous the gods are”.

Now the Circe thing, y’all have very selective hearing and didn’t understood Eury at all, he is still afraid during this song (‘Puppeteer’ Song 14); he’s afraid of a Goddess, of Circe, he gave those men for dead because they were captured by a literal Goddess, and he is also afraid of what she might to to Odysseus and the rest of the crew if they try to face her; “Think about the men we have left before there’s none, let’s just cut our loses, you and I, and let’s run” “What if she can’t be killed!? — Will you chose to leave?”

By the way, I would like to point out that in this song (‘Puppeteer’) Odysseus says “There’s no length I wouldn’t go, if it was you I’d have to save, I can only hope you’ll do the same…” and Eurylochus responds by literally doing that, by trying to stop Odysseus from going into that suicidal mission, (let me remind y’all that the only reason Odysseus stood his ground against Circe was thanks to Deus Ex Hermes).

And another thing, some of you people like to say Eurylochus wanted Odysseus gone or blasphemy like that, then why didn’t he killed him in ‘Mutiny’ (Song 24), he had Odysseus stabbed and defenseless but he didn’t killed him, he and the crew just restrained him and treated all of his wounds, they didn’t want him dead, they just couldn’t trust him anymore and therefore couldn’t have him as his captain.

Then they said this (ignoring stuff I already talked about):

And finally I finished the conversation and responded with this:

1. I literally addressed the Circe situation in my previous comments, and explained how he gave those men for dead because to save them they would have had to fight a LITERAL GODDESS (remember they just lost 11 ships / more than 500 men to another God), and again, the only reason Ody won / was able to talk it through was thanks to Hermes’s intervention.

2. Again, I believe the treasure was a misdirection, and the real reason was fear, as I have explained before / in my previous comments.

3. If he wanted to forget what he did and act like nothing have happened, he wouldn't even have confessed in the first place, so it's obviously not about that.

4. That part was a metaphor, see how it is similar to 'Luck Runs Out' in the way that one was talking as a friend and the other as his title, in 'Luck Runs Out' Odysseus is the one talking as a friend while in 'Mutiny' Eurylochus is the one talking as a friend (we know because he called him "Ody" instead of "Captain"), so he was talking one on one and Odysseus was responding talking about himself about how HE wanted to go back to HIS kingdom HIS son and HIS wife ignoring what Eurylochus was saying to him as well as his concerns (like he did in ‘Luck Runs Out’), then the crew jumps in showing Odysseus that all of the crew thinks the same, that they are all tired, that they are all hurt, and that they are all hungry, something that Odysseus's own suffering has made him oblivious to, and now he tries to talk to the crew, to calm them and convince them, but he has already shown them that his priority is himself, so they ignore his pleading and try to give themselves comfort in the only way they currently can, try so solve the only problem they as mere men are able to, and so they killed the cattle to eat.

[bloedewir]

Don't want to get my hopes up because there's almost zero chance to know the truth but...

I really REALLY would like to know everything about elvhen rebellion.

How did Fen'Harel manage to succeed? I mean, there's 8 evanuris, Mythal is out, so it's 7. Seven most powerful mages called gods. How did he trapped them? How did he trick all of them? Someone must've helped to achieve it. And it wasn't the slaves he freed. Who? Forgotten Ones? And then what.. he tricked and trapped them too but not in the Fade but in the Abyss? So it wasn't just one great plan but two in one? Double strike??

And why does it remind me of a chess move called castling? (I'll mention it in the end).

Not trying to be rude here but we already had: Corypheus and the orb (confirmed fail), Vows & Vengeance (fail under question) and Veilguard prologue ritual (either fail or cunning plan). No offence, Fen'Harel, buddy, but it's messy anyway, not in the slightest impeccable. And defeating 7 godlike evanuris is something different. Something like that requires to be perfectly planned.

Not to mention creating the Veil. The idea itself is a novel concept. How did he end up with this? Just woke up one day and: "Hm, why wouldn't I create a thing that will separate Fade from the reality? Seems like a good idea. Ambitious". How much power did he possess to change the whole world? Where did he take it from? How did he create a prison no one of seven could escape or break? How did he trapped Forgotten Ones? Why did he end up as the most powerful of them all? All alone?? HOW???

It's either Deus ex machina and we'll never know or bad news for Rook because Fen'Harel isn't trapped at all and it's just a part of a bigger plan that remains to be seen.

And here I go back to start and mention the castling. The only move in chess that allows somebody to move two pieces simultaneously - King and Rook. (It keeps King safe and quickly develops Rook).

22 days left

[orsinium-scholar]

While I'm thinking about crap quest lines: the college questline in Skyrim is fucking terrible. (I have a theory that whoever writes these quests is cursed to be kicked in the head by a donkey whenever they sit down to write the mages guild type quests.) None of the higher ups can run a bath and the few who are vaguely competent get sent to eeby deeby with barely so much as a fare the well. (RIP Mirabelle you deserved better) Nobody knows anything it seems and when you arrive one of the people there is an evil elf wizard cop who is practically wearing a giant neon sign saying "hello I am an evil wizard elf cop and I will be your villain for today". The Eye of Magnus doesn't seem to do much besides make a force field and glow a bit and the whole thing gets resolved by deus ex psyjiic.

And the biggest problem is that I don't give a shit about Winterhold. What, could no one magic up a broom and tidy up the place after the collapse?

But what if I did? What if, instead of a cold and run down ghost town, Winterhold was rebuilt by the mages after the collapse, using magic to hold precarious rocks back in place? What if Winterhold is a student town? (Drunk, magically talented young people with no parental supervision. The side quests write themselves.) The Jarl is slightly distrustful. He's heard whispers and rumours about the collapse, though as long as the college money keeps coming into his hold he keeps it to himself, and many of the older generation still hold residual distrust. But the hold itself is alive and flourishing, lit with magic lamps to hold the cold at bay. It would make it stand out as a beacon of magic against the rest of Skyrim.

Ancano is still there and still a complete twit, but he's joined by Estormo, who's his quiet assistant.

And Savos Aran still can't tell his staff from his backside, and really shouldn't be in charge. (After all, it was his meddling with Labyrinthian that caused the great collapse, as much as he tries to keep that quiet.)

As the quest carries on, the presence of the eye begins to destabilise the magic holding much of the city up. There are constant complaints of earthquakes and subsidence. Distrust begins to grow in the town as rumours spread that the wizards are hiding something in their college. This destruction grows more devastating as the quest goes on, a visible reminder of the danger the eye poses.

And then betrayal, as Estormo attacks the other wizards. And Ancano. Who, yes, was preparing to run back to the Dominion and report on the eye, but had no greater ambition besides that. He's a racist prick, but he has a job to do. Estormo is the one who had big plans. It's not the greatest plot twist in the world, but it is at least a bit of a twist. Ancano does his best to help, and is broadly useful, if irritating.

Oh, also, lets have actual funeral services for the people who die during the quest. Kodlak got a lovely service, we can't give Mirabelle one?

It's not the best re write, but it would at least make me want to protect the college instead of my usual thought of "Damn that's crazy. Anyway." It makes me, at the barest minimum, give a damn.

[vethbrenatto]

Curious what your thoughts are on critical role season 3/campaign 3 continuing to bring back previously main characters from 1&2?

Idk I’m having a hard time with this campaign and the way the party seems to have badly analysis paralysis and it seems so dragged out with the characters not wanting to make decisions.

So when I see that they keep bringing pre established characters in for the story instead of focusing on things NOW, I’m a bit exasperated lol. I’m glad they’re having fun and it does make for some good moments! But I’m just feeling bleh overall atm

i actually stopped watching c3 somewhere in the 90s so i can't really comment-

what i can say is that this is not a storytelling device i particularly enjoy; it particularly bugged me early in c3 with the intervention of vex and keyleth and even pike (my girl, my love, my light) as these sort of god-like deus ex machina figures. i have a lot of old posts detailing why i didn't like it then, but a lot of it is sort of a stakes thing, right? vox machina and m9 have saved and saved the world... what the fuck is bells hells even qualified for in comparison? why not just let the professionals handle it (story, that's why)?

and then we get this sort of culmination that i've heard about recently where the cast has been swapping between parties and conceptually that's really cool, even if it doesn't appeal to me.

what it comes down to is that this is matt's vision for the world- an interconnecting web of events and people. in my ideal version, the world is an expansive place and these are 3 equally important but unconnected stories. set in the same place but never directly connecting- just some little overlap to remind you it's all in the same place (i.e. the allura cameo in the m9 campaign). but, quite simply, that isn't what matt or the cast want.

i am interested to see if this will be the last campaign for the main cast, or the last exandria campaign overall because the plot does seem so dramatic and "it all connects/comes together" that i have no clue where they could go from here.

c3 overall was hard for me to connect to since the mid campaign (i also think watching CR live is probably my least favorite way of consuming it- i do think the content works better on a binge) but maybe ill catch up at some point.

TLDR; i am not currently watching but agree that the return of past characters doesn't appeal to me specifically, though i know the fandom and the cast probably have the opposite opinion about the returns.