I try to generally be constructive and engaged with the show I love on here, so on this day, I’ll just say that one of the most thematically important aspects for me from the original ATLA is Aang’s emotional core of real shame for running away when he was hurt by the monk’s decision to send him away. People who feel the kind of deep-seated shame that Aang feels from this decision can understand how that kind of all-encompassing shame is not built around a simple failure or a lie they tell themselves; it’s constructed from real misbehaviors and transgressions of their own sense of ethics—lashing out, telling lies, attempting to hurt others intentionally—that then have consequences (abuses, abandonments, or deaths) which seem to far exceed their expectations or even basic logic.
The combination of the misbehavior with exaggerated existential punishments (along with a lack of support and amend-making in the immediate wake of the events) is what transforms a sense of guilt (I fucked up) into shame (I am a forever fuck-up). Then shame, that sense of being a secret monster ‘no matter what I do or how good everyone thinks I am,’ invites all the avoidance strategies (Aang puts on big smiles, makes lots of jokes, constantly tries to make everyone happy, hops from town to town without building deeper connections). One doesn’t want to acknowledge one’s true feelings or let others in to see those feelings and experiences because it’s too painful to face the grief at the same time that you have to look at yourself for being responsible—even when you recognize it wasn’t totally your fault. It’s just that if you had just been good, less emotional, less human, then maybe the world wouldn’t be so messed up. Of course, in a zen view of things, the world will always be messed up in the same way it will always be beautiful. These are constant facts that always coexist in balance, and this is the truth that Aang learns and that undergirds the whole series.
So I always loved that Aang ran away. It was his sin and his salvation. And it becomes this constant tension for the series—he gets hurt in Bato of the Water Tribe and starts to run away from Katara and Sokka, he runs away to the Guru in the Crossroads of Destiny and his best friend is attacked, he and the gaang retreat after the Day of the Black Sun failure, he runs away to meditation in Sozin’s Comet when everyone wants him preparing for war. Aang’s reluctance to be a hero and the attachments and petulance for which he gets criticized are what metamorphasize to become his most noble attributes. They allow him to empathize with others shame and, ultimately, wield the kind of compassion that can deconstruct the power and perfectionism of imperialism.
So yes, Aang ran away from his temple 100 years ago. It wasn’t the mentally healthy choice. It wasn’t the ethical choice. It wasn’t the wise choice. It was human and emotional and shameful and real. Aang is a better character for it. ATLA is a better show because of it. And we are better people when we understand these kind of tragic emotional experiences that people are trying so hard to grow through.
I've watched this video about 50 times, and the extended skit explaining the 'Do Balrogs have wings?' controversy is still possibly the funniest joke about a niche fantasy topic I've ever heard.
It is so funny to me when Tarvek calls the Wulfenbach Empire an "illegitimate government based on brute force" like. Sweetie. You're part of a monarchy. How do you think your government was established, your ancestors asked the others really nicely to let them be in charge forever?
"Turning it over to my debauched son" so you're saying you think inherited leadership is a bad idea? You think someone unfit to run a government being given the position solely because they're the offspring of the current ruler is a bad idea? Is this your opinion, Prince Tarvek?
Tarvek. Babydoll. I am holding your face in my hands and gently explaining to you that the only difference between the establishment of Klaus' government and yours is a few hundred years.
I reread 'find a new place to be from' again and although every scene in that fic is a master piece I think this moment between Harry and Draco is my favorite. Harry going after what he wants always makes me weak.
[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]
saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.
Someday I will write down why not just the story of Cinderella but especially the dynamic between Cinderella, her evil stepmother and stepsisters is one of the most important stories that has lasted thousands of years for a VERY GOOD REASON
Not just regarding child abuse, feminist literature and literature of female (coded) life experiences
But one of the most important stories PERIOD.
SOMEDAY I will fucking explain why Adrien and Gabriel are a brilliant and extremely important depiction of that story, and a phenomenal gender swapped variation of it for modern feminist story-telling that is very much breaking some grounds. If only Marinette's own girlboss 'knight in shining armor' narrative wouldn't constantly undermine that, making them seem "lesser" bc Adrien is "just" her little damsel she will save "easily" because we can't allow for her to be seen as anything else but one of the "STRONG" modern female heros.
SOMEDAY I will explain why Cinderella and Lady Tremaine are NOT fucking jokes and outdated female (coded) archetypes to be laughed at for how "weak and backwards" they are, but if well utilized one of the most raw and gut-wrenching archetypes of the non-romantic interplay of love vs hatred that grabs you by the most intimit connection a human can have and potentially breaks down the very root of who you are and why.
I will fucking explain why despite how misogynistic our society is, Cinderella and Lady Tremaine are still one of the most iconic protagonist and villain pairs in all of fiction and will continue doing so for many ages to come.
Why Cinderella, no matter how much society will tear her down, will never stop rising from her ashes victoriously. And why Lady Tremaine, no matter how underutilized and slandered she's depicted, will never ever stop dominating 99% of any other villain she's put against.
Both entirely without special powers, status, or whatever. Just through their very presence and dynamic.