#that speaks so much about zuko as a person and about his own trauma i guess | Explore Tumblr Posts and Blogs

zvtara-was-never-canon · 6 months

Note

you once said that the ZK do not allow the canonical Zuko to show real, sometimes ugly signs of trauma. can you write more about this? because that's what I always felt when I came across their terrible takes, but I couldn't express it.

Gladly! But first, I need to mention the sign of trauma that Zuko usually lacks - and that, for some reason, the fandom insists defines his character:

Fear

Don't get wrong, I'm not saying Zuko never experienced fear. We all saw that poor boy on his knees, crying, begging his father not to hurt him.

But in "Zuko Alone" we also see 10-year-old Zuko get bitter that only his younger sister was expected to show off her firebending skills, and deciding that he would go against his father and demonstrate his own skills to the Fire Lord - that despite the fact that he knew Azula was better at it than he was. Even when it goes wrong, he is upset, but doesn't look afraid of the consequences.

That same episode shows Azula mocking him for playing with knives despite not even being good at it, and even though the fandom insists she was his worst fear ever since he was a child, Zuko responds with a "Put an apple on your head and we'll see how good I am." That little guy has exactly zero chill.

Let's not forget why he was banished either: Despite being considered too young to be in that war meeting, Zuko demanded to be there, eventually got his way, and despite having been told not to say anything, the second he hears a general suggest using their own men as "fresh meat" to lure the enemy, Zuko speaks out against it. And at the start of the Agni Kai, he looked 100% ready to fight a grown ass man with battle experience - until he saw it was his father/Fire Lord.

Let's not forget his Agni Kai with Zhao, which was his idea and that he actually won - and before that, he openly calls Ozai a fool, to which Zhao points out that banishment clearly not teach Zuko to watch his mouth. Or the time he openly challenged Azula in Ba Sing Se and they only didn't fight then and there because Azula knew she'd have the advantage by using the Dai Li. Hell, at the start of that very season, after she tried to lure him to a trap, Zuko's first reaction is to charge at her, fire-daggers in hand. That boy is the definition of "Fuck around and find out."

He has also done things like choosing to save his uncle from earthbenders instead of chasing Aang, crossing a blockade and going into actual Fire Nation territory even though he legally is no longer allowed to do that, and helped rescue Aang from Zhao as the Blue Spirit. It shows us that Zuko doesn't have an issue with temporarely deviating from his mission because of something HE deems important even though his father doesn't, openly disregarding Ozai's orders, and even basically saying "My father will have the Avatar as a prisoner only if I'm the one to capture him"

And, of course, on the day of the eclipse, Zuko grabs his swords and directly threatens Ozai, telling that bastard to sit the fuck down, shut up, and listen to his list of reasons why he sucks as a parent, ruler and person.

Zuko is brave. Unbelievably so. He is fierce, proud, and impulsive to the point of getting himself in situations that he should have known would not go his way (like fighting a waterbender in the snow, in the full moon) because he is very much a "act first, think later" kind of guy. So the fandom's insistence that he is constantly paralyzed by fear is a gross over-simplification of how his trauma affects him.

We only see him genuinely afraid of Ozai twice. During the Agni Kai itself, and then again when he WANTS to speak out against his father's plan to burn the Earth Kingdom to the ground, but can't bring himself to because he remembers what happened last time he spoke out against that kind of horrible thing during a war meeting, at that very room. It took something THAT triggering to make him cower before a challenge.

However, fear wasn't the only reason why didn't speak out during that moment, and that takes us to the first "ugly" sign of trauma that the fandom as a whole likes to pretend Zuko wasn't repeatedly shown to experience:

"My father is right about me, actually"

Zuko doesn't think Ozai was wrong to disfigure and banish him. How could he? Nobody in that entire room stood up to at least try to support him, not even his uncle - who also once said "Why would your father have banished you if he didn't care about you?" because, surprise surprise, nobody in that family knows how to help someone through trauma because they're all dealing with their own shit. Even his crew, who WAS sympathetic to him after finding out how he got that scar, were still 100% willing to not only support Ozai, but risk their lives for him.

Zuko isn't just trying to heal from abuse, he is trying to heal from victim-blaming, and to go against YEARS of indoctrination that say the Fire Lord can do no wrong. That's part of why it was so difficult for Iroh and others to help him: Zuko didn't believe that he needed or deserved help.

And that is also one of his three major unhealthy coping mechanisms. Claiming that HE needs to prove himself to Ozai, that HE needs to make up for HIS mistakes, not the other way around.

It might seem strange that this could be a way to cope, but look at it this way: If it WAS his fault instead of Ozai's, then that means his dad is not an unfair, abusive piece of shit that is unbelievably cruel and impossible to please. Zuko just needs to accomplish this mission of capturing the Avatar and everything will be fine, they'll be a normal family again, and he won't have to be afraid of someone he thought he could trust.

It was like Iroh said: Things are never going to be the same ever agin, but the Avatar gives Zuko HOPE. And that hope that his abuser will one day have a change of heart and be a loving father to him again is both what allows Zuko not to give into despair - and what keeps him trapped in that awful situation.

Misplaced Anger

Another "unpleasant" sign of trauma that Zuko has is how he clearly has an anger problem. Sure, he's a moody teenager with a short fuse, but we see over and over again that he tends to blow things way out of proportion, and that when faced a fact or opinion he doesn't like, he is quick to lash out at someone with VERY cruel words (see him calling Iroh a lazy, shallow, jealous old man in "Avatar State", or calling him crazy and saying if he wasn't in prison, he'd be sleeping in a gutter in "The Headband").

Through the entire show, many people faced Zuko's wrath - Iroh, Aang and friends, his crew, Azula, innocent people of the Earth Kingdom, Mai, Ty Lee, that one rando that talked to Mai, and even Zuko himself.

The one person that usually escapes said wrath is, ironically, Ozai. In "Zuko Alone" he refuses to believe his father would ever be capable of harming him, in "Avatar State" he snaps at Iroh for doubting that Ozai really changed his mind about the whole banishment thing.

He is mad at Aang for being too difficult to capture, and at Zhao for stealing his one chance to come home. He never stops to question if it's fair that his father had him chase someone that was presumed dead, aka an impossible task, as the condition to bring him home. He also never addresses how he feels about the reason WHY said banishment happened until the Day Of Black Sun.

He is mad at Azula for lying to him and trying to take him home as a prisoner. He never gets mad at his father for not only wanting to lock him away forever because ZHAO screwed up at the North Pole, nor how messed up it was that he put Azula in charge of said mission.

For fuck's sake, in the day of the eclipse, we find out that Zuko legit believed his mother was DEAD - and the entire circumstance was shady as hell and put Ozai in a very bad light. Yet Zuko still wanted his love, still wanted to be a "worthy" son.

He HAS to direct his anger at other people, otherwise he'll realize that no, his father, the adult that was meant to care for him, is a complete monster.

Everytime Zuko lashes out at other people before confronting Ozai, he's basically acting like someone who is drowning and, in a panic, is trying to pull the nearest person under so he can try to breathe. It is one of the most accurate and honest representations of trauma and abuse, and it makes me SO mad when people erase it in their fics because "poor, innocent, helpless turtleduck that can do no wrong" makes Zuko look like less of a dick - and also completely strips him of his agency.

And that isn't even the thing that fans ignore the most. That "honor" goes to the simple fact that Zuko, as expected of a child raised to believe the Fire Lord can do no wrong, decided that Azula had the right idea and that the best way to avoid being a victim again was...

Copying His Abuser

Zuko has REPEATEDLY let his "inner Ozai" out through the show.

He is all manipulative by not letting the pirates know he was chasing the Avatar who was worth A LOT more than the scrowl they'd get as a reward for helping him, and by using Katara's necklace as a way to try and get her to say where Aang was.

He repeatedly steals stuff from innocent people (including some who helped him, like Song) because, in his own words "These people should just be giving stuff to us" - aka he's very much an entitled prince.

He betrays his uncle by joining Azula in Ba Sing Se, leading to Iroh being thrown in prison. He also doesn't give a shit when Katara says "I thought you had changed!" and he sends a freaking assassin after the Gaang. Even him refusing to tell Azula that there was a chance Aang could still be alive works both as a "Zuko doesn't trust Azula to not use that against him, and for good reason" and "Zuko did not even stop to think that, since Azula was the one who killed Aang, him coming back also puts HER in danger, because he's too focused on his own problems to notice anybody else's."

More importantly, he rejected a chance of a ceasefire with the Gaang three times (The Blue Spirit, The Chase, Crossroads of Destiny), much like Ozai refused his shot at ending the war in the finale before his battle with Aang, and not only did he challenge Zhao to an Agni Kai and seriously consider burning him, he also threatened one of his crewmen by saying he'd "teach him respect" - which we found out later that episode was what Ozai right before disfiguring poor Zuko.

For fuck's sake, Ozai was literally designed to look like an older Zuko. One without a scar, one that was never banished, one that never had to see first-hand all the death and suffering war brings and reflect on the role he plays in it.

Finally, we have the war meetings in "Nightmares And Daydreams", in which Zuko doesn't speak out against his father's completely inhumane plans to deal with the Earth Kingdom. When talking about it with Mai, he says "I was the perfect prince, the son my father wanted. But I wasn't me."

That is the turning point for Zuko for a reason. It's him finally being forced to acknowledge that, to become Ozai's ideal son, to earn his (conditional) love, to not be his victim he has to be just as bad as he is, just as cruel, just as unfair - and we see in Azula's breakdown how Zuko likely would have ended up if he accepted that path.

But he didn't, and that was not easy because even though it was the morally correct choice, it'd require him to sacrifice everything - his title as a prince, his right to be in the Fire Nation, his relationship with Mai, his (extremelly complicated, sometimes good, often awful) bond with Azula, the "easy" way to get literally anything he wanted at everyone else's expense, and, of course, accept that his father was never going to love him, was never going to change, and was never going to feel sorry for abusing him.

Erasing such a central conflict of his character for the sake of denying he ever did anything wrong is, ironically, removing one of Zuko's most noble character traits: his inability to just live with himself after doing something horrible. There's a reason he is in deep conflict even after getting everything he wanted after the fall of Ba Sing Se - he knows he doesn't deserve it after what he's done.

If you ignore his mistakes and the horrible consequences it had for other people, you also ignore Zuko's growth. This puts him more in the position of a good guy being held hostage by the evil villain, not of a troubled child that redeems himself as he matures.

No flaws, no mistakes, no growth, no arc.

Trauma Doesn't Just Go Away

This one is, by far, the bad trope regarding Zuko's trauma that Zutarians are the most guilt of: assuming that if he just gets enough comforting hugs (mainly from Katara), all of his inner turmoil will suddenly be healed. No more sadness, no more fear, no more of the ugly traits they never acknowledge in the first place. Just a happy, fully recovered Zuko.

But that's just not how these things work. Having the support of a loved one helps victims feel better, but it won't magically make everything okay. Trauma is a really difficult thing to handle. There's good days, bad days, relapses, bad habits that are difficult to move past from. And not only are there cases in which people take YEARS to recover, there are also cases in which they never fully heal, and instead just learn to live with that burden that is still very much present.

I understand the desire to show in fics and headcanons that Zuko will eventually be fully healed and happy, but the way Zutarians make Katara act as not just his girlfriend, but as basically his therapist that needs to find miracle solutions for every single one of his problems, comfort him whenever any minor inconvenience happens until he's gotten enough hugs to be magically okay doesn't just reveal how hypocritical they are, since they insist Kataang is about Katara being Aang's girlfriend/mom/baby-sitter, but also that they legit do not understand a damn thing about trauma and how it works.

Which takes me to:

How Mai Actually Did Right By Zuko

Poor, poor Mai. She gets blamed for "bring out the worst in Zuko", for not being "supportive", for being too cold and unemotional, for not "seeing the real him" - yet she's one of the characters that CONSISTENLY help put Zuko back on his track.

She offers him emotional support and lots of signs of affection over and over again - telling him not worry when they're arriving at the Fire Nation, pointing out she doesn't hate him when she says she's beautiful when she hates the world, explicitly saying she cares about him in The Beach, being incredibly sweet and loving to him during all of Nightmares and Daydreams, and then again in the finale by helping him get dressed up and acting all cute as they get back together.

But she also holds him accountable when he screws up. She doesn't let him use his difficult life as an excuse to be a jerk and calls him out when he's being unreasonable, or when she feels mistreated/like he's making a mistake (see The Beach and Boiling Rock Part 2).

But since the fandom loves to completely erase Zuko's mistakes AND to not let go of a stupid ship war, this completely changes the context, making Mai out to be this awful, bitchy girlfriend, when in reality, she did a great job handling Zuko - sometimes even better than the fan favorite and mentor figure Zuko had through most of his arc.

Uncle Iroh Fucked Up

Before all of you try to kill me, let me make one thing clear here: I love Uncle Iroh. He is one of the most awesome characters in the show, and I fully believe he was trying his best to help Zuko.

But he is still a human being that makes mistakes, and he was raised in the same dysfunctional family Zuko was, meaning he often had NO IDEA how to handle his deeply traumatized teenage nephew/son.

Him spending all of book 1 trying to help Zuko capture Aang so he could go back to living with the guy that disfigured him is already bad enough, but we also have the episode "Avatar State" in which Iroh asks "Why would your father banish you if he didn't care about you?"

Obviously he only did these things because he didn't want Zuko give into despair and depression - but he is still, at best, ignoring the issue, and at worst actively making excuses for Ozai's abuse of his own son. This backfires on him spectacularly, as Zuko sides with Azula over him both in the first and last episode of the season specifically because he believes that appeasing Ozai is the right thing to do, as he was only banished "for his own good."

But THE biggest mistake Iroh made when it came to helping Zuko was his refusal to accept that no, Zuko was never going to be happy by living a quiet, simple life in Ba Sing Se - even after Zuko explicitly said as much to his face.

Obviously, to some extent, Iroh HAS to make Zuko accept that he won't ever be able to come back home after Ozai literally ordered Azula to capture him, but he could have tried to find some kind of middle ground with Zuko, since being a waiter clearly wasn't making him happy.

"Oh, but what about how Zuko started acting after his metamorphosis? He was so happy about working on the tea-shop with his uncle, and that was supposed to reveal his true self!"

Yes, it was supposed to do that. But we saw how Zuko acted after actually dealing with his trauma and redeeming himself. He was obviously in a much healthier place, both mentally and spiritually, but he was still moody, still sarcastic, still as proud as ever, and even Iroh recognized that he was meant to be Fire Lord.

Zuko's arc has a lot to do with identity, with how he sees himself. At that point, the only thing he still had in life was his uncle - so he was acting like him, because there seemed to be no other role model, no other path. Seeing that weird, cheery, relaxed, always-seeing-the-good-side-of-things version of Zuko was honestly unnerving.

And Iroh thought that Zuko basically giving himself the Lake Laogai treatment was okay because he following in his footsteps, doing what helped IROH heal and change - he didn't realize it was never gonna be able to do the same for Zuko.

The very second Azula shows up, even when she's being hostile, Zuko drops the facade, because she's a reminder of both his old life and what he thought his future would be. And when she offers him "redemption" Iroh tried to advice Zuko against joining her by saying "The redemption she offers is not for you" (as in not for someone who is doing better and doesn't need to return to the Fire Nation) and "It's time for you to choose. It's time for you to choose good." How is it a choice if Iroh is explicitly saying which option Zuko cannot pick, essentially making the decision for him?

Iroh didn't just get the way to help Zuko wrong - he didn't realize his nephew didn't believe he needed help. They were not on the same page at all, and that contribuited to Zuko betraying him.

Though, thankfully, it ended up being for the best, as Zuko found his own way to redemption by himself.

Conclusion

This fandom as a whole tends to not understand Zuko at all and just eat up a bunch of fanon while pretending to be so intellectual, which I very much resent it for.

#anti zutara #pro maiko #pro mai #zuko is not an awkward turtleduck

218 notes · View notes

zukkaart · 8 months

Text

I’m about to lose it over Sokka

So I bought “The Lost Adventures” yesterday and Sokka's Poem almost made me cry the person who wrote it is a genius because it’s so PAINFULLY in character

If you haven’t read it ->

“Oh I know Sokka and his dumb jokes Sokka who lost his girlfriend to the moon. Sokka who can’t even bend paper except with his mitts. But at the risk of blowing my own horn, who rescued Suki from the prison at Boiling rock? Who defeated the wolf spirit? Well sort of. Lots of battles to fight, lots of strategy to craft, It’s a busy life But then night comes. The air is still the waters placid the fire banked the earth dense and unyielding. No one is combining with a spirit. No one is reincarnating. No one is kidnapped. Everything sleeps. Everyone vulnerable, barefoot, and drowsy. This is me at my best, when people I love or revere or both need me whether they know it or not. I almost never sleep. There’s too much to do and only I can do it!”

I would like to gently remind you all that this is canon before I continue.

I know Sokka is the main comic relief character and everyone focuses mainly on Katara and Zuko's trauma because it's the most visible but I think there is really something to be said about how Sokka copes by being a Type A personality.

I've said this before but I'll say it again. Sokka is the one who has arguably the most reason to be paranoid. There has not been a single person in his life that he has cared about who hasn't been killed, kidnapped, or tortured. It's often overlooked because the gaang is all friends with the same people but it's deeper than that.

Yeah Katara and Aang liked Yue but not like Sokka loved her, and the same goes for Sukki. Sokka is such an intense lover and always dives in head first for every one he meets even if he denies it (see: the nomads from the tunnel) and that's a depth that I think is sometimes lost on us as well as the other characters.

On top of that he is self aware. He knows how much he loves and cares for the people around him and he knows that they're constantly in danger. I also find it hard to believe that he wouldn't realize the effect that his trauma has on him especially in terms of paranoia.

He is the one who makes the plans and hides the bodies and protects them while they sleep because he's the oldest. So he spares them all he can so that they might retain even the smallest bit of a childhood that he was never allowed to have.

In the comic when he speaks the last few lines it is also over a frame of Zuko which is so special to me as well because even though he isn't younger- Sokka truly doesn't mind being the protector of the people he loves. He never complains, never mentions it, and never falters.

I could go on about him for days because the poem in this book really intensely highlighted my favorite aspect of his character and the one I relate to the most. A lot of media focuses on sibling rivalry and it means so much to me that the A:tLA writers chose to focus on the need/want to protect your siblings from anything that could harm them.

Even if you know they are stronger or can take care of themselves that isn't the point, and Sokka's character is the perfect embodiment of this.

#avatar the last airbender #sokka #zuko #atla #sokka avatar the last airbender #zuko x sokka #katara #aang #yue #sukki #toph #the gaang #atla the lost adventures #this is canon #sokkas poem

91 notes · View notes

highfantasy-soul · 2 months

Text

NATLA Episode 6 - Masks (4/5)

[Masterlist of my NATLA thoughts]

An explanation of what I'm doing here and my history with ATLA.

Of course, full spoilers ahead.

Daammmnnn these transitions for Zuko in this episode!!!! Right into the Agni Kai.

It's such an interesting choice to have Ozai seem genuinely insulted that Zuko said the general's plan was terrible - like it really was Ozai's plan Zuko had said was bad. He's terrifying in his rage, but it feels more personal in the live-action rather than the cold and distant - almost disinterested anger of the animated series. Animated Ozai always felt more dismissive and annoyed with Zuko, live-action Ozai seems like he truly wants Zuko to be his perfect prince and is angry that he's not.

He hasn't written Zuko off yet - and I think that makes a much more interesting dynamic to watch than one where everyone can tell Zuko will never win his favor. It will make Zuko turning in Ba Sing Se make a lot more sense because we, too, might believe that Ozai might actually welcome him back. In the animated show, it was painfully obvious that Ozai couldn't care less about Zuko and his treatment of him upon his return was ceremonial at best. But here, watching him berate Zuko about his insult in the war council, it feels like Ozai really cares - not in the healthy, good manner of caring, but he's not so distant. He's a very real, present, and active threat.

I like that in this iteration, Iroh tries to intervene on Zuko's behalf. I don't see it as lore-breaking at all (I've seen people say that Zuko was punished for speaking out at a war council, surely Iroh would be punished even more severely for directly opposing the fire lord's actions in front of witnesses) I think Iroh still has a lot of respect in the fire nation and enough status to be able to at least recommend the fire lord change his decision. Ozai allows this because he's not trying to teach Iroh anything, he has a ceremonial position in the nation, but no real power as shown when he immediately steps down when Ozai says he won't change his mind about the Agni Kai. It's still his brother, the Dragon of the West, after all, so I don't think even the onlookers would see it as an underling questioning the ruler - it was a conversation between two brothers, both of which have storied histories for the fire nation.

It's chilling to hear Ozai respond to Iroh's insistence that 'he's still your son' with 'we'll see'. It's what he wants to see here, he wants to see how ruthless and 'strong' Zuko will be when pushed to it as that's what Ozai has been taught makes a 'good' leader. Zuko tries to beg forgiveness, but Ozai orders him to rise and 'learn respect'.

While in the animated series, Zuko doesn't fight back at all and kneels unmoving as his father brands him, I don't think it messes with his character to have him fight back in the live-action. He's not fighting back because he's angry at his dad or is trying to show he's better than his dad - he's fighting because he thinks it'll be what makes his father respect him and think that he's a worthy son. He's terrified and doesn't want to fight, but he thinks obeying his father - showing what he can do - will earn him his father's love.

But he doesn't throw the first punch - Ozai does. Zuko merely stands and faces his father and dodges the fire lord's attacks and does his sick parting of the fire blast. He evades and dodges until he runs out of space and finally tries to demonstrate what he can do. Ozai's nonchalant, relaxed pose as Zuko comes at him with his own attacks shows just how much more skilled Ozai is than his son - this is truly an uneven match - a master against a child.

Ozai dodges Zuko's blows with his hands behind his back, then with only one hand, and easily grapples him and pushes his son back - snarling at him "is this everything? Give me everything!" He has no idea how harmful this 'lesson' is to his son, he doesn't see the trauma he's inflicting - his own childhood has led him to believe that this is actually an accurate test of Zuko's ability. And so Zuko tries to give his father what he wants - his attacks become bigger, more powerful, more ferocious, but Ozai still blocks him, dodges, and lands easy blows on his son.

Then he leaves Zuko an opening. He makes a big swing for Zuko to duck and pauses so Zuko can take advantage of the drop in his guard. He still has plenty of time to block Zuko's attack, even from the position he's in, but he sees his child commit the cardinal sin - he shows compassion. He hesitates to cause pain. And now Ozai is done with the lesson - his child failed. Zuko couldn't bring himself to truly hurt his father - his compassion won out over the brutality Ozai wanted to see from him. And so he's punished. His father holds him down, tells him compassion is a sign of weakness, then brands his son as a lesson he won't ever forget.

Iroh looks away in horror, Azula looks on with fascination, Zuko screams, and there's actually a look of conflicted pain on Ozai's face as well.

Jumping to the flashback Zuko has in season 2, Zuko Alone, of the animated show: I had never noticed the parallels between the way Ozai punishes Zuko for speaking out and how Azulon attempts to punish Ozai for the same thing. Both sons questioned their father's plans for the future and both were punished for it. Ozai's comes much later in life, after he's been fully indoctrinated into the Fire Nation's propaganda that power and force are the most valuable traits one can have and arguing that Iroh isn't fit for the throne because of his 'weakness' after his son's death reinforces this. It also directly impacts the way Ozai treats Zuko when he speaks out at the war council in defense of the soldiers' lives. Ozai's punishment was to know the loss of a child - while he didn't seem to believe that it would affect him as it did Iroh, I think his over-punishment of Zuko was a hold-over from that trauma his father inflicted on him - a similar trauma response Zuko has in the series: he over compensates for the perceived weakness others saw in him.

By brutally punishing Zuko for speaking out against him (just as he would have been punished for speaking out against his own father), Ozai was trying to prove to himself that he wasn't 'weak' like Iroh and the pain of his children wouldn't affect him. Not only that, but he wanted to forge his children into the ideal that he thought he, himself, had achieved: one where they were 'strong' and could stand alone without breaking under the pressures of war (like Iroh did at the loss of his son) or harm done to a family member (Zuko held back and wouldn't hurt his father).

While all of that is subtly in the animated show, you have to really understand the way childhood trauma affects people into adulthood and the cycle of violence that's perpetrated: very rarely are abusive parents that way randomly - it usually stems from how they, themselves, were treated as children. I do like that we got to see more nuance in Ozai's character here rather than the flat maniacal villain shown in the animated series - we DO see conflict on Ozai's face as he burns Zuko, possibly a hint of tears in his eyes. It doesn’t lessen the horror of his actions, it doesn’t make him 'sympathetic', it makes him a real person that we can identify in the real world. It also makes people grapple with the idea that 'bad guys' are rarely the comic-book villains with no hope for redemption that's popular in some genres of media. Not that that's a bad way to show villains, usually those stories (Lord of the Rings comes to mind), other themes are explored rather than the complexity of what leads people to do horrible things, but showing that nuance is also not a bad thing. They're just two different ways to approach antagonists.

A huge part of learning about oppression (racism, patriarchy, homophobia, colonization) is that all those things HARM THE OPPRESSOR TOO. Does that mean that the only reason we should stop racism is because it harms white people? No. What it DOES mean is that understanding that everyone is connected and even when you're 'on top' in the social/economic/political order, you are still harmed by that system too. Understanding that is a very big way we can STOP those systems - by not just throwing out an entire group of people because they happen to be born into the social group that’s oppressing people, but rather understand what's happened to their minds as well so that we can teach them a better way and keep it from repeating with just another group. I know large sections of Tumblr hate that idea - that by humanizing those causing harm we can reduce harm - it's much more satisfying to just say 'that person was born into x group and has upheld x group's supremacy, therefore they're evil and should never be shown a scrap of kindness or understanding'. This isn't a whole ass 'how-to de-radicalize people' post, so obviously I'm not going to go into all the nuances of how to go about doing that or WHO should be taking up the burden of doing that (genuinely, the answer to that question is whoever feels called to do it whether that be allies from that group or those of the oppressed group who are able and willing to 'reach across the aisle', it's 100% up to the individual and I am NOT here to tell you how you need to react to oppressors), this is just a 'lets try to cover some bases in case people take my statements about Ozai and generational abuse wildly out of context'.

We understand in the animated series that Zuko is a product of his childhood and the culture he was raised in - so why does that understanding never seem to extend to anyone else in the Fire Nation? My assumption would be that, as a kid's show, it was easier to digest that there would be one 'had always been good' kid in the Fire Nation while everyone else was just 'born a monster' from the start. Again, like with the Lord of the Rings, that's an acceptable way to portray villains when the themes you're looking to explore aren't central to that nuance, but I really like how the live-action decided to explore what it was like for the Fire Nation royal family in more complex ways. Azula wasn't grinning at Zuko's punishment like a psycho, she was looking on in morbid fascination, learning the lesson just as well as Zuko and perhaps seeing herself taking the place as the favored child for good. A much more interesting dynamic to me than her 'foregone conclusion' of being Ozai's favorite like in the animated series.

#natla #natla positivity #avatar the last airbender #netflix avatar #avatar netflix #avatar live action

11 notes · View notes

burst-of-iridescent · 1 year

Note

Can I get your thoughts on this post claiming Mai and Toph are very similar (and that Zuko clicked with Toph immediately because she reminded him of Mai)? https://at.tumblr.com/i-was-talking-to-momo/everyone-else-took-a-really-long-time-to/nyh2nz26iuay

whoooo boy, there are a lot of (sometimes just blatantly untrue) assumptions being flung around in that post.

much of what op says about mai reads more like headcanon than anything actually shown to us in the show (when was mai stifled to "the point of being incredibly depressed and borderline self-destructive"? when do we learn in the show that mai taught herself to throw knives out of boredom? how did mai "never learn to interact with people her age" when she's been friends with ty lee for years and seems to have no problem socializing at a fire nation party?) or is barely substantiated within the show (mai's alleged "repression" at the hands of her parents is told to us - not shown - in a single scene in the third season).

on the other hand, there is actual proof for toph being sheltered and repressed by her parents: we see the difference between who she is on her own/with the gaang vs with her parents. the toph who fights in earth rumble tournaments and picks her toes and speaks her mind without hesitation is not the same toph who wears dainty clothes and allows herself to be led around and meekly obeys her parents' wishes despite her own desire for freedom. there is a clear distinction between who toph feels she has to be, and who she really wants to be, and this is made clear from her very first episode.

by contrast, mai has the same apathetic, indifferent demeanor almost all the time, no matter whether she is with her parents, her friends, or her boyfriend. even in the rare cases that she does show emotion, usually smiling or smirking around zuko, it is undercut by the lack of true understanding and connection in their relationship, which makes her show of emotion feel meaningless and shallow (the only time that mai does seem to show genuine emotion and vulnerability is around ty lee, but unfortunately these moments are too far and few between for me to consider it real depth and growth for mai, much as i ship mailee). unlike toph, there are no real cracks in the facade with mai, which seem to imply that the way mai acts is who she really is, not who she feels she has to be.

i also have to laugh at this part: "Out of the entire gaang, Toph is the one that Zuko understands and empathizes with the most."

toph is the one zuko understands and empathizes with most, huh? that must be why toph was the first person in the gaang zuko felt a kinship with and reached out to - nope, that was katara. well, that's why he opened up about his deepest conflict and trauma to her and she did the same in return - whoops sorry, katara again. never mind, at least zuko and toph took an intimate field trip together related to their moment of connection over their shared trauma - oh wait.

i don't disagree that toph and zuko would have a strong friendship, or that they wouldn't be able to bond over similarities in their upbringing, but unfortunately the show just didn't expound on their relationship as much as it did with zuko's relationships with aang, sokka, and (especially) katara. it's blatantly false to imply that zuko bonded or clicked with toph the most out of anyone in the gaang, and even more so to say that it was because she reminded him of mai - both because toph is vastly different from mai, and because zuko himself didn't truly understand or click with mai in the first place.

ultimately, much of the problem with mai's character comes down to the fact that she's extremely underdeveloped (and the season that tries to expand on her character is also the one where her arc revolves almost entirely around her boyfriend) so comparing her to toph - a main character who received far more depth and development in a single episode than mai did throughout her whole arc - is a task doomed to fail from the start.

#anti mai #anti maiko #toph #zuko #toph meta #don't get me wrong i LOVE me some toph and zuko friendship #but it's just blatantly wrong to say that they were the closest/clicked the most out of anyone in the gaang lmao #we deserved more for sure but the show didn't give it to us #imo toph was also a victim of the inconsistent shoddy writing in book 3 and her character did kind of get shafted #but she did get DEVELOPMENT which is more than mai can say #asks

131 notes · View notes

supernovaa-remnant · 6 months

Note

please i desperately want to know why dream is katara that is such a cool thought

anon I am so happy you asked me this question. I'm going to approach this from two angles: one being simply the similarities between dream and katara's character, and the other being fandom perception and treatment.

so, first off, traits. they're both incredibly kind and compassionate, but also very strong willed and passionate about what they believe in. they're also both willing to see the best in people (I don't think dream needs an explanation for this, and with katara this was evident in the fact that she was the first person to trust zuko.. she also got that trust broken by him which I could also connect to dream but </3)

katara is always helping the gaang with so many things; she's often considered the mother of the group, which in part comes from her own trauma of losing her mother, but it also just comes from taking care of the gaang and making sure they're okay and sometimes even leading them to where they need to go. dream has been praised by his friends so often. I feel like I don't need to get into much detail—he's constantly looking out for his friends and lifting them up, and it's no secret that he's a sort of leader within the dream team lol.

also, katara is very protective with her friends. this doesn't always translate to fully attacking people, but, for example, when those girls made fun of toph, katara made sure toph was okay. dream is always speaking highly of his friiends, making sure they know they're loved, defending them, etc.

they've also both been through a lot. like, obviously there's differences, but the point is they've both been hurt and are both doing their best to continue living despite this hurt. this, of course, leads to them making mistakes or overall just showing normal human emotional reactions to things, but here's where fandom comes into play.

I never realized how much people held katara to a different standard when I first watched the show. But on the internet, there's so many jokes about her mother being all she talks about, about her emotional reactions to things, etc etc. But you watch the show, and she talks about her mother a pretty reasonable amount, and when you consider everything she's been through, her emotional outbursts make sense. because she's just human (she's actually just a kid.. 14 is so so young), but the fandom puts her up against such high standards, like she must be the most rational person ever when it comes to processing her emotions..

does that sound familiar to anyone? anyway, I'm not saying dream's never made mistakes (he has he has), but ultimately we're all human and we all make mistakes, and what really matters is how you respond after making those mistakes, whether you apologize and rectify them or buckle down etc etc. and we all know dream isn't really ""allowed"" to express emotions otherwise he's being manipulative or he's reactionary or he needs to be medicated, etc. y'know, despite the fact that dream has been put through an amount of scrutiny and has been facing a hate campaign that literally no human is built for. because we're not built to be known by such large quantities of people. and yet we are and we're all making do with what we have, but when you have so much of that attention being negative, sometimes you won't have perfectly reasonable thought out responses to things, and that's just part of being human. because he's not a pr machine—he's human, but he's so often not allowed to be.

uhhhh anyway sorry if that was kinda incoherent feel free to ask clarifying questions <33

#stella answers #anon #discourse #<- I feel like I touched a bit on that in the last paragraph oops

1 note · View note

sokkastyles · 3 years

Note

People usually says that Katara and Aang are best friends, but I really don't see this. Katara and Aang never shared any deep conversation or understanding, I mean, Katara does understand and protect and cuddle Aang, more like a mother would do, but Aang never does the same. Actually, I think he disrespected here more than just a couple of times. On "Southern Raiders" Katara even said that she knew Aang would never understand her. Best friends are supposed do be supportive, understanding and Katara knew that Aang wouldn't be able to do this for her. I don't think that Katara goes to Aang to share her burdens because she is constantly protecting him and he probably wouldn't be able to handle it. I do think they are friends, but never best friends. Katara gives and Aang just takes.

I'd like to hear your opinion.

I think it says a lot that Katara tells Aang in "The Southern Raiders" that she knew he wouldn't understand this part of her. Katara is always trying to protect Aang from anything, including herself and her darker emotions. That says to me more than just feeling protective of Aang, it says that she feels like she can't be her true self around him. Like when she yells at him in "The Waterbending Scroll," she immediately apologizes and is afraid of hurting his feelings. When she is praised for her bending skills in front of Aang, she deflects and says that Aang is the Avatar. Whether or not Aang actually does understand Katara (and I think it ALSO says a lot that he claims he understands but then completely misunderstands at the end of the episode, and is wrong about his assumption about what Katara would do) it is clear that KATARA thinks Aang wouldn't understand this aspect of her personality, and that's true not in just what she says in TSR but in the way she hides the darker or more selfish parts of herself when she is around him. Like how she waits until she is alone with Zuko to finish her threat to him. Or when she breaks down in the catacombs (again while alone with Zuko) because she has to always keep it together for Aang and the rest of the group.

If you look at that scene in TSR, Katara didn't even want to tell Aang where she was going.

Katara: I need to borrow Appa.

Aang: [Jokingly.] Why? Is it your turn to take a little field trip with Zuko?

Katara: Yes, it is.

Aang: [Slightly surprised.] Oh. What's going on?

Katara: We're going to find the man who took my mother from me.

Zuko: Sokka told me the story of what happened. I know who did it and I know how to find him.

Aang: Um ... and what exactly do you think this will accomplish?

Katara: [Shakes her head in dismay.] Ugh, I knew you wouldn't understand.

I mean. Look at the way Katara approaches this situation. She's not asking Aang's permission, they're already packed. She doesn't open with telling Aang where they are going and why or bring up her mother to appeal to what he already knows about her trauma. She just tells him she needs to borrow Appa. She's already decided that he's not a part of this, she doesn't want him to see this part of her, and she already knows Aang won't understand.

And Aang's response in the face of Katara's seriousness is to joke about it. And he's totally surprised when he realizes how serious she is. I'm supposed to think that these two people have a deep and intimate connection?

Moreover, Katara becomes even more defensive in response to Aang's levity. Her dialogue changes from "I need this" to "WE are going to do this." Meaning her and Zuko. Because she feels unsupported by Aang. She's already decided that Zuko will support her in a way Aang won't, and she hated Zuko like five minutes ago! But she trusts him more than she does Aang, the supposed wholesome option, her supposed best friend.

Another very interesting thing is that when she says she knew Aang wouldn't understand, it is to refute Aang's dismissal of what Zuko said. Zuko is speaking in support of Katara after Aang's initial dismissal of her, Aang is dismissive again, and Katara says what she said to Aang not only in response to his tone, which makes it clear that he doesn't take what she wants to do seriously, but she says it to defend Zuko. It is, like, hilarious when people use this episode as evidence that Katara and Zuko are toxic together because what they just did right there was support each other instantly, while Aang and Katara bicker with and talk past each other.

Katara could have said something like "Zuko says he knows where to find him and it's the only chance I have" or something to indicate that she didn't really trust or want to go with him, because she hasn't forgiven him yet, but she doesn't do that. Instead she lets Zuko explain the situation to Aang, who should know her better and who she should feel more comfortable with than a guy she only recently stopped hating.

The thing that gets me is that there were multiple opportunities to use this episode as a bonding moment between Katara and Aang, even as its purpose is to establish a bond between Katara and Zuko. Aang could have apologized to Katara for not understanding or used it as an opportunity to learn about her. Instead he assumes she'll do what he thinks she should do and is totally wrong, makes an assumption, and Katara's look of guilt when Aang says he knew she'd "make the right choice" is so painful. That look says so much. Because I believe Katara wished Aang understood. I think she wished she could show the more hurt side of herself to him without fear of judgement. It's the same look she gets when she overhears Sokka talking about how he thinks of her as a mother figure. And whether or not it is Aang's - or Sokka's - fault that Katara feels this way, the reality is that she does, and that is so sad.

It's sad that a fourteen year old girl feels that much pressure to be perfect, to not show anything that might be interpreted as ugly or uncomfortable for the people around her to deal with. To take care of other people to the point of feeling guilty for her own emotional needs.

What annoys me a lot of the time about this conversation is that a lot of people center Aang and how good of a person he is and how he "deserves" Katara, how dare you say Aang did anything wrong, etc etc. The problem with this - other than that no one deserves a relationship based on how good they are - is that it's not necessarily about what Aang did wrong, it's about Katara's needs not being met. And the show weirdly went out of its way in one of its last episodes that focused on Katara and her relationships to show that Katara's emotional needs were not being met in her relationship with Aang.

#katara #antikataang #the southern raiders #zuko #the runaway #the waterbending scroll

335 notes · View notes

army-of-mai-lovers · 3 years

Text

in which I get progressively angrier at the various tropes of atla fandom misogyny

tbh I think it would serve all of us to have a larger conversation about the specific ways misogyny manifests in this fandom, because I’ve seen a lot of people who characterize themselves as feminists, many of whom are women themselves, discuss the female characters of atla/lok in misogynistic ways, and people don’t talk about it enough.

disclaimer before I start: I’m not a woman, I’m an afab nonbinary person who is semi-closeted and thus often read as a woman. I’m speaking to things that I’ve seen that have made me uncomfy, but if any women (esp women existing along other axes of oppression, e.g. trans women, women of color, disabled women, etc) want to add onto this post, please do!

“This female character is a total badass but I’m not even a little bit interested in exploring her as a human being.”

I’ve seen a lot of people say of various female characters in atla/lok, “I love her! She’s such a badass!” now, this statement on its own isn’t misogynistic, but it represents a pretty pervasive form of misogyny that I’ve seen leveled in large part toward the canon female love interests of one or both of the members of a popular gay ship (*cough* zukka *cough*) I’m going to use Suki as an example of this because I see it with her most often, but it can honestly be applied to nearly every female character in atla/lok. Basically, people will say that they stan Suki, but when it comes time to engage with her as an actual character, they refuse to do it. I’ve seen meta after meta about Zuko’s redemption arc, but I so rarely see people engage with Suki on any level beyond “look at this cool fight scene!” and yeah, I love a cool Suki fight scene as much as anybody else, but I’m also interested in meta and headcanons and fics about who she is as a person, when she isn’t an accessory to Sokka’s development or doing something cool. of course, the material for this kind of engagement with Suki is scant considering she doesn’t have a canon backstory (yet) (don’t let me down Faith Erin Hicks counting on you girl) but with the way I’ve seen people in this fandom expand upon canon to flesh out male characters, I know y’all have it in you to do more with Suki, and with all the female characters, than you currently do. frankly, the most engagement I’ve seen with Suki in mainstream fandom is justifying either zukki (which again, is characterizing her in relation to male characters, one of whom she barely interacts with in canon) or one of the Suki wlw pairings. which brings me to--

“I conveniently ship this female character whose canon love interest is one of the members of my favorite non-canon ship with another female character! gay rights!”

now, I will admit, two of my favorite atla ships are yueki and mailee, and so I totally understand being interested in these characters’ dynamics, even if, as is the case with yueki, they’ve never interacted canonically. however, it becomes a problem for me when these ships are always in the background of a zukka fic. at some point, it becomes obvious that you like this ship because it gets either Zuko or Sokka’s female love interests out of the way, not because you actually think the characters would mesh well together. It’s bad form to dislike a female character because she gets in the way of your gay ship, so instead, you find another girl to pair her off with and call it a day. to be clear, I’m not saying that everybody who ships either mailee or yueki (or tysuki or maisuki or yumai or whatever other wlw rarepair involving Zuko or Sokka’s canon love interests) is nefariously trying to sideline a female character while acting publicly as if she’s is one of their faves--far from it--but it is noteworthy to me how difficult it is to find content that centers wlw ships, while it’s incredibly easy to find content that centers zukka in which mailee and/or yueki plays a background role.

also, notice how little traction wlw Katara ships gain in this fandom. when’s the last time you saw yuetara on your dash? there’s no reason for wlw Katara ships to gain traction in a fandom that is so focused on Zuko and Sokka getting together, bc she doesn’t present an immediate obstacle to that goal (at least, not an obstacle that can be overcome by pairing her up with a woman). if you are primarily interested in Zuko and Sokka’s relationship, and your queer readings of other female characters are motivated by a desire to get them out of the way for zukka, then Katara’s canon m/f relationship isn’t a threat to you, and thus, there’s no reason to read her as potentially queer. Or even, really, to think about her at all.

“Katara’s here but she’s not actually going to do anything, because deep down, I’m not interested in her as a person.”

the show has an enormous amount of textual evidence to support the claim that Sokka and Katara are integral parts of each other’s lives. so, she typically makes some kind of appearance in zukka content. sometimes, her presence in the story is as an actual character with layers and nuance, someone whom Sokka cares about and who cares about Sokka in return, but also has her own life and goals outside of her brother (or other male characters, for that matter.) sometimes, however, she’s just there because halfway through writing the author remembered that Sokka actually has a sister who’s a huge part of the show they’re writing fanfiction for, and then they proceed to show her having a meetcute with Aang or helping Sokka through an emotional problem, without expressing wants or desires outside of those characters. I’m honestly really surprised that I haven’t seen more people calling out the fact that so much of Katara’s personality in fanon revolves around her connections to men? she’s Aang’s girlfriend, she’s Sokka’s sister, she’s Zuko’s bestie. never mind that in canon she spends an enormous amount of time fighting against (anachronistic, Westernized) sexism to establish herself as a person in her own right, outside of these connections. and that in canon she has such interesting complex relationships with other female characters (e.g. Toph, Kanna, Hama, Korra if you want to write lok content) or that there are a plethora of characters with whom she could have interesting relationships with in fanon (Mai, Suki, Ty Lee, Yue, Smellerbee, and if you want to write lok content, Kya II, Lin, Asami, Senna, etc). to me, the lack of fandom material exploring Katara’s relationships with other women or with herself speak to a profound indifference to Katara as a character. I’m not saying you have to like Katara or include her in everything you write, but I am asking you to consider why you don’t find her interesting outside of her relationships with men.

“I hate Katara because she talks about her mother dying too often.”

this is something I’ve seen addressed by people far more qualified than I to address it, but I want to mention it here in part because when I asked people which fandom tropes they wanted me to talk about, this came up often, but also because I find it really disgusting that this is a thing that needs to be addressed at all. Y’all see a little girl who watched her mother be killed by the forces of an imperialist nation and say that she talks about it too much??? That is a formational, foundational event in a child’s life. Of course she’s going to talk about it. I’ve seen people say that she doesn’t talk about it that often, or that she only talks about it to connect with other victims of fn imperialism e.g. Jet and Haru, but frankly, she could speak about it every episode for no plot-significant reason whatsoever and I would still be angry to see people say she talks about it too much. And before you even bring up the Sokka comparison, people deal with grief in different ways. Sokka repressed a lot of his grief/channeled it into being the “man” of his village because he knew that they would come for Katara next if he gave them the opportunity. he probably would talk about his mother more if a) he didn’t feel massive guilt at not being able to remember what she looked like, and b) he was allowed to be a child processing the loss of his mother instead of having to become a tiny adult when Hakoda had to leave to help fight the fn. And this gets into an intersection with fandom racism, in that white fans (esp white American fans) are incapable of relating to the structural trauma that both Sokka and Katara experience and thus can’t see the ways in which structural trauma colors every single aspect of both of their characters, leading them to flatten nuance and to have some really bad takes. And you know what, speaking of bad fandom takes--

“Shitting on Mai because she gets in the way of my favorite Zuko ship is actually totally okay because she’s ~abusive~”

y’all WHAT.

ok listen, I get not liking maiko. I didn’t like it when I first got into fandom, and later I realized that while bryke cannot write romance to save their lives, fans who like maiko sure can, so I changed my tune. but if you still don’t like it, that’s fine. no skin off my back.

what IS skin off my back is taking instances in which Mai had justified anger toward Zuko, and turning it into “Mai abused Zuko.” do you not realize how ridiculous you sound? this is another thing where I get so angry about it that I don’t know how useful my analysis is actually going to be, but I’ll do my best. numerous people have noted how analysis of Mai and Zuko’s breakup in “The Beach” or Mai being justifiably angry with him at Boiling Rock or her asking for FUCKING FRUIT in “Nightmares and Daydreams” that says that all of these events were her trying to gain control over him is....ahhh...lacking in reading comprehension, but I’d like to go a step further and talk about why y’all are so intent on taking down a girl who doesn’t show emotion in normative ways. obviously, there’s a “Zuko can do no wrong” aspect to Mai criticism (which is super weird considering how his whole arc is about how he can do lots of wrong and he has to atone for the wrong that he’s done--but that’s a separate post.) But I also see slandering Mai for not expressing her emotions normatively and not putting up with Zuko’s shit and slandering Katara for “talking about her mother too often” as two sides of the same coin. In both cases, a female character expresses emotions that make you, the viewer, uncomfortable, and so instead of attempting to understand where those emotions may have come from and why they might be manifesting the way they are, y’all just throw the whole character away. this is another instance of people in the fandom being fundamentally disinterested in engaging with the female characters of atla in a real way, except instead of shallowly “stanning” Mai, y’all hate her. so we get to this point where female characters are flattened into one of two things: perfect queens who can do no wrong, or bitches. and that’s not who they are. that’s not who anyone is. but while we as a fandom are pretty good at understanding b1 Zuko’s actions as layered and multifaceted even though he’s essentially an asshole then, few are willing to lend the same grace to any female character, least of all Mai.

and what’s funny is sometimes this trope will intersect with “I conveniently ship this female character whose canon love interest is one of the members of my favorite non-canon ship with another female character! gay rights!”, so you’ll have someone actively calling Mai toxic/problematic/abusive, and at the same time ship her with Ty Lee? make it make sense! but then again, maybe that’s happening because y’all are fundamentally disinterested in Ty Lee as a character too.

“I love Ty Lee so much that I’m going to treat her like an infantilized hypersexual airhead!”

there are so many things happening in y’alls characterization of Ty Lee that I struggled to synthesize it into one quippy section header. on one hand, you have the hypersexualization, and on the other hand, you have the infantilization, which just makes the hypersexualization that much worse.

(of course, sexualizing or hypersexualizing ANY atla character is really not the move, considering that these are child characters in a children’s show, but then again, that’s a separate post.)

now, I understand how, from a very, very surface reading of the text, you could come to the conclusion that Ty Lee is an uncomplicated bimbo. if you grew up on Western media the way I did, you’ll know that Ty Lee has a lot of the character traits we associate with bimbos: the form-fitting pink crop top, the general conventional attractiveness, the ditzy dialogue. but if you think about it for more than three seconds, you’ll understand that Ty Lee has spent her whole life walking a tightrope, trying to please Azula and the rest of the royal family while also staying true to herself. Ty Lee and Azula’s relationship is a really complex and interesting topic that I don’t really have time to explore at the moment given how long this post is, but I’d argue that Ty Lee’s constant, vocal adulation is at least partially a product of learning to survive at court at an early age. Like Mai, she has been forced to regulate her emotions as a member of fn nobility, but unlike Mai, she also has six sisters who look exactly like her, so she has a motivation to be more peppy and more affectionate to stand out.

fandom does not do the work to understand Ty Lee. as is a theme with this post, fandom is actively disinterested in investigating female characters beyond a very surface level reading of them. Thus, fandom takes Ty Lee’s surface level qualities--her love of the color pink, her revealing standard outfit, and the fact that once she found a boy attractive and also once a lot of boys found her attractive--and they stretch this into “Ty Lee is basically Karen Smith from Mean Girls.” thus, Ty Lee is painted as a bimbo, or more specifically, as not smart, uncritically adoring of Azula (did y’all forget all the non-zukka bits of Boiling Rock?), and attractive to the point of hypersexualization. I saw somebody make a post that was like “I wish mailee was more popular but I’m also glad it isn’t because otherwise people would write it as Mai having to put up with her dumb gf” and honestly I have to agree!! this is one instance in which I’m glad that fandom doesn’t discuss one of my favorite characters that often because I hate the fanon interpretation of Ty Lee, I think it’s rooted in misogyny (particularly misogyny against East Asian women, which often takes the form of fetishizing them and viewing them only through a Western white male gaze)

(side note: here at army-of-mai-lovers, we stan bimbos. bimbos are fucking awesome. I personally don’t read Ty Lee as a bimbo, but if that’s you, that’s fucking awesome. keep doing what you’re doing, queen <3 or king or monarch, it’s 2021, anyone can be a bimbo, bitches <3)

“Toph can and will destroy everyone here with her bare hands because she’s a meathead who likes to murder people and that’s it!”

Toph is, and always has been, one of my favorite ATLA characters. My very first fic in fandom was about her, and she appears prominently in a lot of my other work as well. One thing that I am always struck by with Toph is how big a heart she has. She’s independent, yes, snarky, yes, but she cares about people--even the family that forced her to make herself smaller because they didn’t believe that their blind daughter could be powerful and strong. Her storyline is powerful and emotionally resonant, her bending is cool precisely because it’s based in a “wait and listen” approach instead of just smashing things indiscriminately, she’s great disabled rep, and overall one of the best characters in the show.

And in fandom, she gets flattened into “snarky murder child.”

So where does this come from? Well, as we all know, Toph was originally conceived of as a male character, and retained a lot of androgyny (or as the kids call it, Gender) when she was rewritten as a female character. There are a lot of cultural ideas about androgynous/butch women being violent, and people in fandom seem to connect that larger cultural narrative with some of Toph’s more violent moments in the show to create the meathead murder child trope, erasing her canon emotionality, softness, heart, and femininity in the process.

This is not to say that you shouldn’t write or characterize Toph as being violent or snarky at all ever, because yeah, Toph definitely did do Earth Rumbles a lot before joining the gaang, and yeah, Toph is definitely a sarcastic person who makes fun of her friends a lot. What I am saying is that people take these traits, sans the emotional logic, marry them to their conception of androgynous/butch women as violent/unemotional/uncaring, and thus create a caricature of Toph that is not at all up to snuff. When I see Toph as a side character in a fic (because yeah, Toph never gets to be a main character, because why would a fandom obsessed with one male character in particular ever make Toph a protagonist in her own right?) she’s making fun of people, killing people, pranking people, etc, etc. She’s never talking to people about her emotions, or palling around with her found family, or showing that she cares about her friends. Everything about her relationship with her parents, her disability, her relationship to Gender, and her love of her friends is shoved aside to focus on a version of Toph that is mean and uncaring because people have gotten it into their heads that androgynous/butch women are mean and uncaring.

again, we see a female character who does not emote normatively or in a way that makes you, the viewer, comfortable, and so you warp her character until she’s completely unrecognizable and flat. and for what?

Azula

no, I didn’t come up with a snappy name for this section, mainly because fanon interpretations of Azula and my own feelings toward the character are...complicated. I know there were some people who wanted me to write about Azula and the intersection of misogyny and ableism in fanon interpretations of her character, but I don’t think I can deliver on that because I personally am in a period of transition with how I see Azula. that is to say, while I still like her and believe that she can be redeemed, there is a lot of merit to disliking her. the whole point of this post is that the female characters of ATLA are complex people whom the fandom flattens into stereotypes that don’t hold up to scrutiny, or dislike for reasons that don’t make sense. Azula, however, is a different case. the rise of Azula defenders and Azula stans has led to this sentiment that Azula is a 14 y/o abuse victim who shouldn’t be held accountable for her actions. it seems to me that people are reacting to a long, horrible legacy of male ATLA fans armchair diagnosing Azula with various personality disorders (and suggesting that people with those personality disorders are inherently monstrous and unlovable which ahhhh....yikes) and then saying that those personality disorders make her unlovable, which is quite obviously bad. and hey, I get loving a character that everyone else hates and maybe getting so swept up in that love that you forget that your fave is complicated and has made some unsavory choices. it sucks that fanon takes these well-written, complex villains/antiheroes and turns them into monsters with no critical thought whatsoever. but the attitude among Azula stans that her redemption shouldn’t be hard, that her being a child excuses all of the bad things that she’s done, that she is owed redemption....all of that rubs me the wrong way. I might make another post about this in the future that discusses this in more depth, but as it stands now: while I understand that there is a legacy of misogynistic, ableist, unnuanced takes on Azula, the backlash to that does not take into account the people she hurt or the fact that in ATLA she does not make the choice to pursue redemption. and yes, Zuko had help in making that choice that Azula didn’t, and yes, Azula is a victim of abuse, but in a show about children who have gone through untold horrors and still work to better the lives of the people around them, that is not enough for me to uncritically stan her.

Conclusion

misogyny in this fandom runs rampant. while there are some tropes of fandom misogyny that are well-documented and have been debunked numerous times, there are other, subtler forms of misogyny that as far as I know have gone completely unchecked.

what I find so interesting about misogyny in atla fandom is that it’s clear that it’s perpetrated by people who are aware of fandom misogyny who are actively trying not to be misogynistic. when I first joined atla fandom last summer, memes about how zukka fandom was better than every other fandom because they didn’t hate the female characters who got in the way of their gay ship were extremely prevalent, and there was this sense that *this* fandom was going to model respectful, fun, feminist online fandom. not all of the topes I’ve outlined are exclusive to or even largely utilized in zukka fandom, but a lot of them are. I’ve been in and out of fandom since I was eleven years old, and most of the fandom spaces I’ve been in have been majority-female, and all of them have been incredibly misogynistic. and I always want to know why. why, in these communities created in large part by women, in large part for women, does misogyny run wild? what I realize now is that there’s never going to be a one-size fits all answer to that question. what’s true for 1D fandom on Wattpad in 2012 is absolutely not true for atla fandom on tumblr in 2021. the answers that I’ve cobbled together for previous fandoms don’t work here.

so, why is atla fandom like this? why did the dream of a feminist fandom almost entirely focused on the romantic relationship between two male characters fall apart? honestly, I think the notion that zukka fandom ever was this way was horrifically ignorant to begin with. from my very first moment in the fandom, I was seeing racism, widespread sexualization of minors, and yes, misogyny. these aspects of the fandom weren’t talked about as much as the crocverse or other, much more fun aspects. further, atla (specifically zukka) fandom misogyny often doesn’t look like the fandom misogyny we’ve become familiar with from like, Sherlock fandom or what have you. for the most part, people don’t actively hate Suki, they just “stan” without actually caring about her. they hate Mai because they believe in treating male victims of abuse equally. they’re not characterizing Toph poorly, they’re writing her as a “strong woman.” in short, people are misogynistic, and then invoke a shallow, incomplete interpretation of feminist theory to shield themselves from accusations of misogyny. it’s not unlike the way some people will invoke a shallow, incomplete interpretation of critical race theory to shield themselves from accusations of racism, or how they’ll talk about “freedom of speech” and “the suppression of women’s sexuality” to justify sexualizing minors. the performance of feminism and antiracism is what’s important, not the actual practice.

if you’ve made it this far, first off, hi, thanks so much for reading, I know this was a lot. second, I would seriously encourage you to be aware of these fandom tropes and to call them out when you see them. elevate the voices of fans who do the work of bringing the female characters of atla to life. invest in the wlw ships in this fandom. drop a kudos and a comment on a rangshi fic (please, drop a kudos and a comment on a rangshi fic). read some yuetara. let’s all be honest about where we are now, and try to do better in the future. I believe in us.

817 notes · View notes

dreamteamspace · 3 years

Text

They really went there huh

/rp (good lord I rly hyperfixated on this essay huh)

torture tw, abuse tw, manipulation tw, gaslighting tw

So the Dream SMP built a character, once maybe morally gray, who slipped straight into villany with little to no desire to change, and willing to cause a LOT of pain to get his way. Despite this, he doesn’t question what he does enough to stop, justifying his actions with a good intent that doesn’t come close to justifying what he’s done.

C!Dream is unremorseful of what he’s done, he’s quite literally manipulated and gaslit (like actually, not in the way everyone keeps throwing the word around) c!Tommy, almost drove him to take his last life- like, jesus christ. That’s not even to mention blowing up L’Manburg three times, encouraging c!Wilbur, wanting the discs JUST to have power over c!Tommy, etc.

SO, he gets thrown in a box for it so he doesn’t hurt anybody anymore, making his own hubris his downfall (narrative consequence my beloved). This leads us to a good finale - the bad guy, the person who’s caused objectively the most pain and destruction, is now unable to do so anymore, taken down by the person whom he tried to weaken. It is also revealed he was planning on blackmailing and threatening pretty much everyone, but now everyone gets their stuff back.

Good, right?

Especially for the finale, yeah! The message of the finale is good, c!Tommy manages to escape his abuser with nothing more but his clothes on his back and fights his way back to c!Tubbo and his home.

He doesn’t let his trauma (which is still very present!) let him become a terrible person (arguably the way that c!Dream DID let his frustrations make him a terrible person, c!Tommy, despite bearing quite a heavy weight, recognizes when he begins to turn that way and actively works against it).

It shows that while alone, c!Tubbo and c!Tommy were outfought by Dream, but because c!Tommy went the length to ask for help (which he didn’t even really seem to be relying on actually showing up), he wins! It truly is a good message.

C!Tommy escapes his abuser and manipulator, refuses and fights his trauma to not become someone he doesn’t want to be, and defeats his abuser by asking for help and receiving it, even more than he thought he’d get. He refuses to play c!Dream’s “game”, refuses till the very last moment to let c!Tubbo die, to surrender and say goodbye to him.

So, great! Good finale! C!Dream The Villain is boxed like a fish in a prison of, quite literally, his own making. It sent a good message to people. C!Tommy wasn’t expected to forgive him and did, in fact, axe him down twice, causing c!Dream to finally fall from his high horse.

Most media would stop at this point, say the villain is now defeated and never show them again, or have them come back another one or two seasons later, escaped and seemingly unharmed and worse than ever.

Alternatively, there’s a throwaway line, (or, in good media, a genuine, reasonable backstory, complete with remorse and bad role models and complicated situations), that allows the villain to be redeemed.

In GOOD redemption arcs (See: Zuko from avatar tbh), the villain was already never quite as heartless, or stressed their good intent, or felt remorse for what they felt they “had to do”. Then, ideally, the villain takes a looooong time adjusting their habits, regretting their actions and changing until they’re considered redeemed.

Not on the Dream SMP, though.

They don’t stop at c!Dream’s defeat.

He doesn’t dissapear off-screen and is never spoken of again. His life continues on, everyone’s does, just like it would in reality. He doesn’t magically want to become a better person, far from it. So no redemption. But he doesn’t dissapear, either.

They go on to, slowly, stress how awful the conditions in Pandora’s Vault are. c!Bad says c!Dream should be imprisoned, but at least at slightly better conditions. We’re in very VERY morally gray territorry here. Nobody says c!Dream is a good person, of course not, but even c!Bad - who knows Dream was planning on keeping c!Skeppy in a cage to control him with - goes, “yeah, he should stay boxed, but does he really need to like... suffer suffer?”

Still, c!Dream seems to be kindof inconsistent in his behavior. Is he faking his pain? Is he not? His actions don’t fully make sense for either take. He acts differently to each person, but at the same time some things he does don’t make sense if he were just fishing for pity.

Then c!Sam admits to trying (and thinking he succeeded) to “break Dream’s will”, to quite literally starving him for weeks.

Okay, so now we’re a step further. C!Dream is now suffering even more, although already boxed and unable to hurt anyone. Pandora’s Vault is one thing, but now c!Sam just seems to be out for revenge and nothing more. Instead of spending his time with c!Tommy, he spends his time pickaxing(?) c!Dream.

C!Sam isn’t an angel, and we should all know that by now. He does what he thinks is right, but he’s deeper than that, all characters on the DSMP are.

He cares deeply for the Badlands, and would always choose them above anybody else. He’s a capitalist. He built the prison because it would benefit the Badlands resource-wise, despite knowing Dream would probably use it on his enemies, and it was no secret that ALL members of L’Manburg, especially c!Tommy, are his enemies. C!Sam, undoubtedly, knew that. He still built it.

Arguably, he didn’t know about c!Dream’s attachment obsession at the time, but the point still stands.

People have already latched onto the untold story happening between c!Dream and c!Sam, and frankly, we barely know enough about it. Does c!Sam torture him regularly? Do they talk? Does c!Dream try to verbally fight back? CAN he fight back? We don’t know! We’ve gotten proof for both, between c!Sam saying that c!Dream is terrifying even in prison and c!Dream going silent to go on strike. We don’t have enough of an idea how bad or how good it truly is.

So the people who prefer to humanize c!Dream and explore morality imagine c!Sam to downright torture him, people that prefer to see c!Dream as nothing but evil due to his actions imagine prison on the DSMP to not be equivalent to real life prison, and thus nowhere near as torturous as people are making it out to be.

Now all that is thrown out the window as c!Quackity quite literally tortures him.

So now the internet is faced with a question that, judging by some of the impulsive reactions *cough cough* celebrating torture *cough*, it didn’t turn out to be ready for.

Tell me.

How far do we go?

C!Dream hurt a LOT of people. He did a lot of things that caused irreparable damage. Now what? Do we torture him forever? Why? Because he deserves it? How do we determine that without comparing one kind of pain to another?

It’s custom and kindof generally respectful not to compare people’s pain too accurately, because different things vary greatly in severity depending on the person that experiences them.

At what point do we say he’s suffered enough without comparing exile to the prison?

And if we DO compare, does that even make the question easier to answer?

And if he’s never suffered enough ever, killing them would be a mercy...

At what point has a person done enough damage that they “deserve” to die? What if someone only did half of the things c!Dream did. But if c!Dream gets infinite punishment, and half of infinity is still infinity, do they ALSO deserve endless suffering?

Do you think every person that did something you can’t emphasize with deserves to suffer for eternity and die?

I’m not saying we SHOULD emphasize with c!Dream. He did things we cannot justify, that NOTHING can justify. He did things that were, by their nature, unjustified.

I’m also not saying anybody should forgive him. I think it’s a GOOD thing that c!Tommy doesn’t want nor is narratively pushed to forgive c!Dream.

But c!Dream doesn’t need c!Tommy’s forgiveness to be... a person.

There’s a saying that I’m sure you know, that goes “I wouldn’t wish it on my worst enemy.”, because there’s things you wouldn’t want any human being to experience. Not because you like them, not cause you think they’re right, but because they’re human.

And perhaps this is my personal opinion, but I don’t think c!Dream being a bad person justifies dehumanizing him, because then we get into an area where someone needs to meet criteria just to be human.

I met someone once, whom, because of outside circumstances I knew I probably wouldn’t meet again. We’d been getting along just fine for people who just met, and were both getting into an interesting discussion about morality. They kept insisting upon something I kept refuting, so they said they needed to get something off their chest.

They proceeded to tell me that they had, years ago, while a teen, manipulated someone in a relationship, pushed boundaries and tried to convince them to do things they didn’t really want to do to get what they wanted.

They cried, while telling me, too terrified to tell anybody they know, terrified nobody would ever speak to them again, insanely regretful of their actions. They didn’t know whether to go back and apologize or just stay as far away as humanly possible, didn’t know which one the right thing to do is.

It had been years, by then, and I talked them through it. I said that what they did was bad, and there’s no going around that. But I also said what I saw, which is someone who would never do something like that ever again. I saw a human being. Someone who regrets a mistake they did and now, after enough time has passed, would do anything to make it undone.

Someone who is too terrified to be close to anybody in fear that they would do it again. I don’t remember if they already went to therapy or not, but it was definitly on the table, or in the near future.

They asked me how I could possibly even keep talking to them after they told me all that. They implied they felt like some kind of monster despite literally chocking back tears, firmly convinced they don’t deserve to be close to anybody in their life ever again.

I never swerved from the fact that what they did was wrong, and harmful. But I also told them they’re human. The universe isn’t keeping score. They want to be a better person now, and they were never going to learn how if they never let themselves be close to anybody.

I told them to seek therapy, and to slowly, carefully, try. Assured them that the fact that they regret it so strongly will at least help them in not falling back into the same pattern, and if they do, they can learn to recognize that.

They thanked me after the conversation, genuinely, especially for the fact that I didn’t sugarcoat what happened, because I know otherwise it would’ve felt like I was lying, like I was just sparing their feelings. I wasn’t. I was thinking about how to make sure they get to live without hurting anybody.

As per the circumstances, we didn’t speak again after that, which we knew basicly from the very start.

I still think about that conversation a lot.

Do you think they should’ve been locked up for life after it happened, instead?

Do you think this real human being, that I spoke to, that took years to realize their mistake - and never would have realized it if they hadn’t had the time to, if they’d been killed right afterwards - deserves to suffer forever?

Let me tell you something, from someone who’s been in more than one abusive situation: People that hurt you are human.

That doesn’t mean you have to forgive them. That doesn’t mean you have to like them. That doesn’t mean you have to make an effort to understand them. That doesn’t mean you need to go anywhere near them ever again.

You can hate them. You can be angry at them. You can (and should) go as far away from them as possible, and/or defend yourself.

But that doesn’t mean you have to dehumanize them.

You’re allowed to hate and dislike people that are human, because you’re human, especially if they hurt you. That’s how life is.

And to go back to my original point - c!Quackity torturing c!Dream is not something that should be celebrated.

There’s a difference between necessary measures (locking c!Dream up so he doesn’t hurt anyone), and torturing people for fun.

It’s not right. It’s never going to be right, and do not justify literal torture on human beings, and do not make someone lower-than-human to justify torturing them.

Taking revenge on someone for what they did tenfold is romanticized, I know, but I promise you it’s not actually as cool as it sounds.

#dreamwastaken #quackity #awesamdude #dream smp #dream smp analysis #dreamteamspace speaks #negativity #fandom critical #its finished and Im finally free #c!Dream #c!Quackity crit #c!Quackity critial

346 notes · View notes

estradioltone · 4 years

Text

They both had issues with both parents: that Ursa was absent, that Ozai was physically abusive. The message becomes, perform, or face physical violence. Don’t step out of line, or you’ll be disappeared.

Because Azula is a prodigy, she is able to perform. However, she also lives in fear of losing her power, although she doesn’t let on. Part of the way she maintains her power is emotional manipulation, including using the threat of physical violence.

Azula comes to believe that because she performs, she has the divine right to rule. She internalizes herself as a god of the world. Although she acts out and I think she has borderline traits, speaking as someone with that diagnosis, she is responding to her trauma. In order to stay safe, she has to be the best, she has to be better than everyone around her, and she has to maintain control in every situation. From Mai and Ty Lee’s betrayal, Azula steadily loses control of her world. She banishes all of her servants, mimicking her father when he banished Ursa. But she can’t stay in control, and she goes into crisis. Like her father she challenges Zuko to an Agni Kai, but the fight doesn’t go like it’s supposed to. In the end, her worst fear has come true: she and Zuko have reversed social standing, and she has lost everything.

Again, although her behavior is extremely toxic, its roots are as much in parent issues as Zuko.

Zuko possibly spoke up for the soldiers on the front lines because he recognized himself in them. Like his mother spoke up for him, he spoke up for the soldiers. He knows that no one deserves to be treated as lesser than and disposable, even when they’re of a lower rank. Zuko’s response is a trauma response. He is not able to help himself, so he displaces his needs onto others.

Zuko lost his mother. His ability to perform couldn’t keep him safe, physically or emotionally. Instead, he had a protector, a person he could rely on. It’s not as simple as saying he has a mother wound and an absent mother wound. He lost the only safe thing in his life. As prince, he had everything, but in reality, he had nothing. He didn’t belong anywhere in the palace, and no room was safe: he was going to be killed in his bedroom, and he was later disfigured.

So Zuko was constantly getting mixed messaging about who he is. He is not able to establish his own identity. Therefore his identity becomes his actions.

“If I can find the Avatar, my father will love me. I will prove my worth, and no one will be able to call me lesser than.”

This is what sustains him, which is why in the second season, Zuko goes on his journey of self-discovery. Iroh presses him to answer for himself who he is, and not to let others define him.

Zuko is in the early stage of establishing his identity when Azula appears. He hasn’t developed the ability to maintain his boundaries. When Azula offers him the opportunity to fulfill his external desires, its too much for him to resist.

Of course he realizes that Iroh was right about everything: external goals will not bring happiness. When he says, “I’m angry at myself,” it’s because he knows he could’ve had what would actually make him happy. He regrets this and hates himself for it.

He also learns the difference between relationships in terms of labels and relationships in terms of the actual connection. Iroh becomes his real father, and he is the one Zuko wants to please. That’s why he sits all night in Iroh’s tent.

However, this is no longer an external goal. Zuko has realized he loves Iroh, and wants to make amends, just like in the AA process. He doesn’t even expect reconciliation. The last time he takes to Iroh, Iroh turned his head.

That Iroh forgives him is a gift, not an obligation. Zuko is able to heal his father wound by developing a healthy father son relationship. He is even able to appreciate Iroh’s stinky slipper, because it’s part of who Iroh is.

That’s why he has the stability to fight Azula. He finally knows who he really is, and what’s important to him. That’s why he’s able to sacrifice his body to protect Katara, without hesitation.

Zuko learns their difference between abusive relationships and healthy relationships. He heals himself through the positive relationships he experiences with Team Avatar.

This analysis can really go much deeper but the point to me is that they have identity issues, not parent issues. Their parents caused their identity issues, because of the abusive environment in which they grew up, and their issues are trauma responses.

#Azula #Zuko #avatar #atla #the last airbender #psychology #analysis

827 notes · View notes

an-aspiring-jester · 3 years

Text

A tiny bit of rant in Maiko’s defense

Note: this is just my personal reading of the canon and everyone’s entitled to have their own interpretation! I just wanted to get it off my chest.

It is often argued that Mai is an obstacle in Zuko’s redemption arc. She encourages passivity and maintaining the status quo. And I totally agree! She’s the girl that was literally taught to “sit still and be quiet” her whole life! She doesn’t talk about Zuko’s problems not because she’s invalidating his feelings but because she sees no reason to dwell on things neither of them has any control over. Keeping things to herself is her coping mechanism.

Her joke about not wanting to hear his life story falls flat - true. She tells him to stop worrying immediately after - that’s not the response he needed right now. But her heart was in the right place. She already knows his story. She wants Zuko to be safe and happy. And she thinks that maintaining the status quo would keep him safe. THAT’S why she discourages him from attending the war meeting. She knows that publicly burning children is wrong - but she can’t see any other way out than to simply play by the Firelord's rules. She’s given up to the circumstances, she’s depressed. This is not the right course of action, obviously, and it clashes with Zuko’s need to stand up against his father.

Zuko desperately tries to fit back in the Fire Nation. He lets himself be distracted with cute little dates and grab whatever little moments of happiness he can in the hostile environment. They both do.

Mai’s entire life strategy is to just... wait out or ignore the bad stuff. You can’t do anything about it, just give up. And YES - for most of the season they DO have a passivity problem that keeps feeding itself.

So yes, Zuko NEEDED to leave Mai behind to do what’s right. But instead of insisting that Mai was holding him back, can we acknowledge that Zuko pushes Mai forward?!

Because the Boiling Rock happens. And Mai, for the first time in her life, stands up for what’s important to her. She OVERCOMES her passivity problem - thanks to Zuko! Yes, at the moment she does it for love rather than political agenda - but that’s still amazing character growth! “I love Zuko more than I fear you” - it’s one of the strongest lines in Atla! This basically sums the whole show up: love is stronger than fear.

We tend to focus so much on what ZUKO needs in his character arc, that we forget that Zuko may be precisely what OTHER character’s arc needs.

Zuko gives Mai agency. Even if she never before questioned Fire Nation’s ideals, she is challenged to do so now. And she trusts Zuko. She first fell for the boy who recklessly stood up for others, and she finally gained the courage to do so herself. (Hey - she pretty much accepted she may actually DIE at Azula’s hands for this! That’s selfless sacrifice.) She cares about him more than anything and she can grow into a better person by his side.

They’re both 16-year-old kids that still have a lot to learn - mainly in the communication skills department. I agree with all the arguments that they can unintentionally hurt each other a lot - as evident in the Beach episode. Zuko has trouble speaking up about his inner turmoil due to trauma, he was taught to never question the Fire Nation and tries to fit in a role that’s expected of him - but we can’t blame it entirely on Mai. She may not be the most emotionally open person ever, but the important thing is that they KEEP TRYING. They care about each other and are putting work into the relationship. It’s clear that after that their communication got at least a bit better (and don’t even get me started how emotive, open and comfortable Mai is around Zuko... that includes showing negative emotions, too. And that’s what Zuko wanted for her, btw.) so we have no reason to believe they won’t work through their issues after the finale. Also - I disagree with claims that Mai is controlling or abusive - “don’t ever break up with me again” is a just lighthearted jab at his less than classy breakup note - it can even be argued that him confronting her openly would spare them some of the problems, who knows how Mai would react? Perhaps she would have joind him or at least helped him with an escape? So it’s actually an argument for Zuko to NOT run away from his problems and confront her directly - you know, like you’re supposed to do in a relationship, instead of just assuming what’s best for the other person. Also - his goofy grin at that remark is proof enough that he didn’t read it as a real threat at all. (And his dreamlike expression when he so much as mentions her name, or literal heart-eyes he makes upon seeing her before his coronation clearly indicates he’s just as head over heels for her as she is for him.) (And no, he didn’t have time or power to free her from jail right after the Agni Kai, it doesn’t mean he’d forgotten about her. I agree that writers could have handled it better but there’s only so much you can fit in the episode timeframe.)

To sum up: they aren’t the perfect couple. YET. But NO COUPLE is, at least not at first. Love needs a lot of work. Both of them still need to grow and they’re gonna make mistakes. People hurt each other sometimes, it’s inevitable. And sometimes you have to put your own well-being first and walk away. But as long as the other person is willing to work with you - as we see both of them do - you can build something beautiful and lasting together. That’s why Maiko is my favorite ship in Atla. (Sukka is just too perfect, so I don’t think about them a lot. XD)

#avatar the last airbender #mai #zuko #maiko #atla #mine #rant #I don't even know if it's coherent #but I needed to write it down or I wouldn't be able to focus on anything else #I just got a lot of maiko feels all of a sudden XD #Additional note: it is pretty much established that most of the Fire Nation citizens are basically brainwashed since childhood #And instead of writing them all off as corrupt and evil they should be treated as normal people who also deserve compassion #So Zuko being forced to reject Mai because she USED TO condone Fire Nations ideals seems counterproductive #Not everything about Fire Nation is evil - the country just needs a better guidance - and so does Mai #It's not a lost case #people change

238 notes · View notes

shortnotsweet · 3 years

Text

Bakudeku: A Non-Comprehensive Dissection of the Exploitation of Working Bodies, the Murder of Annoying Children, and a Rivals-to-Lovers Complex

I. Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

II. Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

III. How to Kill Middle Schoolers, and Why We Should

IV. Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

V. Give it to Me Straight. It’s Homophobic.

VI. Love in Perspective, from the East v. West

VII. Stuck in the Sludge, the Past, and Season One

Disclaimer

It needs to be said that there is definitely a place for disagreement, discourse, debate, and analysis: that is a sign of an active fandom that’s heavily invested, and not inherently a bad thing at all. Considering the amount of source material we do have (from the manga, to the anime, to the movies, to the light novels, to the official art), there are going to be warring interpretations, and that’s inevitable.

I started watching and reading MHA pretty recently, and just got into the fandom. I was weary for a reason, and honestly, based on what I’ve seen, I’m still weary now. I’ve seen a lot of anti posts, and these are basically my thoughts. This entire thing is in no way comprehensive, and it’s my own opinion, so take it with a grain of salt. If I wanted to be thorough about this, I would’ve included manga panels, excerpts from the light novel, shots from the anime, links to other posts/essays/metas that have inspired this, etc. but I’m tired and not about that life right now, so, this is what it is. This is poorly organized, but maybe I’ll return to fix it.

Let’s begin.

Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

There are a lot of different reasons, that can be trivial as you like, to ship or not to ship two (or more) characters. It could be based purely off of character design, proximity, aversion to another ship, or hypotheticals. And I do think that it’s totally valid if someone dislikes the ship or can’t get on board with his character because to them, it does come across as abuse, and the implications make them uncomfortable or, or it just feels unhealthy. If that is your takeaway, and you are going to stick to your guns, the more power to you.

But Bakudeku’s relationship has canonically progressed to the point where it’s not the emotionally (or physically) abusive clusterfuck some people portray it to be, and it’s cheap to assume that it would be, based off of their characterizations as middle schoolers. Izuku intentionally opens the story as a naive little kid who views the lens of the Hero society through rose colored glasses and arguably wants nothing more than assimilation into that society; Bakugou is a privileged little snot who embodies the worst and most hypocritical beliefs of this system. Both of them are intentionally proven wrong. Both are brainwashed, as many little children are, by the propaganda and societal norms that they are exposed to. Both of their arcs include unlearning crucial aspects of the Hero ideology in order to become true heroes.

I will personally never simp for Bakugou because for the longest time, I couldn't help but think of him as a little kid on the playground screaming at the top of his lungs because someone else is on the swingset. He’s red in the face, there are probably veins popping out of his neck, he’s losing it. It’s easy to see why people would prefer Tododeku to Bakudeku.

Even now, seeing him differently, I still personally wouldn’t date Bakugou, especially if I had other options. Why? I probably wouldn’t want to date any of the guys who bullied me, especially because I think that schoolyard bullying, even in middle school, affected me largely in a negative way and created a lot of complexes I’m still trying to work through. I haven’t built a better relationship with them, and I’m not obligated to. Still, I associate them with the kind of soft trauma that they inflicted upon me, and while to them it was probably impersonal, to me, it was an intimate sort of attack that still affects me. That being said, that is me. Those are my personal experiences, and while they could undoubtedly influence how I interpret relationships, I do not want to project and hinder my own interpretation of Deku.

The reality is that Deku himself has an innate understanding of Bakugou that no one else does; I mention later that he seems to understand his language, implicitly, and I do stand by that. He understands what it is he’s actually trying to say, often why he’s saying it, and while others may see him as wimpy or unable to stand up for himself, that’s simply not true. Part of Deku’s characterization is that he is uncommonly observant and empathetic; I’m not denying that Bakugou caused harm or inflicted damage, but infantilizing Deku and preaching about trauma that’s not backed by canon and then assuming random people online excuse abuse is just...the leap of leaps, and an actual toxic thing to do. I’ve read fan works where Bakugou is a bully, and that’s all, and has caused an intimate degree of emotional, mental, and physical insecurity from their middle school years that prevents their relationship from changing, and that’s for the better. I’m not going to argue and say that it’s not an interesting take, or not valid, or has no basis, because it does. Its basis is the character that Bakugou was in middle school, and the person he was when he entered UA.

Not only is Bakugou — the current Bakugou, the one who has accumulated memories and experiences and development — not the same person he was at the beginning of the story, but Deku is not the same person, either. Maybe who they are fundamentally, at their core, stays the same, but at the beginning and end of any story, or even their arcs within the story, the point is that characters will undergo change, and that the reader will gain perspective.

“You wanna be a hero so bad? I’ve got a time-saving idea for you. If you think you’ll have a quirk in your next life...go take a swan dive off the roof!”

Yes. That is a horrible thing to tell someone, even if you are a child, even if you don’t understand the implications, even if you don’t mean what it is you are saying. Had someone told me that in middle school, especially given our history and the context of our interactions, I don’t know if I would ever have forgiven them.

Here’s the thing: I’m not Deku. Neither is anyone reading this. Deku is a fictional character, and everyone we know about him is extrapolated from source material, and his response to this event follows:

“Idiot! If I really jumped, you’d be charged with bullying me into suicide! Think before you speak!”

I think it’s unfair to apply our own projections as a universal rather than an interpersonal interpretation; that’s not to say that the interpretation of Bakudeku being abusive or having unbalanced power dynamics isn’t valid, or unfounded, but rather it’s not a universal interpretation, and it’s not canon. Deku is much more of a verbal thinker; in comparison, Bakugou is a visual one, at least in the format of the manga, and as such, we get various panels demonstrating his guilt, and how deep it runs. His dialogue and rapport with Deku has undeniably shifted, and it’s very clear that the way they treat each other has changed from when they were younger. Part of Bakugou’s growth is him gaining self awareness, and eventually, the strength to wield that. He knows what a fucked up little kid he was, and he carries the weight of that.

“At that moment, there were no thoughts in my head. My body just moved on its own.”

There’s a part of me that really, really disliked Bakugou going into it, partially because of what I’d seen and what I’d heard from a limited, outside perspective. I felt like Bakugou embodied the toxic masculinity (and to an extent, I still believe that) and if he won in some way, that felt like the patriarchy winning, so I couldn't help but want to muzzle and leash him before releasing him into the wild.

The reality, however, of his character in canon is that it isn’t very accurate to assume that he would be an abusive partner in the future, or that Midoryia has not forgiven him to some extent already, that the two do not care about each other or are singularly important, that they respect each other, or that the narrative has forgotten any of this.

Don’t mistake me for a Bakugou simp or apologist. I’m not, but while I definitely could also see Tododeku (and I have a soft spot for them, too, their dynamic is totally different and unique, and Todoroki is arguably treated as the tritagonist) and I’m ambivalent about Izuocha (which is written as cannoncially romantic) I do believe that canonically, Bakugou and Deku are framed as soulmates/character foils, Sasuke + Naruto, Kageyama + Hinata style. Their relationship is arguably the focus of the series. That’s not to undermine the importance or impact of Deku’s relationships with other characters, and theirs with him, but in terms of which one takes priority, and which one this all hinges on?

The manga is about a lot of things, yes, but if it were to be distilled into one relationship, buckle up, because it’s the Bakudeku show.

Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

One of the ways in which the biopolitical prioritization of Quirks is exemplified within Hero society is through Quirk marriages. Endeavor partially rationalizes the abuse of his family through the creation of a child with the perfect quirk, a child who can be molded into the perfect Hero. People with powerful, or useful abilities, are ranked high on the hierarchy of power and privilege, and with a powerful ability, the more opportunities and avenues for success are available to them.

For the most part, Bakugou is a super spoiled, privileged little rich kid who is born talented but is enabled for his aggressive behavior and, as a child, cannot move past his many internalized complexes, treats his peers like shit, and gets away with it because the hero society he lives in either has this “boys will be boys” mentality, or it’s an example of the way that power, or Power, is systematically prioritized in this society. The hero system enables and fosters abusers, people who want power and publicity, and people who are genetically predisposed to have advantages over others. There are plenty of good people who believe in and participate in this system, who want to be good, and who do good, but that doesn’t change the way that the hero society is structured, the ethical ambiguity of the Hero Commission, and the way that Heroes are but pawns, idols with machine guns, used to sell merch to the public, to install faith in the government, or the current status quo, and reinforce capitalist propaganda. Even All Might, the epitome of everything a Hero should be, is drained over the years, and exists as a concept or idea, when in reality he is a hollow shell with an entire person inside, struggling to survive. Hero society is functionally dependent on illusion.

In Marxist terms: There is no truth, there is only power.

Although Bakugou does change, and I think that while he regrets his actions, what is long overdue is him verbally expressing his remorse, both to himself and Deku. One might argue that he’s tried to do it in ways that are compatible with his limited emotional range of expression, and Deku seems to understand this language implicitly.

I am of the opinion that the narrative is building up to a verbal acknowledgement, confrontation, and subsequent apology that only speaks what has gone unspoken.

That being said, Bakugou is a great example of the way that figures of authority (parents, teachers, adults) and institutions both in the real world and this fictional universe reward violent behavior while also leaving mental and emotional health — both his own and of the people Bakugou hurts — unchecked, and part of the way he lashes out at others is because he was never taught otherwise.

And by that, I’m referring to the ways that are to me, genuinely disturbing. For example, yelling at his friends is chill. But telling someone to kill themselves, even casually and without intent and then misinterpreting everything they do as a ploy to make you feel weak because you're projecting? And having no teachers stop and intervene, either because they are afraid of you or because they value the weight that your Quirk can benefit society over the safety of children? That, to me, is both real and disturbing.

Not only that, but his parents (at least, Mitsuki), respond to his outbursts with more outbursts, and while this is likely the culture of their home and I hesitate to call it abusive, I do think that it contributed to the way that he approaches things. Bakugou as a character is very complex, but I think that he is primarily an example of the way that the Hero System fails people.

I don’t think we can write off the things he’s done, especially using the line of reasoning that “He didn’t mean it that way”, because in real life, children who hurt others rarely mean it like that either, but that doesn’t change the effect it has on the people who are victimized, but to be absolutely fair, I don’t think that the majority of Bakudeku shippers, at least now, do use that line of reasoning. Most of them seem to have a handle on exactly how fucked up the Hero society is, and exactly why it fucks up the people embedded within that society.

The characters are positioned in this way for a reason, and the discoveries made and the development that these characters undergo are meant to reveal more about the fictional world — and, perhaps, our world — as the narrative progresses.

The world of the Hero society is dependent, to some degree, on biopolitics. I don’t think we have enough evidence to suggest that people with Quirks or Quirkless people place enough identity or placement within society to become equivalent to marginalized groups, exactly, but we can draw parallels to the way that Deku and by extent Quirkless people are viewed as weak, a deviation, or disabled in some way. Deviants, or non-productive bodies, are shunned for their inability to perform ideal labor. While it is suggested to Deku that he could become a police officer or pursue some other occupation to help people, he believes that he can do the most positive good as a Hero. In order to be a Hero, however, in the sense of a career, one needs to have Power.

Deviation from the norm will be punished or policed unless it is exploitable; in order to become integrated into society, a deviant must undergo a process of normalization and become a working, exploitable body. It is only through gaining power from All Might that Deku is allowed to assimilate from the margins and into the upper ranks of society; the manga and the anime give the reader enough perspective, context, and examples to allow us to critique and deconstruct the society that is solely reliant on power.

Through his societal privileges, interpersonal biases, internalized complexes, and his subsequent unlearning of these ideologies, Bakugou provides examples of the way that the system simultaneously fails and indoctrinates those who are targeted, neglected, enabled by, believe in, and participate within the system.

Bakudeku are two sides of the same coin. We are shown visually that the crucial turning point and fracture in their relationship is when Bakugou refuses to take Deku’s outstretched hand; the idea of Deku offering him help messes with his adolescent perspective in that Power creates a hierarchy that must be obeyed, and to be helped is to be weak is to be made a loser.

Largely, their character flaws in terms of understanding the hero society are defined and entangled within the concept of power. Bakugou has power, or privilege, but does not have the moral character to use it as a hero, and believes that Power, or winning, is the only way in which to view life. Izuku has a much better grasp on the way in which heroes wield power (their ideologies can, at first, be differentiated as winning vs. saving), and is a worthy successor because of this understanding, and of circumstance. However, in order to become a Hero, our hero must first gain the Power that he lacks, and learn to wield it.

As the characters change, they bridge the gaps of their character deficiencies, and are brought closer together through character parallelism.

Two sides of the same coin, an outstretched hand.

They are better together.

How to Kill Middle Schoolers, and Why We Should

I think it’s fitting that in the manga, a critical part of Bakugou’s arc explicitly alludes to killing the middle school version of himself in order to progress into a young adult. In the alternative covers Horikoshi released, one of them was a close up of Bakugou in his middle school uniform, being stabbed/impaled, with blood rolling out of his mouth. Clearly this references the scene in which he sacrifices himself to save Deku, on a near-instinctual level.

To me, this only cements Horikoshi’s intent that middle school Bakugou must be debunked, killed, discarded, or destroyed in order for Bakugou the hero to emerge, which is why people who do actually excuse his actions or believe that those actions define him into young adulthood don’t really understand the necessity for change, because they seem to imply that he doesn’t need/cannot reach further growth, and there doesn’t need to be a separation between the Bakugou who is, at heart, volatile and repressed the angry, and the Bakugou who sacrifices himself, a hero who saves people.

Plot twist: there does need to be a difference. Further plot twist: there is a difference.

In sacrificing himself for Deku, Bakugou himself doesn't die, but the injury is fatal in the sense that it could've killed him physically and yet symbolizes the selfish, childish part of him that refused to accept Deku, himself, and the inevitability of change. In killing those selfish remnants, he could actually become the kind of hero that we the reader understand to be the true kind.

That’s why I think that a lot of the people who stress his actions as a child without acknowledging the ways he has changed, grown, and tried to fix what he has broken don’t really get it, because it was always part of his character arc to change and purposely become something different and better. If the effects of his worst and his most childish self stick with you more, and linger despite that, that’s okay. But distilling his character down to the wrong elements doesn’t get you the bare essentials; what it gets you is a skewed and shallow version of a person. If you’re okay with that version, that is also fine.

But you can’t condemn others who aren’t fine with that incomplete version, and to become enraged that others do not see him as you do is childish.

Bakugou’s change and the emphasis on that change is canon.

Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

In real life, the idea that “oh, he must bully you because he likes you” is often used as a way to brush aside or to excuse the action of bullying itself, as if a ‘secret crush’ somehow negates the effects of bullying on the victim or the inability of the bully to properly process and manifest their emotions in certain ways. It doesn’t. It often enables young boys to hurt others, and provides figures of authority to overlook the real source of schoolyard bullying or peer review. The “secret crush”, in real life, is used to undermine abuse, justify toxic masculinity, and is essentially used as a non-solution solution.

A common accusation is that Bakudeku shippers jump on the pairing because they romanticize pairing a bully and a victim together, or believe that the only way for Bakugou to atone for his past would be to date Midoryia in the future. This may be true for some people, in which case, that’s their own preference, but based on my experience and what I’ve witnessed, that’s not the case for most.

The difference being is that as these are characters, we as readers or viewers are meant to analyze them. Not to justify them, or to excuse their actions, but we are given the advantage of the outsider perspective to piece their characters together in context, understand why they are how they are, and witness them change; maybe I just haven’t been exposed to enough of the fandom, but no one (I’ve witnessed) treats the idea that “maybe Bakugou has feelings he can’t process or understand and so they manifest in aggressive and unchecked ways'' as a solution to his inability to communicate or process in a healthy way, rather it is just part of the explanation of his character, something is needs to — and is — working through. The solution to his middle school self is not the revelation of a “teehee, secret crush”, but self-reflection, remorse, and actively working to better oneself, which I do believe is canonically reflected, especially as of recently.

In canon, they are written to be partners, better together than apart, and I genuinely believe that one can like the Bakudeku dynamic not by route of romanticization but by observation.

I do think we are meant to see parallels between him and Endeavor; Endeavor is a high profile abuser who embodies the flaws and hypocrisy of the hero system. Bakugou is a schoolyard bully who emulates and internalizes the flaws of this system as a child, likely due to the structure of the society and the way that children will absorb the propaganda they are exposed to; the idea that Quirks, or power, define the inherent value of the individual, their ability to contribute to society, and subsequently their fundamental human worth. The difference between them is the fact that Endeavor is the literal adult who is fully and knowingly active within a toxic, corrupt system who forces his family to undergo a terrifying amount of trauma and abuse while facing little to no consequences because he knows that his status and the values of their society will protect him from those consequences. In other words, Endeavor is the threat of what Bakugou could have, and would have, become without intervention or genuine change.

Comparisons between characters, as parallels or foils, are tricky in that they imply but cannot confirm sameness. Having parallels with someone does not make them the same, by the way, but can serve to illustrate contrasts, or warnings. Harry Potter, for example, is meant to have obvious parallels with Tom Riddle, with similar abilities, and tragic upbringings. That doesn’t mean Harry grows up to become Lord Voldemort, but rather he helps lead a cross-generational movement to overthrow the facist regime. Harry is offered love, compassion, and friends, and does not embrace the darkness within or around him. As far as moldy old snake men are concerned, they do not deserve a redemption arc because they do not wish for one, and the truest of change only occurs when you actively try to change.

To be frank, either way, Bakugou was probably going to become a good Hero, in the sense that Endeavor is a ‘good’ Hero. Hero capitalized, as in a pro Hero, in the sense that it is a career, an occupation, and a status. Because of his strong Quirk, determination, skill, and work ethic, Bakugou would have made a good Hero. Due to his lack of character, however, he was not on the path to become a hero; defender of the weak, someone who saves people to save people, who is willing to make sacrifices detrimental to themselves, who saves people out of love.

It is necessary for him to undergo both a redemption arc and a symbolic death and rebirth in order for him to follow the path of a hero, having been inspired and prompted by Deku.

I personally don’t really like Endeavor’s little redemption arc, not because I don’t believe that people can change or that they shouldn't at least try to atone for the atrocities they have committed, but because within any narrative, a good redemption arc is important if it matters; what also matters is the context of that arc, and whether or not it was needed. For example, in ATLA, Zuko’s redemption arc is widely regarded as one of the best arcs in television history, something incredible. And it is. That shit fucks. In a good way.

It was confirmed that Azula was also going to get a redemption arc, had Volume 4 gone on as planned, and it was tentatively approached in the comics, which are considered canon. She is an undeniably bad person (who is willing to kill, threaten, exploit, and colonize), but she is also a child, and as viewers, we witness and recognize the factors that contributed to her (debatable) sociopathy, and the way that the system she was raised in failed her. Her family failed her; even Uncle Iroh, the wise mentor who helps guide Zuko to see the light, is willing to give up on her immediately, saying that she’s “crazy” and needs to be “put down”. Yes, it’s comedic, and yes, it’s pragmatic, but Azula is fourteen years old. Her mother is banished, her father is a psychopath, and her older brother, from her perspective, betrayed and abandoned her. She doesn’t have the emotional support that Zuko does; she exploits and controls her friends because it’s all she’s been taught to do; she says herself, her “own mother thought [she] was a monster; she was right, of course, but it still [hurts]”. A parent who does not believe in you, or a parent that uses you and will hurt you, is a genuine indicator of trauma.

The writers understood that both Zuko and Azula deserved redemption arcs. One was arguably further gone than the other, but that doesn’t change the fact that they are both children, products of their environment, who have the time, motive, and reason to change.

In contrast, you know who wouldn’t have deserved a redemption arc? Ozai. That simply would not have been interesting, wouldn’t have served the narrative well, and honestly, is not needed, thematically or otherwise. Am I comparing Ozai to Endeavor? Basically, yes. Fuck those guys. I don’t see a point in Endeavor’s little “I want to be a good dad now” arc, and I think that we don’t need to sympathize with characters in order to understand them or be interested in them. I want Touya/Dabi to expose his abuse, for his career to crumble, and then for him to die.

If they are not challenging the system that we the viewer are meant to question, and there is no thematic relevance to their redemption, is it even needed?

On that note, am I saying that Bakugou is the equivalent to Zuko? No, lmao. Definitely not. They are different characters with different progressions and different pressures. What I am saying is that good redemption arcs shouldn’t be handed out like candy to babies; it is the quality, rather than the quantity, that makes a redemption arc good. In terms of the commentary of the narrative, who needs a redemption arc, who is deserving, and who does it make sense to give one to?

In this case, Bakugou checks those boxes. It was always in the cards for him to change, and he has. In fact, he’s still changing.

Give it to Me Straight. It’s Homophobic.

There does seem to be an urge to obsessively gender either Bakugou or Deku, in making Deku the ultra-feminine, stereotypically hyper-sexualized “woman” of the relationship, with Bakugou becoming similarly sexualized but depicted as the hyper-masculine bodice ripper. On some level, that feels vaguely homophobic if not straight up misogynistic, in that in a gay relationship there’s an urge to compel them to conform under heteronormative stereotypes in order to be interpreted as real or functional. On one hand, I will say that in a lot of cases it feels like more of an expression of a kink, or fetishization and subsequent expression of internalized misogyny, at least, rather than a genuine exploration of the complexity and power imbalances of gender dynamics, expression, and boundaries.

That being said, I don’t think that that problematic aspect of shipping is unique to Bakudeku, or even to the fandom in general. We’ve all read fan work or see fanart of most gay ships in a similiar manner, and I think it’s a broader issue to be addressed than blaming it on a singular ship and calling it a day.

One interpretation of Bakugou’s character is his repression and the way his character functions under toxic masculinity, in a society’s egregious disregard for mental and emotional health (much like in the real world), the horrifying ways in which rage is rationalized or excused due to the concept of masculinity, and the way that characteristics that are associated with femininity — intellect, empathy, anxiety, kindness, hesitation, softness — are seen as stereotypically “weak”, and in men, traditionally emasculating. In terms of the way that the fictional universe is largely about societal priority and power dynamics between individuals and the way that extends to institutions, it’s not a total stretch to guess that gender as a construct is a relevant topic to expand on or at least keep in mind for comparison.

I think that the way in which characters are gendered and the extent to which that is a result of invasive heteronormativity and fetishization is a really important conversation to have, but using it as a case-by-case evolution of a ship used to condemn people isn’t conductive, and at that point, it’s treated as less of a real concern but an issue narrowly weaponised.

Love in Perspective, from the East v. West

Another thing I think could be elaborated on and written about in great detail is the way that the Eastern part of the fandom and the Western part of the fandom have such different perspectives on Bakudeku in particular. I am not going to go in depth with this, and there are many other people who could go into specifics, but just as an overview:

The manga and the anime are created for and targeted at a certain audience; our take on it will differ based on cultural norms, decisions in translation, understanding of the genre, and our own region-specific socialization. This includes the way in which we interpret certain relationships, the way they resonate with us, and what we do and do not find to be acceptable. Of course, this is not a case-by-case basis, and I’m sure there are plenty of people who hold differing beliefs within one area, but speaking generally, there is a reason that Bakudeku is not regarded as nearly as problematic in the East.

Had this been written by a Western creator, marketed primarily to and within the West (for reference, while I am Chinese, but I have lived in the USA for most of my life, so my own perspective is undoubtedly westernized), I would’ve immediately jumped to make comparisons between the Hero System and the American police system, in that a corrupt, or bastardized system is made no less corrupt for the people who do legitimately want to do good and help people, when that system disproportionately values and targets others while relying on propaganda that society must be reliant on that system in order to create safe communities when in reality it perpetuates just as many issues as it appears to solve, not to mention the way it attracts and rewards violent and power-hungry people who are enabled to abuse their power. I think comparisons can still be made, but in terms of analysis, it should be kept in mind that the police system in other parts of the world do not have the same history, place, and context as it does in America, and the police system in Japan, for example, probably wasn’t the basis for the Hero System.

As much as I do believe in the Death of the Author in most cases, the intent of the author does matter when it comes to content like this, if merely on the basis that it provides context that we may be missing as foreign viewers.

As far as the intent of the author goes, Bakugou is on a route of redemption.

He deserves it. It is unavoidable. That, of course, may depend on where you’re reading this.

Stuck in the Sludge, the Past, and Season One

If there’s one thing, to me, that epitomizes middle school Bakugou, it’s him being trapped in a sludge monster, rescued by his Quirkless childhood friend, and unable to believe his eyes. He clings to the ideology he always has, that Quirkless means weak, that there’s no way that Deku could have grown to be strong, or had the capacity to be strong all along. Bakugou is wrong about this, and continuously proven wrong. It is only when he accepts that he is wrong, and that Deku is someone to follow, that he starts his real path to heroics.

If Bakudeku’s relationship does not appeal to someone for whatever reason, there’s nothing wrong with that. They can write all they want about why they don’t ship it, or why it bothers them, or why they think it’s problematic. If it is legitimately triggering to you, then by all means, avoid it, point it out, etc. but do not undermine the reality of abuse simply to point fingers, just because you don’t like a ship. People who intentionally use the anti tag knowing it’ll show up in the main tag, go after people who are literally minding their own business, and accuse people of supporting abuse are the ones looking for a fight, and they’re annoying as hell because they don’t bring anything to the table. No evidence, no analysis, just repeated projection.

To clarify, I’m referring to a specific kind of shipper, not someone who just doesn’t like a ship, but who is so aggressive about it for absolutely no reason. There are plenty of very lovely people in this fandom, who mind their own business, multipship, or just don’t care.

Calling shippers dumb or braindead or toxic (to clarify, this isn’t targeting any one person I’ve seen, but a collective) based on projections and generalizations that come entirely from your own impression of the ship rather than observation is...really biased to me, and comes across as uneducated and trigger happy, rather than constructive or helpful in any way.

I’m not saying someone has to ship anything, or like it, in order to be a ‘good’ participant. But inserting derogatory material into a main tag, and dropping buzzwords with the same tired backing behind it without seeming to understand the implications of those words or acknowledging the development, pacing, and intentional change to the characters within the plot is just...I don’t know, it comes across as redundant, to me at least, and very childish. Aggressive. Toxic. Problematic. Maybe the real toxic shippers were the ones who bitched and moaned along the way. They’re like little kids, stuck in the past, unable to visualize or recognize change, and I think that’s a real shame because it’s preventing them from appreciating the story or its characters as it is, in canon.

But that’s okay, really. To each their own. Interpretations will vary, preferences differ, perspectives are not uniform. There is no one truth. There are five seasons of the show, a feature film, and like, thirty volumes as of this year.

All I’m saying is that if you want to stay stuck in the first season of each character, then that’s what you’re going to get. That’s up to you.

This may be edited or revised.

#bakudeku #meta #my hero academia #boko no hero academia #bnha #mha #bakugou katsuki #izuku midoriya #ok these are just my general thoughts in response to the people who have hang ups about this ship #like y’all need to pls chill tf out ok #this is also not comprehensive and could definitely be elaborated on #but it’s just general thoughts #it’s just addressing general opposition I’ve seen #I never thought I’d ever write this much about this ship wtf

128 notes · View notes

spasmsofthought · 4 years

Text

clean slate. (zuko x reader)

(Thank Netflix and some feelings for my favorite ATLA character for this piece. I’ve never fallen asleep to this fandom, but now I can stream the whole series and not have to worry about changing discs [score!]. I hope I did Zuko some justice here. Also, I haven’t watched The Legend of Korra - so I can’t speak to anything that is written in that story or canon. I base my writing only off of ATLA. Obviously I’m breaking away from Mai x Zuko - and thus breaking away from canon in some ways - as shipped and beloved as they can be.)

(ALSO - any guesses to where this OC could be from? I had some ideas while writing, but leave a comment with your idea below!)

There’s this way he gets when he’s remembering what his life was like before.

Zuko has always been a solitary figure.

Being the Crown Prince (and an exiled one, at that) carries responsibilities few know about. His shoulders have always been strong, but they also have always been rigid.

Most don’t even take into account the trauma that comes with being abused by your father and tormented by your psychotic sister. Not to mention wondering if your mother is alive after being banished from the Fire Nation as a traitor.

You always like to think of Iroh as Zuko’s saving grace.

There is a kindness to Zuko’s face that was lost in all the pain and anger before. When he smiles, it is gentler and softer.

Like some of the hardness that had been burned into him has transformed from hardened steel to a molten one. It’s still there, but it’s constantly being heated and warmed and molded instead of sitting there in his chest like a stone .

He’s living and breathing his firebending instead of just trying to produce or control it.

His time hunting down, and subsequently joining, Avatar Aang had changed him in ways you’re only beginning to understand.

You can tell he’s not really reading the scrolls he has laid out on the table before him. He sits still but his mind is anywhere but in the present moment. You don’t know what it is that has him so far away.

Is it that people expect him to retreat to Ember Island sometime in the near future?

Is it that his father and sister rot in jail while he sits on the throne?

Cruel memories from his childhood?

The worries of his mother’s banishment and where she was now if she was actually alive?

Marriage? Children? (He’s young, but it still doesn’t stop the council of government officials and generals from asking and pressuring him.)

You had never been a mind reader, and even less so concerning Zuko. Sometimes he wore his reputation for being temperamental well, though his moments had become rarer and rarer since joining the Avatar and becoming friends with him and his group.

He was balanced now, but there were moments you could tell his own triggers tipped the scale.

Be it happenstance or fate or whatever people would like to call it, there was a reason you were in his life now as compared to the minuscule role you would have been given any moment earlier.

Your hands cover the material written on the scroll (probably important state business he’s supposed to take care of - he is Fire Lord after all) as you sit down across from him.

The table is long but not very wide, which makes this easier than it would be had Zuko been more difficult and chosen one of those wider study desks he was fond of when he actually wanted to get things done.

“You’re not even reading,” You begin softly. It takes a minute for him to come back from whatever time and place he was in and he just sighs. His hands stay in his lap, but his eyes meet yours.

They are amber in color, but rich and deep and warm in substance.

When you used to get a glimpse at them, from a distance, it was like they burned you, like if he stared long enough his eyes could leave a scar, too. Now it’s more like they hold life and passion and light instead of destruction and anger.

“You can talk to me.” He knows this, despite how many times you say it. Sometimes the words are painful, sometimes they bring him comfort. Either way, struggling is in Zuko’s nature.

Nothing seems to come easy for him, even when peace among the four nations has been declared and his birthright has been restored to him.

Several moments are spent in silence as he breathes in and out, trying to gather the right words (that’s been a struggle for him, too, at times).

“How can I be a leader if I can’t be a really good one?”

It takes a moment for you to digest the meaning of his words. It’s less about being a good leader and more about not being like his father. Despite the fact that he’s already announced this new era to be one of peace and love and unity, his deepest and darkest doubts plague him. Would he be the kind of leader he was if they didn’t though?

He doesn’t talk about them very often, but there are times, like now, where he’ll let his guard down and be honest with you.

You wish there were some way you could bear his burdens for him; to tell him that his father’s leadership does not have to affect his own. You wish you could tell him he is the one who holds all the choices and possibilities in his hands. You lean forward on your elbows, minimizing the distance between the two of you slightly.

“Listen to me,” His eyes flicker from yours to spots around the ornate room. Back and forth they flit. “Zuko, the fact that you’re asking that question proves to me that you’re already a better Fire Lord than your father.”

“But how can you-”

“Look at me,” You say as you grab his face. One hand rests on his scarred cheek while the other holds the opposite side of his face. He doesn’t flinch when you touch it, he hasn’t for some time. “I can’t convince you of yourself. That’s not why I’m here. But I want to let you know, even though you may doubt my words now, your genetics do not shape what kind of leader you are and the leader you will become. That’s only your decision.”

He looks at you like he doesn’t quite believe you, and you don’t expect him to. His self-reflection can be a gift, but it can also be a curse. His shoulders sag like his thoughts weigh more than he’s let on.

“Who makes your decisions for you, Zuko?”

“What?” He asks incredulously. You almost smile because he looks so bewildered.

“Who is the person that makes your decisions for you?”

“What are you talking about? I make my own decisions.” He looks at you like you’ve gone crazy.

You let his statement sit in the air as you get up from your position across the table and walk around to sit next to him. He turns so that he meets your gaze head-on. You can see his words running through his head, though you know they’ll take a lifetime to actually make complete sense.

“Exactly,” Your hands weave their way to the back of his neck. You curse whoever made it tradition for Fire Lords to put their hair up in a topknot for formal dress code. You know the importance of it in Fire Nation culture, but there are some days you wish you could see him working with his hair down. It would certainly provide you with more opportunities to distract him. “You get to decide exactly what kind of leader you are and are going to be. No one else is in your head except you.”

The corner of his lips quirk up. You can tell it hasn’t quite sunk in all the way yet, but it’s gone deep enough to ward off his doubts for now. There is a glimmer in his eyes that tells you he believes your words as much as he can in this moment.

It’s all you can ask for.

His forehead comes to press against yours. He’s not one for public displays of affection while working or in his formal wear, but there are spaces in time like these where he decides to make an exception. You close your eyes and breathe out a sigh of contentment, simply happy to be in the present moment with him.

It’s his version of saying thank you to you.

His lips press to yours softly and you hold him to yourself longer than would be proper if there were others in the room with you. But there isn’t.

He tilts his head back and catches a breath, but you chase his mouth to grab a quick second kiss.

All of this makes all the rest of the hullabaloo that you have to deal with worth it. He has always been worth it.

When you part, you smile at him as you turn his head back towards the scrolls on the table.

“Now get reading, Fire Lord Zuko.”

#avatar the last airbender #atla #zuko #zuko x reader #zuko x oc #prince zuko #fire nation #avatar the last airbender one shot #zuko one shot #zuko imagine #atla zuko #avatar iroh #iroh #avatar: tla #avatar: the last airbender

1K notes · View notes

firelxdykatara · 4 years

Text

Touching Zuko’s Scar

It’s entirely possible that someone has written meta on this before, and possibly done it better/more eloquently than I’m about to. However, I have Things To Say and I’m going to say them, and hopefully my point comes across! This post is largely spurred on by a few posts I’ve seen in the tags lately which have... rather baffling takes on the whole ‘who touches Zuko’s scar and why’ situation, particularly in regards to feeling the need, for some reason, to diminish the scene in which Katara touches his scar and the importance of that moment for both of them.

From what I can tell, this was done in an attempt to prop up Maiko, which I suppose makes some amount of sense since that is a ship which can barely stand on its own without tremendous amounts of headcanoning to fill in the gaping holes left by the fact that the entirety of their relationship development happened off-screen (and the glimpse we do get into it in the ‘going home’ midquel comic leaves a lot to be desired in terms of why Zuko would even want to be with her, but that’s another discussion entirely). But it still doesn’t quite fit, because the scenes with Katara and with Song are so much more meaningful, both in terms of Zuko’s arc and the way the girls relate to him (and it also ties into Katara feeling so hurt by Zuko’s betrayal, and needing more than any of the others before she can forgive and accept him into the gaang).

Now, that out of the way, I do want to say up front that the intention here is not to be particularly anti Maiko, but to examine the situations in which Zuko’s scar is touched (or almost touched), and the similarities two of these scenes have which are not shared by the third (at which point, you’re obviously free to draw your own conclusions).

Also, please bear with me--I can’t take screenshots or anything, so I’ll reference scenes and the episodes they come from but there won’t be images.

Under a cut bc this got long

To start off, there are three moments in the entire series where a character touches, or tries to touch, Zuko’s scar with her hand. (I say ‘her’ because all three instances occur with girls near Zuko’s own age.) The first moment is in The Cave of Two Lovers, the second episode of book two--this is the moment where Song sees Zuko’s scar, recognizes it for the intentional burn from a firebender that it is, and reaches for it.

Song: Can I join you? I know what you’ve been through. We’ve all been through it. [looks at Zuko’s scar] The Fire Nation has hurt you. [she slowly reaches for his scar, but before she can touch it, Zuko grabs her wrist and stops her; she puts her hand back in her lap] It’s ok. They’ve hurt me too. [pulls up the leg of her pants to reveal the burn scars there]

The second moment comes at the end of book 2, in The Crossroads of Destiny, in a moment that is a deliberate parallel of Zuko’s connection with Song--but this time, he lets Katara touch him.

Katara: [she holds up a vial] This is water from the spirit oasis at the North Pole. It has special properties, so I’ve been saving it for something important. [moves closer to Zuko, standing in front of him] I don’t know if it would work, but... [Zuko closes his eyes, and Katara’s fingers touch his scar; the scene holds there as the music swells, before they’re interrupted]

Like Song did, Katara felt a connection to Zuko via a similar trauma he suffered. However, unlike Song, Katara knew who Zuko was--the banished prince of the Fire Nation, and someone who had been her enemy for most of the past several months. However, she still feels compassion and empathy for him, and it is for this reason that she takes his subsequent choice harder than anyone else in the gaang does (and why it takes more for him to earn her forgiveness).

Now, the third moment is... rather incongruous. There is neither compassion nor understanding involved in touching his scar, there is no real emotional connection, and it comes right on the heels of his girlfriend--someone we’re supposed to believe cares about him and his emotional wellbeing, since they’re in a relationship (which happened off-screen, but I digress)--shutting down his attempt to talk about his feelings, something that will present a conflict in their relationship later on.

Mai: [yawns] I just asked if you were cold, I didn’t ask for your whole life story. [she moves forward, smirking, and then chuckles, putting one arm around his neck and pulling his face towards her with her other hand] Stop worrying. [they kiss, and then Mai walks away, leaving Zuko to stare out at the horizon again; the wiki transcript says he looks relieved, but to me he looks resigned more than anything]

What’s interesting about this moment is, for one thing, it’s unclear if Mai is even supposed to be touching his scar at all. Giancarlo Volpe, the director for this episode, put the original storyboards for the scene up on his DeviantArt, and in them, it seems he was fairly careful to make sure Mai was not touching Zuko’s scar. This would make sense, considering that touching Zuko’s scar was presented as a very big deal--he specifically prevented a girl from touching his scar in the beginning of book 2, and at the end, he allowed another girl to touch him, showcasing vulnerability and trust in that moment. It is the culmination of one small part of his character arc, and that makes the moment that Katara touches his scar even more meaningful.

Of course, I can’t say definitively that it was an animation mistake or something that was deliberately changed during production (which, considering there is a moment later in the book where Bryke mandated a change, isn’t outside the realm of possibility), but it does present interesting implications.

However, even if you take the scene at face value and assume that Mai was intended to be touching his scar....it’s still presented in an entirely different framework than the previous two scenes, despite occurring almost immediately after Zuko’s moment with Katara in the caves (at least as far as episode count).

The different framework being, of course, the fact that it.... doesn’t mean anything at all.

In the first two scenes, Zuko’s scar and his pain--as well as the pain of the girls who are forging an empathic connection with him based on understanding each other’s trauma--is the focus. Touching, or attempting to touch, Zuko’s scar is the point--it is very deliberate, and there’s no way to argue against it because the writing is very explicit, and nothing else would make sense for those scenes. On the other hand, you could take out the moment where Mai touches Zuko’s scar and lose absolutely nothing--because the focus is not on Zuko, but rather on the fact that he was attempting to open up emotionally to his girlfriend (and note that this is the first indication we get in the show that they are together--take out the kiss completely and no one would even know they’re dating, let alone supposedly like one another even as friends), and was shut down with a sarcastic quip, ostensibly because Mai simply didn’t want to hear it. (This is in keeping with her later characterization, where she would much rather distract him and keep him from actually talking about any of his problems, but @araeph goes into the nature of Mai and Zuko’s emotional intimacy [or lack thereof] in much greater detail in this essay, so I won’t get too deep into it here.)

Mai touching Zuko’s scar doesn’t mean anything to the audience because it doesn’t mean anything to Zuko. He doesn’t react to or acknowledge it in any way, it’s as if he doesn’t even notice it happening (perhaps because it wasn’t supposed to? but again that’s speculation), and nothing in the scene would change if it didn’t. It simply doesn’t matter. On the other hand, Song nearly touching Zuko’s scar and then Katara actually touching his scar? They matter to him--and to the show, and therefore the audience--very much. Both moments are incredibly important to Zuko’s overall arc, because together, they show how far he had come in his own emotional journey over the course of the book.

Of course, it isn’t enough to keep him from choosing to side with Azula, because his journey was far from complete--but the fact that he was able to show such trust and vulnerability to a girl who had been his enemy not very long ago? That was huge. Because Zuko didn’t just let Katara touch his scar--he closed his eyes. She could have hurt him in that moment, but he trusted that she wouldn’t. He trusted that she was willing to use special water she’d been saving for something important--and he trusted that, in that moment, he was important to her.

It wasn’t just Zuko showing trust either, though--Katara showed trust in him. She trusted, after a few minutes of conversation and learning about the loss of his mother (and, specifically, the fact that the Fire Nation was responsible for the loss of his mother, just as it was responsible for the loss of hers), that he had changed--that he was different, and she could trust him. She was willing to use the spirit water she’d been carrying around for months on someone who had recently been so much an enemy that she fled from the tea shop, convinced that he’d somehow infiltrated the city and was planning something.

The fact that she trusted him in that moment is exactly why she took his next choice so hard, but it is also why their relationship cemented itself so solidly after The Southern Raiders, giving them quite possibly the strongest relationship in the gaang outside of Katara and Sokka.

Anyway, that was a lot of words for what essentially amounts to this: Song attempting to touch Zuko’s scar in the beginning of book 2 is explicitly paralleled by Katara being allowed to touch his scar at the end of it, and both moments occur during scenes where Zuko’s pain and trauma are acknowledged and validated, and where the person he’s speaking with feels a connection to him because of that shared trauma--because they understand what he has been through. It’s likewise important to note that while Song didn’t actually entirely understand, because she didn’t know who Zuko was or what being traumatized by the Fire Nation actually meant to him, Katara did--and she still was able to feel for him, connect to him, and want to help him.

By contrast, the moment with Mai occurs in a scene where Zuko’s pain and trauma are invalidated and dismissed, where his girlfriend attempts to distract him rather than help him through what is clearly a moment of great emotional turmoil. No, she shouldn’t have to be his therapist, but emotional support is vital in any relationship--especially when one party is traumatized and desperately needs support and love--and it is notably lacking from Maiko, starting from their very first romantic scene together.

Make of that what you will.

#atla #zutara #zuko #katara #mai #song #maiko salt #just covering my bases #atla meta #zutara meta

320 notes · View notes