blorgon-schmorgon

[blorgon-schmorgon]

there’s a reason why the entire story of avatar the last airbender begins and ends with katara. there’s a reason why we are introduced to katara first before we are introduced to any other character. there’s a reason why katara is the narrator. there’s a reason why the creators have emphasized over and over again that katara is just as titular to the story as aang - she’s the other main character.

when you water down katara - remove her compassion, her ability to connect with others, her nurturing role, her ANGER and RAGE and DRIVE - you water down the very fundamentals of the story. you drastically and severely alter the core dynamics of the gaang, because katara was so important to the development of every single one of them. she was the rock and glue that held team avatar together.

katara was unlike any other character to ever appear on television; she was a young brown girl who took no shit from anyone, yet at the same time remained kind and compassionate and nurturing. katara was a force of nature; proud of her heritage and culture, burdened by the responsibility of being the last southern water bender of the water tribe, angered over the death of her mother and everything that the fire nation took from her, determined to help every single person in need, determined to change the world, angry and resentful because old men and rules and laws kept telling her what she could or could not do, thus, she was determined to restructure thousands of years of patriarchy that stood against her from accomplishing her goals and dreams.

watering down katara into at most 2-3 tangible characteristics, stripping her away of all her motivation and agency and nuance, telling the audience that she wants to help and change the world only to have her stand in the background with an air of grief, demonstrates that the writers of the live action fundamentally misunderstand the spirit of avatar. and that’s something so unforgivable. no matter how many changes they decide to make, or how much they decide to stay true to the original story in other areas, no matter how many flashy VFX fight scenes we get - if you fail to properly understand katara, you fail to understand the heart and soul of avatar the last airbender, everything that makes avatar such a timeless classic.

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If the USA is so great then why did they make a USB?

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Do you guys think it means anything that Dawn (Buffy's girlhood/innocence) never really becomes close with Giles in the same way the other characters do

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In Season 2's Becoming, after being outed as the Slayer to her mother, Buffy delivers a monologue in which she insists she never wanted to be a Slayer ("do you think I choose to be like this? do you have any idea how lonely it is, how dangerous?") and that she wishes she could be doing almost anything else with her life ("God, even studying") but she doesn't have a choice ("I have to save the world, again"). Indeed by the end of the episode that obligation to put her own desires aside and do whatever's necessary to save the world will force her to send the man she loves to hell. Being a Slayer explicitly costs her everything she cares about ("I've got nothing left to lose", as she tells Whistler even before killing Angel).

So, obviously, large sections of the Buffy fandom on here have decided that this means Buffy loves being a Slayer and has fully accepted it as a part of who she is, that she has no rational reason to resent Giles at all, and that she only leaves town at the end of the episode (leaving a note behind for her mother and not telling anybody else) because her mother doesn't accept her and "kicks her out of the house" (an empty threat that Buffy takes so literally she's back in her bedroom packing for LA before the episode ends).

.... I mean, you do see how at odds with the text this reading is, right? However much you want Joyce to be the singular villain here, she's really not.

Buffy: "I never wanted to be a Slayer and in fact being a Slayer has made me miserable and I'm going to run away and change my name and hide from my Watcher so I don't have to be the Slayer anymore"

The fandom, incessantly: "hoho, Joyce blames Giles for Buffy running away, how ridiculous".

(Yes, there is a popular metaphorical reading of the show in which Buffy being "the Slayer" should be understood as Buffy being bi or trans or otherwise queer. And yes, in this reading Joyce's reaction to finding out the truth about her daughter-- already not great! -- becomes particularly terrible.

But that specific metaphorical reading is the not the One True Way of understanding the show. It's not something to which every single thing that happens on screen can be reduced. It's simply one interpretation among many and, in some episodes -- like this one! -- it works less well than it does at other times.

In the actual text of the show, Buffy has just told her mother that she's a reluctant child solider recruited into an impossibly dangerous conflict by a man who Joyce barely knows. A man who has insisted Buffy keep this all secret from her mother and lied to her face about it for months (Giles wouldn't even let Joyce know about vampires after a vampire trying to hurt Buffy attacked her in her own home! He didn't let her know about Angelus!)

Of course Joyce is upset about this! Of course she blames Giles! You know who else often blames Giles for Buffy having to be a Slayer? You know who started this season with a nightmare in which Giles tried to murder Buffy? Buffy herself.)

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BUFFY THE VAMPIRE SLAYER | 3.14, "Bad Girls"

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This tweet had me absolutely flabbergasted twice because I read this and I was like "Dame Aylin? The tall, blonde, supermodel demigoddess? How is she at all outside of the beauty standard? This is stupid" and then I scrolled down and there were a hundred replies by straight dudes who were calling her ugly and talking about anime women they prefer

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“They finally made this theme more blatant-" Why does it need to be blatant. What's wrong with subtlety? Concepts can be underused but subtlety is not neglect.

Blaring all your concepts and themes is not good writing. It's so disruptive to a story's flow when the characters look off the screen to be like "See? This is the concept. The idea. The theme."

If you can feel the hand of the author becoming too heavy that's bad.

For example: I see people saying Azula's abuse in ATLA is more blatant in the live action and it's good because "it's being discussed more". It already was discussed at length. The show made it clear she was a victim at every turn, every behavior, every reaction, it came from a place of trauma. It was made clear that she was scared of ending up like Zuko because Zuko was an example of what would happen to her if she failed. When she says she's better than Zuko it wasn't just because she was raised to think hersef superior to him but because Zuko failed and failures get mutilated and exiled, failures are abandoned. In that final Agni Kai the music is morose and somber because this isnt some epic battle its a fucking tragedy, the burning out of "Ozai's brightest light" and Azula finally succumbing to her terror and trauma she was repressing now that her worst fears are realized. How can you see a fourteen year old girl chained to a sewer grate wailing and writhing and breathing fire desperately as unsympathetic? Even Katara and Zuko are horrified as to what has become of her.

The writers weren't looking us in the eye and saying "See? She's a victim too" when they wrote this, they weaved it in. They weaved it into her obsesison with symmetry, her extreme perfectionism, the way she talks about Ozai, the ways she calls herself a monster, her isolation from those with healthy home lives, all the ways she held herself together and ultimately all the cracks and seams that she shattered down when she fell apart. It did not need to be blatant to be clear.

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i am an azula redemption arc believer and it looks like this [x]

[blorgon-schmorgon]

god i love fallible characters, but specifically zuko in the catacombs. choosing his sister over his uncle just to get to sleep in his childhood bed again. earning katara's kindness and empathy and stripping it all away in minutes because he ached for the familiar. fighting on the wrong side of history just to see his father smile with pride. knowing he could have done the right thing, but what is being good when you could be terrible but loved.

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[blorgon-schmorgon]

Roasted chicken, ginger, daikon, shiitake mushroom soup with lime, cilantro, broccoli sprouts, and rice noodles

[blorgon-schmorgon]

odysseus absolutely does present a threat to penelope if he perceives her as at all unfaithful, and i feel the unfairness of this, and i think people tend to undersell how much tension at least potentially exists between odysseus and penelope. but i'm also like. his reaction, all speculation aside, his actual reaction in the odyssey to her flirting with the suitors is delight, because he immediately ascertains that she is running a con. sorry that they're so in-sync in spite of the forces that try to drive a wedge between them, including their own misgiving hearts. sorry that they invented homophrosyne ¯\_(ツ)_/¯

[blorgon-schmorgon]

there’s a reason why the entire story of avatar the last airbender begins and ends with katara. there’s a reason why we are introduced to katara first before we are introduced to any other character. there’s a reason why katara is the narrator. there’s a reason why the creators have emphasized over and over again that katara is just as titular to the story as aang - she’s the other main character.

when you water down katara - remove her compassion, her ability to connect with others, her nurturing role, her ANGER and RAGE and DRIVE - you water down the very fundamentals of the story. you drastically and severely alter the core dynamics of the gaang, because katara was so important to the development of every single one of them. she was the rock and glue that held team avatar together.

katara was unlike any other character to ever appear on television; she was a young brown girl who took no shit from anyone, yet at the same time remained kind and compassionate and nurturing. katara was a force of nature; proud of her heritage and culture, burdened by the responsibility of being the last southern water bender of the water tribe, angered over the death of her mother and everything that the fire nation took from her, determined to help every single person in need, determined to change the world, angry and resentful because old men and rules and laws kept telling her what she could or could not do, thus, she was determined to restructure thousands of years of patriarchy that stood against her from accomplishing her goals and dreams.

watering down katara into at most 2-3 tangible characteristics, stripping her away of all her motivation and agency and nuance, telling the audience that she wants to help and change the world only to have her stand in the background with an air of grief, demonstrates that the writers of the live action fundamentally misunderstand the spirit of avatar. and that’s something so unforgivable. no matter how many changes they decide to make, or how much they decide to stay true to the original story in other areas, no matter how many flashy VFX fight scenes we get - if you fail to properly understand katara, you fail to understand the heart and soul of avatar the last airbender, everything that makes avatar such a timeless classic.

[blorgon-schmorgon]

In trying to make ATLA "less sexist" they just ran in a circle right back into sexism. They made Suki seem boy crazy instead of giving both her and sokka a good storyline. Same thing with June and Iroh, what was the point of switching it from Iroh flirting and June hating it to June flirting and Iroh not caring??? It's just so Women Written By Men™.

[blorgon-schmorgon]

Zukka is a ship that I'm ultimately indifferent to but its existence gives me more glee than any other ship. As someone who obnoxiously spent the majority of my pre-teen years going to forum war for Kataang against Zutara, and watching as that war went on strong for years after I'd left my station, the rise of Zukka basically felt like this

"After ten long years the fight shows no sign of stopping. Kataang is once again bringing its ultimate attack of canon-compliance, while Zutara has released another essay on how it better suits the show's themes of balance- wait. What's this? Why it's-it's- IT'S ZUKKA WITH A STEEL CHAIR!!!!"

[blorgon-schmorgon]

I just want to say that when I spoke about how adaptations in general (but specifically ATLA) strip rage away from the characters, I was, of course, talking about Katara and Zuko, but I was also talking about Aang. His guilt and shame about running away is wrapped up in the pain and despair at being the literal last airbender,

which can trigger destructive anger

and in relation to how the monks handled the news a hundred years earlier

which is also wrapped up in his struggle with the avatar state, which also acts as a mirror to Zuko's turmoil, which also --

[blorgon-schmorgon]

uncle iroh is treated very much like a paragon of virtue in the series. yes we know he has had a violent past, that he has done terrible things, committed atrocities in the service of the fire nation— but we don’t really feel it because all of that had happened off screen and prior to the series. instead, he comes to us as a more perfect being and one deified with secret good deeds revealed throughout the story: uncle iroh is the keeper of the dragons and an important member of the white lotus, he is just that awesome.

uncle iroh is so divorced from his immediate past that we don’t see him haunted by any of it unless it’s by lu ten— which begs the question: did he really turn his back on the fire nation due to a moral awakening or was it only/mostly for his own good? he certainly doesn’t behave in a manner you’d expect from a repentant ex-imperialist: he’s not too worried about walking the streets of ba singe se, let alone actually staying there after the war ended. (the same war he participated in on the side of the aggressors, mind you.) he is shameless enough to be living there while hiding away and was unscrupulous in accepting hospitality from earth kingdom folks who were made refugees by the fire nation, i.e., song’s family. does he not feel guilty or at least uncomfortable with his circumstances, especially since it has only been 5 or so years since the siege at ba sing se and thus still very fresh in the grand scheme of things? is iroh just that Enlightened and At Peace with his past that it doesn’t color his every movement? or is his lack of a moral hangover just a writing oversight? were they scared to make their most lovable character in a rated TV-Y7 cartoon a tad more polarizing?

while uncle iroh does his job well for the story— that is, to act as zuko’s guiding light— i do wish he were knocked off his pedestal a bit more. uncle iroh is, after all, the proto-zuko to ozai’s proto-azula. i wish to see him at least slightly paranoid about people recognizing him from his military days and vice versa. i wish to see him uneasy about being in the earth kingdom (out of guilt? as opposed to zuko’s superiority complex and anger). i wish to see him meet another person who also has visible burn scars, one that has nothing to do with zuko/his family, and still look away in shame or disgust by the implications. et cetera et cetera. anything to indicate he feels something more about himself and other people that isn’t just Wise Old Man.