A3! Web Manga Translation — Chapter 300: Yay! 300 Chapters!
Guy starts thinking about his congratulatory words for MANKAI☆Manga Sengen's 300th chapter, and...?
Featuring: Sakuya, Citron, Guy
Original at http://manga.a3-liber.jp/comic/1982/
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Luke: *Bursting into the room* Babe, I have the best idea: caffeinated mac and cheese!
Din: Luke, Sweetheart, how long have you been awake?
Luke: I'm not really sure, but all three of you are being super judgmental right now.
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Wheat stalk bc nickelodeon wouldn’t let them put a cigarette in there
this brings up broader discourse of would atla universe even have tobacco. like there's no rules its a fantasy world they could have tobacco but would they ? if so where would it be grown ? they have alcohol (its referenced in the Kyoshi novels) and in s2e1 Aang has a drink that's presumably caffeinated (though its probably tea and not coffee - existence of coffee beans is ANOTHER avenue of discourse - personally on the side of no coffee so we can escape coffee-drinker headcanons...) but there are no intimations at any other stimulants/substances... this is probably cus its a y-7 Nickelodeon cartoon but like usually there's SOMETHING....
they definitely have weed though only thing that explains Chong
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if i lived in the avatar universe and was from the water tribe and couldn’t waterbend but my younger sibling could and i just had to sit there and watch how powerful they got moving water with their mind and being able to heal and the sheer power and versatility of the form but no matter how hard i tried the water would not budge for me no matter what. well i would simply kill myself. sokka is so strong
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to me, the question of whether hera would want a body is first and foremost a question of autonomy and ability. she has an internal self-image, i think it's meaningful that the most pivotal moments in her character arc take place in spaces where she can be perceived the way she perceives herself and interact with others in a (relatively) equal and physical capacity, and that's worth considering. but i don't think it's about how she looks, or even who she is - and i think she's the same person either way; she's equally human without a body, and having a body wouldn't make her lived experience as an AI magically disappear - so much as it's about how she would want to live.
like most things with hera, i'm looking at this through a dual lens of disability and transness, both perspectives from which the body - and particularly disconnect from the body - is a concern. the body as the mechanism by which she's able to interact with the world; understanding her physical isolation as a product of her disability, the body as a disability aid. the body as it relates to disability, in constant negotiation. the body as an expression of medical transition, of self-determination, of choice. as a statement of how she wants to be seen, how she wants to navigate the world, and at the same time reckoning with the inevitable gap between an idealized self-image and a lived reality, especially after a long time spent believing that self-image could never be visible to anyone else.
it's critical to me that it should never imply hera's disability is 'fixed' by having a body, only that it enables her to interact with the world in ways she otherwise couldn't. her fears about returning to earth are about safety and ability; the form she exists in dictates the life she's allowed to lead and has allowed people to invade her privacy and make choices for her. dysphoria and disability both contribute to disembodiment - in an increasingly digitized world, the type of alienation that feels like your life can only exist in a virtual space... maybe there's something about the concept of AI embodiment, in particular as it relates to hera, that appeals to me because of what it challenges about what makes a 'real woman.' when it's about perception, about how others see her and how she might observe / be impacted by how she's treated differently, even subconsciously. it's about feeling more present in her life and interfacing with the world. but it's not in itself a becoming; it doesn't change how she's been shaped by her history or who she is as a person.
i think it comes back to the 'big picture' as a central antagonistic force in wolf 359, and how - in that context, in this story - it adds a weight to this hypothetical choice. hera is everywhere, and she's never really anywhere. she's got access to more knowledge than most people could imagine, but it's all theoretical or highly situational; she doesn't have the same life experiences as her peers. she has the capacity to understand that 'big picture' better than most people, but whatever greater portion of the universe she understands is nothing next to infinity and meaningless without connection and context. it's interesting to me that hera is one of the most self-focused and introspective people on the show. her loyalties and decisions are absolute, personal, emotionally driven. she's lonely; she always feels physically away from the others. she misremembers herself sitting at the table with the rest of the crew. she imagines what the ocean is like. there's nothing to say that hera having a body is the only solution for that, but i like what it represents, and i honestly believe it'd make her happier than the alternatives. if there's something to a symbolically narrowed focus that allows for a more solid sense of self... that maybe the way to make something of such a big, big universe is to find a tiny portion of it that's yours and hold onto it tight.
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”A Dream Is a Wish Your Heart Makes” from Disney’s Cinderella and “Impossible” from Rodgers and Hammerstein’s Cinderella are both at minimum beside the point and possibly even opposed to the truth at the heart of the Cinderella story. Cinderella cannot escape her stepmother’s cruelty; she certainly cannot change any larger injustices in her kingdom. and so almost every single adaptation, when asking the question “so what can Cinderella do? where is her agency?”, answers it with “she can dream! she can hope for something to change!” Disney’s Cinderella sighs “they can’t stop me from dreaming!” this is her last recourse, the one activity available to her. Rodgers and Hammerstein’s fairy godmother, taking it even farther, says “the world is full of zanies and fools who don't believe in sensible rules and won't believe what sensible people say, and because these daft and dewey-eyed dopes keep building up impossible hopes, impossible things are happening every day”—believing in the impossible makes it come true, the dreaming is the impetus for the magic which will get Cinderella to the ball, it does do something in the end. when actually, the point of the Cinderella fairytale is that even when you don't have the power to have an effect on anything else in your situation or the world at large, you do have power over what sort of person you become. hoping and dreaming is fine as far as it goes, and might be considered a kind of necessary condition for remaining good and kind (once you give up holding onto hope it’s possible succumbing to bitterness is inevitable), but the hoping and dreaming is not the point. we don’t celebrate Cinderella marrying the prince because that’s her dream come true. we celebrate because she’s finally, at last, getting what she deserves, because of the kind of person she is! if none of Cinderella’s “dreams” came true and she still didn’t let the world turn her hard and cruel, she still would have won. the fairytale ending heaps victory on top of victory, revealing the miracle of Cinderella’s heart for all to see.
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