#multiple atla episodes

[reneesfanworks]

I swear to fucking god if I hear one more person saying that aang, the air nomad, the CHILD, who just happens to be the avatar, should have killed ozai even if it goes against all his cultural principles (principles which, by the way, were established in text, in canon, from the fist season) I'm gonna start biting people

#the southern riders was a whole ass episode about how violence for the sake of vengeance also hurts the executor #in was established in multiple episodes that the air nomads were against the use of violence to resolve conflicts #aang is a fucking vegetarian for fucks sake. he's so devoted to life HE DOESN'T EVEN EAT MEAT #DO YOU REALLY THINK HE COULD'VE KILLED OZAI #atla

[raayllum]

had someone say with their full chest that characters can’t be foils if they’ve never shared screen/pagetime and [screams in english major]

#NOT HOW THAT WORKS #iroh & ozai never share screentime in atla but u honest to god think they aren't foils #zuko & aang have Multiple episodes where they never interact but the framing is all about how they contrast each other #READ FRANKENSTEIN READ ANYTHING I'M BEGGING YOU #fandom nonsense #dragons gets salty #READ WUTHERING HEIGHTS

[applecherry108]

Guess I’m starting a tag bc I cannot be stopped.

The AGONY of the faint leitmotif of “leaves on the vine” while iroh talks about how he owes Zuko 😭😭😭😭😭😭

#I’m on episode 4 now and GENUINELY do not understand where all the hate is coming from #no it’s not as good as the source material and that’s fine #that doesn’t make it bad #I think theyve made a lot of very smart decisions as far as adaptation goes #like centering multiple plots within Omashu. that’s smart as fuck! #and sure there’s not as much breathing room for filler but the characters?? are still?? having mini side quests??? #ffs TAO is here. that in and of itself is shocking #also they are straight up burning people alive on screen on the regular. #I think this adaptation has already justified itself by casting literal children and just. letting them face the horrors of war #it’s easy to forget how young these characters are when animated but it’s fucking hard NOT to be constantly reminded #when watching actual 12 and 14 year olds. #azula hasn’t done much yet but fuck dude. THATS A CHILD! THATS A MIDDLE SCHOOL CLIQUE! #also maybe I’m overly forgiving of the younger actors being a little stiff and awkward. but like. they’re kids. it’s okay. #apple talks #apple reacts to Netflix atla

[best-fictional-cat]

Round 2 Group 1

Coco Grimalkin (Purrfect Apawcalypse) vs Miyuki (Avatar the Last Airbender)

#I am once again reminding you that Miyuki is the cat that got in trouble with the Fire nation on multiple occasions #it's from the episode where everyone got ill and Aang had to go catch frogs and there definitely was nothing else going on <3 #best fictional cat #polls #cats #competitions #purrfect apawcalypse #coco grimalkin #avatar the last airbender #atla #Miyuki #tournament poll

[weepynymph]

‘I didn't steal it, if that's what you're wondering.’

#👀 #i'm just saying #both accused of stealing it and neither one did #both hold onto this seemingly meaningless trinket for multiple episodes #with no knowledge of how much it means to the girl it belongs to #so why hold onto it??? #perhaps because they just want to have something of hers??? #zuko #zuko x katara #katara #Avatar The Last Airbender #atla #jess mariano #jess x rory #rory gilmore #Gilmore Girls #parallels #just thinking about my two favourite boys #they have a surprising amount in common #not my gifs #literati #zutara

[loveofastarvingdog]

tim theres something so so special about seeing you gay yearn posting on the dash when i am gay yearning too but am too tired to post

true solidarity

i've got you <3

#sorry this is. a rabbit trail BUT #there's this part in tma #(<- the magnus archives) and it's the episode near the end where the main character is hunting down someone because she asked them to #and he basically tells people's stories #and anyways there's this one man and he's been to jail and even prison multiple times #and the story begins at his early life #and it's talking about his best friend that was like his brother #and how he always had his back. and because of that this guy always had his friends back #but there's this very particular way that he says it and it's SUCH a brainworm phrase for me #so when i say i've got you. well. i'm saying it in that voice #I DON'T THINK I HGAD A TAG FOR YOU YET #atlas tag🕶️🍂

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

#avatar the last airbender #atla #atla spoilers #avatar netflix #netflix avatar #atla live action #netflix atla #zuko #iroh #katara #aang #sokka #zhao #ozai #review

[comradekatara]

it’s actually really funny that despite being given ample evidence that sokka is a good hunter (he is described offscreen by the writers as being a good hunter; it is a role he clearly takes pride in and defines himself by, ie, “the meat guy”; no one ever starves when he’s around; there’s the way he can accurately describe the events of an entire battle through simply looking at some footprints and scorch marks on the trees; and most crucially, his impeccable accuracy with a boomerang that has been a mainstay across his entire arc clearly required practice at some point, and considering it is literally a hunting weapon, i’m not exactly sure what else he’d even be practicing on), we never actually see him hunt successfully. every time he does attempt to hunt onscreen, he is thwarted by the elements, and his attempt fails disastrously (and comedically). and yet, there is no doubt in my mind that he is, in fact, good at hunting.

some people, however, do take katara’s claim that sokka doesn’t do any work around camp at face value, which is understandable, not only because we never actually see him properly hunt, but because he’s also just an asshole, generally, who undermines the value of domestic (ie, feminine) labor to attempt to bolster his own precariously fragile ego. the thing about katara’s rage in those early episodes is that it is undeniably cathartic and powerful, but also quite misplaced. gran gran making her do chores isn’t the enemy, and neither is sokka. they’re both overprotective to the point of stifling her freedom and dismissing her desires, but it’s for good reason. she is in direct danger, and they feel an existential need to protect her. her enemy is imperialism, not her overbearing, cynical family members. she deserves to be angry, and she deserves to scream and yearn and rebel, but that doesn’t mean that everything she says is correct. for example, just because we first see sokka through her point of view, “playing soldier” and pretending to be a real man, doesn’t mean he isn’t pulling his weight in multiple ways at all times, even if his narrow worldview does need to be challenged (but then again, so does hers).

so why do we never actually see sokka hunt? well, atla is, fundamentally, a children’s show. there are some things that they just simply cannot depict. someone killing, skinning, and cooking an animal would probably disturb children, even though it is also an everyday, normal occurrence and how all the meat they constantly allude to is produced. it’s funny what lines they’ll draw in the sand. especially because we never actually see sokka kill any animals with his boomerang, and yet he does kill actual human beings with it. but i suppose nickelodeon said that was fine.

#sokka #katara #katara&sokka #analysis #basically just transcribing a convo I had w tumblr user bloodbenderz yesterday #but it’s a sentiment I’ve seen reflected before #and I KNOW im sokka’s defense attorney but like. he IS a good hunter. he is. he was just being CENSORED by Big Nicktoons

[sirenalpha]

I'm seeing so much commentary on people reacting to the live action atla toning down Sokka's misogyny

and I'm over here like this is a total non-issue because in my own rewrite of the show I already did that exact thing, it makes complete sense to do it and they should do it because it's a weaker aspect of the original show

Sokka's early misogyny is utterly cartoonish in comparison to the set up of the rest of the SWT, it doesn't feel realistic for the only teenaged boy in a dying culture surrounded by adult women with a grandmother who left a more out and out misogynist society to act the way he does

how Sokka "resolves" his misogyny is equally cartoonish, I never liked how in The Warriors of Kyoshi literally episode 4 of the show makes a teen girl compromise her own culture with a female only fighting tradition teach a boy who is supremely rude and disrespectful to her and then still be attracted to him afterwards, it's more misogyny to fix misogyny and is very obviously men writing about how to fix misogyny especially as they have Aang make a joke about Sokka wearing a dress after going through how meaningful the fighting costume is and how a lot of Asian clothing with hanfu influences like atla borrows from would have men in what to western eyes would be dresses, Aang has already seen multiple male authority figures in robes, the joke makes no sense

I also wouldn't consider Sokka's misogyny genuinely resolved after this, consider how the show deals with his romantic relationships with both Yue and Suki and how both can be seen as extensions of how Kataang is treated in the show, rewards for the hero, especially with how Sokka interacts aggressively with Hahn instead of respecting Yue's wishes whatever her reasons for them, I think an argument can be made that Yue's death is a fridging for Sokka's storyline rather than or in combination with being a consequence of Aang's failure as an avatar or the culmination of her own storyline where she fulfills her duties as a leader to protect her own people

Beyond his romantic relationships, while Sokka drops a lot of his more misogynistic language with Katara, he doesn't support her when she faces off with the NWT leaders to learn waterbending, and he still leaves the caretaking and food preparation and grocery shopping to her which is more common than him going out to hunt or gather in order to provide for the group while he takes a leadership role like determining their travel schedule and routes, it is not an even division of labor and falls along traditional sex stereotypes

In addition to his typical duties to the group, Sokka also remains invested in the trappings of masculinity after ep4, he's concerned about what's manly and how he compares to Jet for example, there's no investigation or interrogation in his interest in meat and hunting and how they relate to masculinity and his misogyny, in the episode with Piando, his insecurity as a non-bender is resolved by giving him a new male mentor and a new martial skill, sword fighting, which is masculine in both western and Asian cultures rather than assuaging his self esteem issues in any less stereotypically masculine ways, I also think it was done so he could compare more favorably to Zuko, another male character, and even his interest in engineering and mechanics comes with a male mentor and is a traditionally masculine pursuit

the show's poor handling of misogyny also extends beyond Sokka, with the NWT, the show acts as if Pakku is the only reason the tribe is misogynistic and the only consequences to that misogyny is that women can't waterbend and there are arranged marriages, and that both the NWT and Pakku's misogyny is resolved by allowing only Katara to learn to waterbend which she doesn't even earn on her own merits, she gets the opportunity because Pakku likes her grandmother

none of this is realistic, misogyny is not because of one bad apple, Pakku doesn't make Yue's arranged marriage, Chief Arnook does, he picked Hahn for her, and the show acts as if Arnook has no authority to compel Pakku to teach Katara or any ability to persuade him in order to reduce his culpability in the NWT's misogyny as its leader to make him a more respectable character so it's not uncomfortable when Aang and Sokka follow his orders in the battle later on, but women not being able to bend and forced into arranged marriages is still status quo when the gaang leaves, Yue's just dead

I'm not even convinced the show runners understand what's wrong with arranged marriage, the issue is not Yue can't be with Sokka who she likes and at most has a slight crush on cuz she's only known him for like two days, it's that she's being treated as male property, a broodmare, and a vehicle to ensure Hahn receives the throne because her father has no male heir and picked some guy to succeed him instead, like it's not explicit in the show but that is the implication based on the historical reality of princesses in arranged marriages, and the show has her get out of it only through death idc that she ascends to being a spirit, it's still a teen girl that dies

There's also no discussion by the show of the Earth Kingdom's misogyny when it has the exact same shit going on, Toph is the only female earthbender in the show not including avatars, there might have been a female earthbender in the background when Katara broke them out of prison, but I'm not really counting that, the entire army and Dai Li are all made up of men, the EK might even be worse because the show doesn't demonstrate that women and girls even have the capacity to earthbend aside from Toph and avatars and Toph doesn't even learn from a human, she has to learn from animals, the show treats this as commentary on her disability but the show has no compelling reason why it can't also be commentary on her sex, Toph was also originally supposed to be a boy so this could have ended up so much worse there literally would have been no female earthbenders aside from avatars at all, I'm not counting Oma as she might just be a mythological figure not a real person that once lived

The Fire Nation kinda barely avoids the same issue, Azula is the only named female firebender aside from avatars in the show but she has two female sidekicks who despite being non-benders show martial skill and there are clearly female soldiers and guards in the FN military so there are much stronger implications of female firebenders existing and being completely allowed to train their abilities and that Azula isn't exceptional in that respect like Toph is, only for being a prodigy with blue fire

Azula was also originally supposed to have an arranged marriage in s3 and they dropped it in favor of showing that royal and noble girls could casually date in the FN which has wild implications for women's empowerment in the country more so than but especially in combination with the fact women can train and join the military (which is why I say the FN is not fascist it's literally the least misogynistic country aside from Kyoshi and by like a country mile so it's literally not misogynistic enough) not that the show does anything more than minor teen drama with it

again, the vast majority of this misogyny is completely unremarked upon by the show especially after s1 when they leave the NWT, it is clearly a fictional world made by men with no true understanding of misogyny just a vague awareness that misogyny is bad and what the really obvious and outdated examples of it are, this is a narrative inconsistency in the show to have the examples and commentary on misogyny be so cartoonish in the beginning and then disappear after s1

your options to resolve this inconsistency is to either go all in with more realistic misogyny and provide commentary on all of it but this takes effort and will be divisive, or take the easier route and ease off the cartoonish-ness of it and comment less on it to avoid drawing attention to all instances of misogyny in the show

obviously Netflix was gonna do the latter

(not me tho, I'm making it less cartoony and dealing with it in my rewrite)

#atla #live action atla #atla critical #anti bryke #anti kataang #anti sokka #its not really anti him more anti how his character was written and dealt with #long post #meta

[avatar-news]

The official Avatar: The Last Airbender soundtrack is finally being released this year on digital and vinyl!

After 15 long years, the much anticipated official ATLA soundtrack release is finally happening!

Check out the official announcement from Animation Magazine:

Nickelodeon and Republic Records: Kids & Family announced the long-awaited release of Avatar: The Last Airbender – Book 1: Water (Music from the Animated Series) on digital and vinyl. The album, featuring an updated and re-recorded score from the first season of the series, is now available to pre-order and will be released in November, with the first single, “Aang Becomes Ocean,” releasing on Friday, July 28. Emmy Award-winning composer and musician Jeremy Zuckerman, who composed the music for the award-winning animated Nickelodeon series, has expanded his original compositions and employed a full orchestra for Avatar: The Last Airbender – Book 1: Water (Music from the Animated Series). The original album artwork was created by Bryan Konietzko, co-creator and art director of Avatar: The Last Airbender and co-Chief Creative Officer of Avatar Studios. Nickelodeon’s Avatar: The Last Airbender is co-created by Konietzko and Michael DiMartino. The series ran for three seasons (61 episodes), from February 2005 to July 2008 and was honored with a Peabody Award and Primetime Emmy, along with multiple Annie Awards and Genesis Awards. Avatar: The Last Airbender follows the adventures of the main protagonist Aang and his friends, who must defeat Fire Lord Ozai and end the Hundred Year War to restore balance to the Four Nations. Pre-save Avatar: The Last Airbender – Book 1: Water (Music from the Animated Series) to Spotify or Apple Music here.

It's possible this was meant to be revealed at the Avatar panel at SDCC today, which was canceled due to the SAG-AFTRA strike.

#news #music #atla #cast and crew #jeremy zuckerman #bryan konietzko #cover #sdcc2023

[survivalove]

ATLA fandom and removing Katara’s agency and POV

Recently, I came across the following thread where OP proceeded to uplift the following ships to diminish Kataang, on the supposed basis of Katara’s agency and pov (or lack thereof).

I decided to keep all their points and pictures to show a holistic analysis of the show, which they themselves fail to do.

Firstly, on the topic of loss, Kataang has multiple moments where they connect over their losses.

At first, Katara tries to tell Aang that his people may be lost by opening up about her mother, but he is obviously in denial. It is only when he sees Gyatso’s body (like Katara did when her mom passed) that he accepts the loss of his people and her comfort.

I also want to note that this is a recurring pattern of Aang struggling to accept Katara’s comfort at first, despite these shippers’ claims that he easily accepts her “coddling/mothering”.

Kataang as seen in Katara’s pov:

This is easily the most inaccurate part of the thread and shows how shippers fail to acknowledge Katara as a character unless she is with their preferred love interest.

Kataang’s relationship is framed in Katara’s point of view multiple times, especially in these episodes.

Next, Katara’s boundaries:

Once again, they exclude the frames where Katara exercises her agency — pushing him away and telling him off, removing her pov from the scene all on their own. Furthermore on the issue of being violated, what is her point of view when she’s tied to a tree, or when her grandmother is being roughed up and tossed around?

This is part of a greater issue where shippers genuinely believe the misogyny in the writing room is exclusive to a single ship and would somehow be resolved if the female character ended up with… another man.

On Katara’s grief,

Honestly, this has to be the second most dishonest and laughable part of the thread (don’t worry we’ll strike gold soon), so I’m not even going to validate it with more than these pics:

Lastly, the ship in question:

I just find the lightning pic so funny in this context like what?? Like I said earlier, Kataang is shown from Katara’s pov multiple times, but here’s more pics because when your ship has the material!

Aang has seen Katara at her worst multiple times, either stepping in, comforting her or giving her advice (just like Katara has done for him many times, unprompted I might add) because he knows her and has seen her very hostile reactions towards Jet and Hama when they tried to use her as a tool for their revenge. Mind you, this same advice her literal brother and eventually Zuko himself agree with.

Also I always found it pretty weird how Zuko (ahem the writers) set this up so that she can forgive him right after he failed to understand why she was the last one to do so in the beginning of the episode, but anyway…

Lastly, both Aang and Katara have opened to each other in incredibly significant ways. Aang opens up to Katara about the monks and why he disappeared. She is the only person to know this side of him. Meanwhile, Katara tells him about her mother and opens up her family to him, and even in the most platonic interpretations, how is that not the most significant way to open up to someone?

#kataang #katara #aang #atla #anti zutara #anti jetara #anti harutara #i didn’t even know that was a thing? #pro kataang

[justthoughts1310]

If you have not watched Netflix's live action ATLA yet, let me stop you right now. It is not good and it's score on rotten tomatoes is honestly too high.

However, it's far better than the 2010 Live Action movie.

I'm on episode 6 now, and as I watch, I've been trying to find the words that best describe the series.

I've struggled, but the first thing I've noticed is how all of the actors seem to walk their parts and miss the meaning and motivations of their characters all together. The only one who comes close to embodying their character is Iroh, and the only one who looks like they came from straight out of the avatar universe is the Bounty Hunter.

However, now that I'm in episode 6, I've found the word.

The series is Rushed. It's rushed. It feels that they are trying to pack as much avatar lore into the storyline as possible and they don't care what storylines or arcs they have to mangle in order to do it. It's like a really badly written fanficition or a bad spark notes recap of the OG show. I feel comfortable saying that because I've read the Kiyoshi novels (which are like fanfics) and they are EXCELLENT.

You notice this when the show starts. Aang can fly unassisted. Let me repeat. He can fly unassisted. Only two Airbenders in all of Avatar history can fly unassisted, and one hasn't even been born yet during the time Aang was trying to stop the 100 year war. This boy can fly, but we're 6 episodes in and he has not water bent once. If he hadn't turned into Kiyoshi, I wouldn't believe that he's actually the avatar.

As to not provide any spoilers, they've taken multiple storylines and mashed them together. For example, the spirt of wisdom that we meet in the library in the arc where Appa goes missing. Yeah, we meet the guy in the forest with the Panda Bear Forest spirit and then we meet Kah shortly after. As if that's not all terrible, then we are introduced to the Mother of Faces.

The mother of freaking faces! If you don't know who she is, she is not in the show. She is introduced in the graphic novel trilogy "The Search" when Zuko and Azula try to find their long lost mother.

It is my feeling that if you want to revisit a beloved show that you should work to make it better. Deepen it. Add color to it and help the audience better understand the characters insights. Take your time with it.

Netflix tries to do a little of this by providing some additional backstories, but it does this by running rough shot through literally everything else.

It even changes the characters relational dynamics with one another. For example you know how even though Sokka is the oldest, Katara very much has adopted the place of their mother? Yeah... throw that notion right out the window. Now, instead of Katara being the practical one who keeps everything on track, she's painted as the rash kid who needs to grow up and Sokka is the father figure.

Now, Zuko is kind of the beloved child even though he's been banished and Azula is seen as a nuisance to her father. Like what??????

It's actually ironic that the show removes Sokka's misogynistic nature because the show is kind of misogynistic in and of itself.

It's 6 episodes in and has already stripped three female characters of their core tenants.

1. Azula is a prodigy. She's the pride of the fire nation. Not anymore.

2. Katara is a motherly figure who is the mother of the group. She cares for everybody and keeps them on track. Not anymore.

3. Suki is a fierce and independent warrior who is not impressed by Sokka's misogyny. Now, she's a creepy woman who follows him around the entire time he's on the island until he asks to be trained by her.

When we heard that the OG creators and Netflix went different ways because of creative differences, we should have known right then and there that the live action was going to be trash.

Also, I'm going to put it out there. Considering the fact that this should be a block buster series, Netflix did not spend anywhere enough money on it, because the graphics are so cheesy and Appa looks terrible.

#atla #netflix #atla live action #sokka #katara #kataang #zuko #azula #nikelodeon #roku #kiyoshi #kah #avatar #avatar the last airbender #airbending #zaheer #legend of korra

[theotterpenguin]

there’s a post floating around here claiming that sokka is the only person keeping the atla kids alive and it very much reminded me of how the labor that women perform is often undervalued and overlooked. (and this post is not meant to be targeted towards op at all, but rather is speaking towards a general trend that i’ve noticed in the atla fandom)

i recently rewatched atla and it’s surprised me that the fandom interpretation is that only sokka is worried about the group’s lack of food/money, particularly in book 1, because katara worries over the exact same things and is usually the one backing up sokka. in “the warriors of kyoshi,” sokka reminds aang that they need to make it to the northern water tribe soon and stop making pitstops, and katara agrees with him. when they stop at kyoshi island, katara reminds aang multiple times that it’s risky to stay in one place for too long. in “the waterbending scroll,” sokka worries over how little money they have left after aang wastes money on a bison whistle, so katara takes charge of keeping track of the money instead, and she also reminds aang that they need to practice waterbending, not focus on having fun. in “the storm,” katara realizes they’re out of food and says they need to go to the market, then sokka gets a job so they’ll have more money for food. in “the king of omashu” and “the deserter,” sokka worries that aang will be discovered, and katara agrees so she suggests that they wear disguises. in “the cave of two lovers,” sokka says they need to focus on getting to omashu without getting sidetracked, and katara agrees. in “avatar day,” sokka and katara buy food/supplies together while aang waits for them. 

despite sokka being seen as the pragmatic sibling, both katara and sokka are pretty united in their practicality and trying to keep their mission on track. katara only makes exceptions on a couple occasions when she values standing up against injustice even more than sticking to the plan, such as freeing the imprisoned earthbenders or helping the fire nation village as the painted lady. and the way that i've seen people use katara’s passion for social justice as a way to argue that she’s “irresponsible” seems a bit disingenuous considering that she sees it as a moral duty to help people in need (and let alone everything else she does on the day-to-day to help the group).

(“the library” is in fact the only episode in the entire show that i can remember where katara disagrees with sokka and says there’s no harm in having some fun in their downtime. and as soon as sokka finds out about the existence of the library he’s also fine with taking a break from their mission lol. despite what the fandom thinks, it’s not the norm).

and while there’s a lot of focus on sokka’s mapping/planning skills, there’s also so much that katara does so much behind the scenes that isn’t as explicitly acknowledged. “the chase” tells us that katara, aang, and sokka all contribute pretty equally to setting up their camp while traveling. in “jet” they all help pack up camp, in “the great divide” sokka sets up their tent, katara collects firewood, and aang gathers food. and yet even though they all seem to contribute pretty equally to setting up camp, we are shown so many scenes of katara doing extra chores while the others are preoccupied with something else. in “the southern air temple,” katara packs up their supplies while sokka is sleeping, then again packs up everything while sokka’s eating the food momo gave him. “the warriors of kyoshi” episode implies katara is the only one mending everyone’s clothes, and while sokka is getting his ass kicked training with the kyoshi warriors and aang is entertaining his fan girls, katara is shopping for food and supplies.

in “the painted lady,” the group all goes shopping for food together, but it’s katara who cooks dinner for everyone (shown twice in this episode). in “the runaway,” katara’s at camp cooking for everyone while they’re off tricking a gambler to make more money. sokka, aang, and toph buy food/supplies, then leave them with katara to sort out while they go have fun in the village (and sokka gets to buy his messenger hawk). and katara’s the one seen as a “buzzkill” for worrying about their safety. this pattern continues in “the western air temple” and “the firebending masters” where we see katara cooking and serving food to the group, but there aren’t scenes of them doing other chores.

and of course, “the desert” is an entire episode dedicated to katara keeping the group alive. and that’s not even to mention the countless amount of emotional support that she gives to her friends, often putting other people’s needs above her own. sure, katara might not be the person with the map or the master plan, but that doesn’t mean her contributions are any less important.

sokka’s character arc involves growing into a strong leader and strategist, so it makes sense that the fandom often likes to focus on the moments that go into building this arc, the moments where he does take the lead and is responsible. but for katara? it’s just something required of her and of most female characters. taking on extra responsibilities is something to be admired in men, but just expected of women. 

and to be clear, i’m not saying that sokka is not responsible, he definitely is. i just find it interesting that some parts of this fandom have a skewed perception of katara’s role in the group, often claiming her to be the “irresponsible” or “immature” sibling while poor, exhausted Dad!Sokka™ is the only one keeping these silly kids alive. sokka and katara both had to grow up too fast, they’re both kids who are very mature for their age and took on adult responsibilities far too young (though in different ways). acknowledging the sacrifices katara made and the labor she took on to take care of others isn’t diminishing sokka’s character arc, it’s something he even admits in the show himself. and i love their relationship because even with such a complicated family dynamic, it’s so clear how much they love and support each other.

#sokka #katara #katara analysis #atla #atla fandom critical #“katara is the silly irrational girl while sokka is the mature dad who stepped up” do y'all even hear yourselves #i have a lot of thoughts about how the way that the fandom misinterprets sokka & katara's relationship #as like a reactionary mechanism against the potentially sexist writing of the source material #but that'll have to wait until another post #my post #my meta

[audible-smiles]

#a:tla #avatar the last airbender #atla

[newtthetranswriter]

Hi, I saw that your ATLA requests are open again! Could I get a Zuko x f/reader, where they were childhood best friends until he was banished? The reader joined the avatar after running away and now they meet again for the first time? And they kinda hate each other and fight but at the same time avoid hurting each other? Thanks!!

Word Count: 1388

Paring: Zuko x reader

Warnings: Canon typical violence, probably ooc zuko (it’s my first time writing for him)

A/n: I’m so sorry it took so long for me to finish this. I kept trying and had to rewrite it multiple times cause I wasn’t happy with how it was turning out, but I think it’s good now. I hope you enjoy and remember to hydrate or diedrate.

A/n2: I just wanted to add that I changed the timeline slightly. Zuko was still banished at 13 but instead of Aang being found when Zuko is 16, he’s found when Zuko is 18.  Also, yes I know they run into Zuko after the fortune teller episode but it was just the best spot I could work reader into joining the Team.

    Being the daughter of Ozai’s closest advisor gave some pretty great perks, like growing up alongside Prince Zuko. Zuko and I were as close as two friends could get, we would spend most of our time together avoiding Azula and feeding the turtle ducks. When we weren’t playing we were practicing our fire bending together, again being a high ranking advisor's kid got you a lot, including lessons with the royal families firebending  teachers. For the longest time it was me and Zuko against the world, but alas all good things come to an end. Shortly after we turned thirteen, Zuko was invited by his father to a war council meeting where he spoke up against a general’s plan. Having offended his father Zuko was subject to an Agni Kai where Ozai burned him and then banished the young prince, sending him on a wild goose chase for the Avatar.

    I tried to go with him but Zuko pushed me away telling me I need to stay safe in the walls of the Palace. I had, at the time, agreed, but after two years of watching the ‘Great Fire Nation’ destroy the world, I had enough. One night when I knew ships bound for the Earth Kingdom were docking to pick up new soldiers, I snuck out of my room in the palace with only a change of clothes and snuck onto one of the mini ships. I stayed hidden on the ship for days, sneaking food from the kitchen when it was empty at night. The first stop the ship made outside of the Fire Nation, I took my chance and fled into the Earth Kingdom.

   I spent three years moving around different villages in the Earth Kingdom, mostly avoiding any signs of the Fire Nation. If a village I had been staying in got attacked I would leave. It may sound bad but if I stayed to help, I’d only end up back in the Fire Nation and likely executed for treason so the best choice was to keep moving whenever they got close. Although that plan changed when rumors of the Avatar’s return started to surface. Taking the information as a sign to start fighting back, I packed up what little things I owned and left the town I had been staying in.

  Spending a few weeks following sightings of the Avatar hoping to catch up with him eventually. I miraculously managed to catch up with him and his friends when they were helping to protect a village from an erupting volcano. After assisting them, I explained that I had run away from the Fire Nation and wanted to help them end the war. It took a lot of convincing but they eventually agreed to let me join them on their journey to the Northern Watertribe.

   After a couple of weeks of flying, making stops for food and letting Appa rest, we eventually made it to the Northern Tribe. Not long after our arrival in the north, the Fire Nation attacked. After trying to take out the ships on his own, Aang decided he needed to go into the spirit world in search of help. Joining Aang, Katara, and Yue, I positioned myself near the entrance of the Spirit Oasis ready to be the first line of defense in case anyone tries to stop Aang. 

   I zoned out of the conversation Katara was having with the Princess as she was just explaining that as long as no one moved Aang’s body everything would be fine. Right as I was about to agree with Katara for saying we could protect him, I heard a voice that I thought I would never hear again.

   “Well, aren’t you a big girl now.” Sure, his voice was deeper and void of any emotion other than anger. I knew it was him. Moving closer to Katara, I motioned for Yue to run and continued to watch my old friend’s confrontation with my new friend. I could hear a quiet ‘no’ leaving Katara as she realized someone was here to take Aang. “Yes. Hand him over and I won’t have to hurt you.” Zuko said, getting in a fighting stance.

   Katara responded by also taking a fighting stance. Using the distraction of the two of them fighting I moved to place myself in front of Aang so no stray attacks could hit him. Normally when fighting firebenders I would step in, but seeing as it’s currently the night I know waterbending is more powerful and so I let Katara deal with Zuko. I watched in amazement as Katara used a wave of water to push Zuko up a wall and then freeze him there. 

   After trapping Zuko, Katara ran to make sure Aang was ok. While she was distracted, I felt a slight increase in energy come from my bending, knowing that it was likely day break I turned back to where Zuko had been trapped. “Katara stand back and keep an eye on him.” I said getting in my own fighting stance. She let out a confused sound as a blast of fire was sent directly at her. Acting quickly I deflected the attack.

  “You rise with the moon … I rise with the sun.” Zuko said not paying attention to the fact his attack missed.

   Taking his momentary pridefulness as an opening, I sent my own attack his way kicking a stream of fire at his legs effectively knocking him down. “So do I dipshit.” I said as he jumped back to his feet, confusion written across his face. “Surprised to see me? Now if you want to get to Aang you have to go through me.” Getting ready for a counter attack. When one didn’t happen I took another shot, sending a ball of fire towards him.

   Snapping out of his confusion, Zuko quickly deflected. “What are you doing here? You’re supposed to be safe, back in the Fire Nation.” He asked, not bothering to fight back. 

   “I haven’t been in the Fire Nation for three years, Zuko. I left after all that happened to you and then watching the Fire Nation kill thousands of innocent people, I couldn’t sit and watch them destroy the world for no reason.” I explained, sending attack after attack his way. “You of all people should understand that your father doesn’t care about the innocent lives lost and just wants to keep this war going.”

   Up until mentioning his father, Zuko only deflected my attacks. But as soon as the Fire Lord was mentioned, he sent his own volley of attacks my way, though for some reason it felt like he wasn’t giving it his all. “How dare you speak poorly about my father. He gave you so much, let you learn fire bending from the same masters who only teach royalty, let you live in his palace, and here you are saying he just wants an endless war.” 

   Rolling my eyes, I continued to send attacks his way. After what felt like hours, but was probably only twenty minutes, Zuko got the upper hand. He sent a well timed blast at my stomach as I was trying to catch my breath. It wasn’t strong enough to burn or leave any lasting damage but just enough to knock what little air I had out of my lungs and send me tumbling to the ground. While I was down I heard Katara start to fight back but it was quickly followed by the sound of her also hitting the ground. Still trying to catch my breath I sat up and watched as Zuko grabbed Aang and ran.

   When Sokka and Yue entered the Oasis, I couldn’t help but feel that it was my fault Aang was taken. I listened as Katara explained that we had both tried to fight him off but he got the upper hand and knocked us both down. When Sokka turned to look at me, I just shook my head. Not wanting to face the fact they all now knew I have history with Zuko and were probably thinking I pulled my punches because of it. Turning away from the group as they decided it was best to go after him and find Aang, I declined, not wanting to be caught pulling my punches against Zuko again.

#x reader #atla x reader #atla zuko x reader #zuko x reader #newt writes #answering requests

[rwbyrg]

A Rosegarden by Any Other Name Would Smell As Sweet

AKA Reasons Why Rosegarden is Canon #015: Ruby and Oscar's Multiple Shared Allusions to Other Fairytale Love Stories

Typical disclaimer that while all characters within the RWBY narrative have a main allusion, they often have secondary allusions that apply to the roles they fill in relation to other characters stories. Like how Yang is Goldilocks on her own, but becomes the Beauty to Blake's Beast when paired together.

The first, most notable example for Rosegarden is, of course, The Little Prince (expanded upon here). Oscar's primary allusion is of a boy who grows up on a planet "scarcely bigger than himself, who was in need of a friend", and one of his most influential relationships is that to a rose with whom he loves. They spend much of the story separated from one another, while the prince wanders lost in a desert, pining for a way to reunite with her back home.

Important to note this isn't the only time Ruby has been a Rose for another fairytale. She also slots in as the Rose Red to Weiss' Snow White, she acts as the successor to her mom as The Last Rose of Summer, and she also stands in as the Enchanted Rose to Bumbleby's Beauty and the Beast given how it's a "true loves kiss will break the spell before the last petal falls" situation... and BB kisses two episodes before Ruby Rose "dies".

The second notable allusion for Rosegarden is the Warrior in the Woods (expanded upon further here), a canon RWBY fable from The Fairytales of Remnant. The very first story within the book is about a village boy who becomes a huntsman after being inspired by a huntress he meets in the woods. A huntress, I might add he fell in love with the moment he saw her silver eyes.

Something to note about both of these examples, is that they are each stories with a focus on caring for someone else in unique ways. With The Little Prince, the Rose is vain and has many demands and asks the prince to tend to her; while in WitW, the warrior works tirelessly without thanks to protect a village. When the boy meets her, he starts looking after her for a change because he figures that's the least he can do to repay her. Both of these tie in well to RG's dynamic of Ruby carrying such heavy responsibilities alone, with Oscar making a conscious and active effort to help her shoulder those burdens.

The third, more subtle allusion, is their respective ties to The Wonderful Land of Oz. Oscar's first confirmed allusion before the Little Prince reveal was originally to Princess Ozma/Tip, the heir to the Kingdom of Oz given his proximity to Ozpin as the man behind the curtain, as well as to fit a "genderbend" character within the framework of team JNPR.

How does Ruby tie into this one? Well, we have to work backwards a bit. Ozpin's initial four lieutenants were all linked to the original cast of Oz:

Qrow as The Scarecrow without a mind (travels around as a crow and is regularly inebriated)

Ironwood as the Tin Man without a heart (his multiple cyborg prosthetics and character development in Atlas)

Lionhart as The Cowardly Lion (his fear overtakes him and pushes him to join forces with Salem to save his own skin)

Theodore as Dorothy Gale (donning ruby gauntlets instead of the traditional red slippers)

But RWBY is a story about legacies and breaking cycles. With the new generation of huntresses in Oz's inner circle, they replace those who came before them.

Blake takes Lionheart's place (cat faunus that ran out of cowardice, only to become brave and return to the fight)

Weiss as the Tin Man (aka Ice Queen, who's heart melted as she became kinder and grew more attached to those around her)

Yang the Scarecrow (no longer blindly following orders, but making an active effort to question the words and intentions of those around her)

Ruby as Dorothy (her little dog Zwei and the red - or silver, depending on movie or book adaptation - slippers that lead them all on their journey)

Why bring up Oscar as Princess Ozma and Ruby as Dorothy? Well, according to the original books and not the movie, "Dorothy and Ozma are each other's closest relationship" as illustrated here:

Very good friends. Just gals being pals. Sharing the responsibilities of leadership with one another. Smooching in the palace gardens. Dorothy as the only one who's allowed in Princess Ozma's rooms without an invitation. #BFFS4EVA

These are all the canon ones that are easy enough to parse, but there are some similarities to others famous stories that can be found with a bit of squinting that I will also share just for fun.

The first is how Ruby's experience in the Tea Party acts as a near perfect display of Romeo and Juliet's ending. For those unfamiliar with - or who have forgotten - the bard's infamous tragedy, it is a story about two star-crossed lovers very much doomed by the narrative. It ends with Juliet faking her death without telling Romeo. So when her prince charming comes across what he believes to be her corpse, he drinks a vial of poison and kills himself out of grief. When Juliet wakes and sees he has left her, she takes his dagger and stabs herself so they might be together.

In the tea party, Ruby fills the shoes of Romeo and Oscar of dear Juliet. Oscar is "killed" by Ruby's blade, but it is an illusion. He's not real. Like Juliet, he's not really dead. However, the vision is still enough to push Ruby into drink a vial of poison (the tea that takes her to the tree), giving up in the face of her grief, just as Romeo does.

And if we need any more evidence for this one, can't hurt to bring up the infamous quote of Juliet wherein she likens her love to an oh-so-familiar flower:

What's in a name? That which we call a rose By any other name would smell as sweet;

A line that Juliet says to proclaim that if her Romeo weren't a Montague, then she would still love him regardless, but through which implies that it would be easier for them to be together if he were not himself. And within V9, Ruby's cited motivation to go to the tree is because she doesn't want to be herself any longer.

And last, but certainly not least, is how a lot of ships within RWBY seem to have fairly direct parallels to the myth of Eros and Psyche. It is a classical tale about the trials of love, putting the protagonists under multiple tests of loyalty and attachment before letting the two lovers unite at the end. Both love stories within Beauty and the Beast and Snow White and Rose Red pull inspiration from the myth, and we see it in CRWBY's approach to writing romances throughout the show thus far.

Blake and Yang being separated, breaking and rebuilding trust, before coming together in V9; Ren and Nora going through trials and conflict, currently apart now so they might discover who they are on their own before re-uniting with one another again; and Rosegarden having constant reunions, separations, and trials with strong focuses on their attachment to each other. Another common archetype they use from Eros and Psyche is that of the "Animal as Bridegroom", wherein at least one of the partners undergoing a transformation that is often monstrous in nature.

Bumbleby is self explanatory

WhiteKnight has the issue of Jaune being lost to time and becoming an Old Man, who's curse is reversed by magic. It alludes to his role as the Prince within Snow White and Rose Red who was initially turned into a bear via a curse

Rosegarden, has this instance for both characters. Oscar as an Ozcarnation (becoming something he doesn't want via a curse they are trying to break before time runs out) and Ruby's future fate should she be captured by Salem (being turned into a Grimm by the wicked witch - or eaten by the wolf - like her mother before her).

All of these line up with the myth's structure as well as Monty's foundational philosophy on love stories that we see in his quote from many years ago:

A lot of these all have really tragic endings so uh. Good thing RWBY likes to subvert the stories it's telling, right? They're going to get a happy ending, right CRWBY???? 😰

#hehehe #rwby #ruby rose #oscar pine #rosegarden #rwby rosegarden #ship parallels #rwby ship parallels #meta #analysis #rwby meta #reasons why rosegarden is canon