čąć (2021.12.26)

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@altemisia
čąć (2021.12.26)
Sokka's (Lack of) Involvement in "The Southern Raiders"
I really think "The Southern Raiders" should have revolved around Katara and Sokka's relationship more than on Katara and Aang's.
Like, Aang really doesn't have any kind of leg in this race. He didn't know Kya, nor has he ever really shown an interest in knowing about her. Bonding over their shared griefs has never been a part of Katara and Aang's relationship, because Aang always avoids his grief, and Katara always suppresses hers for the benefit of other people. He doesn't really have any right to pick a side, or get in between, the Water Tribe siblings, because he knows little to nothing about the complexities of their family history. Or even the complexities of their relationship, for that matter. He also has never shown any investment in helping Zuko and Katara get along (or, I suppose more accurately, in understanding why Katara is so adamant in not accepting Zuko.)
Aang ultimately doesn't change Katara's perspective on Yon Rah at all, and he doesn't even really change himself. If this was a matter of their ideological beliefs clashing, and ultimately the two of them having to find some kind of agreement, then I could see what Aang's relevance here would be. But that's . . . really not what happens. They don't come to any agreement, not even by the end of the series. They kind of just awkwardly part ways, each one of them believing they were right. But this also doesn't seem to have much of an effect on the ways they view each other (I could see the argument that this kind of further disillusions Katara from her previous idea of Aang as this "great savior of the world", but that's also not a thread that really gets pulled on for the rest of the series). In the end, this conflict between them feels a bit swept under the rug.
However, with Sokka and Katara, not only do they both have a lot of stakes for how Yon Rah is dealt with, there is already previously established history for the different ways they view Kya's death.
Sokka is able to heal in a way Katara never really was able to, for a few reasons. On the surface, because he was a little older, because he never had to see the corpse, and because he was ultimately a little closer to his father. But it is also so much deeper than that.
For one, because of the fact that Katara stepped into that role. She became the person who had the strength to help him move forward, and she became the person he could always rely on for the support he had lost from Kya. She became the person he could always count on, even after their father left.
"When our mom died, that was the hardest time in my life. Our family was a mess, but Katara? She had so much strength. She stepped up and took on so much responsibility. She helped fill the void that was left by our mom. . . .
I'm gonna tell you something crazy. I never told anyone this before, but honestly? I'm not sure I can remember what my mother looked like. It really seems like my whole life, Katara's been the one looking out for me. She's always been the one that's there. And now, when I try to remember my mom, Katara's is the only face I can picture."
Sokka has already been given the space and support to be able to come to a healthier place internally. He's still devasted by the loss, obviously, but he's not haunted by it like Katara is. I think it still informs some of his behavior (like possibly his compulsive need to be the "protector", and to keep his sister safe), but it's also not a super large part of his internal conflict throughout the series.
Katara, on the other hand? It has informed almost every part of her character since the very first episode.
It informs her behavior towards almost all of her peers; her constant need to take care of the people around her. It informs her her relationship with her father; how she does love him, but can't help resenting the fact that he left when she needed him the most. When she needed the kind of support she was always offering to everyone else. It is her greatest emotional hurt throughout the whole series, but it is also the reason why she never talks about it aside from offering empathy towards someone else's loss.
Katara has never been in a position where she could heal from this wound; because she has always had to be strong for everyone else, because she never had someone to be strong for her in the same way (except for maybe Hakoda, but, again, he left soon after), and because of the fact that I think it would only be natural for her to blame herself for Kya's death.
Even before she knew Yon Rah was after the last waterbender, Katara was the one who was meant to get help. The one who left her mother alone, and wasn't able to get back in time with help. And, then, even before Yon Rah confirmed it, I think it would have been a fairly natural conclusion to come to that Kya was killed because of Katara's waterbending. The Southern Raiders came in, killed one person, and then left. It's not hard to come to the conclusion that the attack was very specifically targeted. Even if Katara was too young to put the pieces together herself, I think it's possible she would have heard whispers about it from the other people of the tribe. Maybe she was even specifically told to hide her bending a little harder. And then it was finally confirmed for her when she finally got to confront Yon Rah.
Obviously, I don't blame eight-year-old Katara for any of this, but I think it would be pretty natural that she would blame herself. How she wouldn't ever be able to get it out of her mind that it's her fault her mother died.
Now, I think the interesting part about this is that I don't Sokka is even aware that Katara feels any of this. He knows she loves and misses Kya, but I don't think he really realizes how little she's been able to heal. He probably subconsciously assumes she's been able to heal as well as, or at least almost as well as, he has. Again, Katara is pretty good about suppressing all of this when with other people.
And, to me, this just feels rife with potential conflict for "The Southern Raiders". Like, maybe Sokka tries to persuade Katara not to go after Yon Rah initially, not because he's morally opposed to it necessarily, but because he doesn't believe it would be viable with the situation they are in now. With half their group gone, only a few weeks before the comet, and the desperate need to find a place to relocate. Maybe he tells her it would just make sense to wait until the war's over to find him, but Katara tells him it can't wait. They get into an argument over it, and that's when the "then you didn't love her the way I did" line comes up. Maybe by the end of the episode, or even before Katara leaves, Sokka is finally able to truly grasp how badly Kya's death has affected Katara. Maybe we even get a scene of him thanking her for how much she helped him heal from his grief over Kya.
Or, you know, it could be something else entirely.
I personally just think there is a lot more to dig into with Sokka and Katara having a conflict over how to deal with their mother's killer, than there is with Aang telling Katara how she should be dealing with a grief he doesn't really even seem interested in understanding.
Just a thought.
I'll have your signature, please.
[Image ID: The Destiel confession meme edited so that Dean answers 'JK Rowling posted upskirt photos of a woman on Twitter' to Cas 'I love you'. /End ID]
No one doing this should be allowed to call themselves a feminist.
The wealthy author escalated a social media spat that resulted in posting a photo from a 2023 event at the Institute of Economic Affairs in
Let's not beat around the bush: Children's author JK Rowling sexually harassed someone. In some jurisdictions, this would count as sexual abuse. JK Rowling has committed a sex crime against a woman and fell back on the old rape apologist standby of "she was asking for it".
I hope your nostalgia is worth it
This comic is quite concerning to me.
It's framed as romantic. Aangsty.
I think it's anything but that.
Aang tries to pry an answer out of Katara about their kiss before the invasion. She avoids the topic, as she has done so before. Aangâs frustration produces a dangerous lava blast. Katara has to hide behind a pillar to avoid getting singed. Its dangerous. Its reckless. But Katara immediately redirects sympathy toward his fear of him being the one harmed.
Once again, it's Katara - despite nearly getting walloped - that reassures him. That she's 'fine'; even praising him. Her fright and the recklessness of what he did are barely acknowledged.
Now it's worth noting Aang doesn't deliberately try and hurt Katara, but its absolutely a point-blank showcase of Aang losing control and endangering Katara because he cannot consider her romantic boundaries.
Does he apologise? Yes. But in the end his actions are still framed as 'valid.'
That to me, is a little bit toxic. And what's more is that we see glimpses of this in the Atla movie - this is something that Aang has never grown from. Concerning.
That isn't just a little bit toxic. It's very toxic. This is the beginning of a pattern of abuse. It's the real world equivalent of "I didn't mean to throw it AT you. You just so happened to be where I threw it!". Of course, he apologizes. They always do so you'll think they might actually fucking change, but they never will. Aang has a history of saying he is sorry for something, gets forgiven, and then does it again. Kataang becomes more disturbing the more material they release.
Ambassador Katara and Fire Lord Zuko at the Peace Council BallđˇđĽ
This is definitely my favorite Zk fanart I've ever made. I drew it two years ago!
I hope you like it â¤ď¸
In Chinese, Katara and 'otter' share similar-sounding parts.So I've brought Otter KatarađŚŚ!
I've seen a couple of comparisons of Obsession to A.ang's attitude towards Katara, but there's an older, more interesting comparison I keep thinking of in relation to kata.ang: 500 Days of Summer. The story itself (as interpreted by much of the audience, at least, but we'll get there) is, much like Obsession, about how unfair and unromantic the whole "guy meets girl, decides she's his Forever Girl in spite of knowing almost nothing about her, decides he's entitled to a relationship" trope actually is for the woman. It may be the most thorough deconstruction I've ever seen of the romance storyline of the Nice Guy with the soft romantic heart who deserves his dream girl, even though she plays hard to get, and so he's eventually rewarded for his relentless pursuit.
The more I think about it, the more I think that Tom and A.ang do have essentially the same dating strategy (I think more than A.ang and Bear, who really only acts on his crush with the assistance of a magic wish). Compare how Tom uses a combination of pity, erosion, lashing out, and outright cornering her to convince Summer to date him, with A.ang's pursuit of Katara in season 3. Compare Summer talking about how she can't give Tom the love and commitment that he's demanding to Katara telling A.ang that she's confused and now isn't the right time. Compare Tom and A.ang ignoring what Summer and Katara tell them because it's not what they want to hear. Compare Tom's rose-colored idealization of Summer, and the way he lashes out at her when she doesn't live up to that idealization, to A.ang's daydreams about Katara and the way a switch flips in his treatment of her when she says or does something that his Forever Girl wouldn't say or do.
Compare the scene where Summer is talking about herself while Tom zones out and starts daydreaming about how how he's totally gonna be the guy to win her love instead of actually getting to know her, with the fact that we see three solid seasons of A.ang pining after Katara but, in however many one-on-one scenes of them having meaningful private conversations (always about A.ang), not once does he actually ask her about her hopes or dreams or fears, or anything about herself, really. I still don't know what precisely A.ang liked about Katara other than...she's there.
Now, in the end, ATLA plays out like wish fulfillment: the girl finally stops playing hard to get, settles for the writer's self-insert Nice Guy hero, and they supposedly live happily ever after.
The really interesting difference that makes 500 Days of Summer a more intriguing comparison than Obsession (in my mind) is that it's semi-autobiographical, so Summer's response to Tom isn't dictated purely by the writer's wish fulfillment fantasies. In the real world, the guy got the girl, and then...the girl finally had enough of dating a guy that centered their relationship around his entitlement to his dream girl and fulfilling his fantasies of True Love with zero input from her. So she dumps his ass.
And then within a year, Summer is married to a guy who walked up to her and asked her about the book she was reading. Hmm. I wonder if there was anyone in ATLA who took time out of his schedule to seek out and learn about who Katara is and what's important to her?
Here's the best video breakdown I could find, both of the movie itself, and even more interestingly, the evidence that Tom is a blatant self-insert for the screenwriter. It takes you through the mechanics of the story, and then shows how the screenwriter of 500 Days of Summer wrote a semi-autobiographical screenplay based his own experience of his dream girl breaking his heart. He was then shocked that the director, actors, and audience interpreted it very differently than he intended.
I found the clip from the commentary where the director and actor are discussing Tom's selfish and possessive ideas of love, and the screenwriter pushes back and tries to position Tom as some noble romantic hero for trying to "win" the girl, to be particularly brutal.
It's truly a fascinating case study in how a writer can come up with a very compelling and meaningful story, filled with interesting and fleshed-out characters, and still fundamentally misunderstand what he's created. It's a case study in how the audience can see things in a story that the writer can't, that the writer didn't ever intend, that the writer rejects, and how the audience is right to see those things (especially if the writer is not being honest with himself about what he's writing and why).
Of course, it sounds like the writer of 500 Days of Summer eventually saw the light and stopped defending his self-insert as a Nice Guy who deserves his Forever Girl. If only Bryke could do the same :/
The first two of ten new AUs I have to share. Keep your eyes open for the rest!
Bloodbound AU:
The vampire isn't like others of his kind. He's strangely gentle, has the self-esteem of a squashed bug, and took care of her injury without succumbing to the temptation of her blood. But in spite of all his virtues, the Prince is still a vampire, and he still needs to feast.
Luckily for Zuko, Katara knows of a criminal or two whose blood begs to be bent (and consumed).
.
Republic AU:
Katara Tinik doesn't give up without a fight. Which is about as admirable as it is annoying, given that her latest endeavor is to ensure Zuko has no dignity left to uphold. As the Fire Nation Ambassador in Republic City, dignity is quite important, thank you very much.
Unfortunately, her team is in need of a firebender, and winning the pro-bending championship is more important to Katara than Zuko's low self-respect.
Thank you, zutara reddit
Pedestaling of Aang
was watching this tiktok earlier today about why the op felt katara and aang were incompatible (here) and it remind me of something.
in the tiktok, op points out that katara suppresses her negative emotions because she has a subconscious desire to emotionally shield aang. she references the waterbending scroll where katara tells aang to shut his air hole and how his reaction (wide eyed and tearful) makes katara immediately remorseful about her words. after that point, she pretty much never gets angry at aang, even in moments where it would be reasonable to do so (i.e. in the desert episode where she is yelled at).
it made me think of the episode where aang "learns" to firebend from jeong jeong, and accidentally burns katara. canonically, katara is decentered from that experience almost immediately, when she has to reassure aang that she's okay. additionally, she doesn't have any residual thoughts about it at any point in the series after that episode. we are meant to empathize with aang in this scene - how apologetic he is and how sad it is that he is being thrown to the ground by sokka. it becomes this penance that aang fans praise him for, and even find it romantic that he refuses to firebend again -- despite the fact that katara doesn't agree.
over the years, i've seen disturbing comments from people including blaming katara for "not getting out of the way" or "using waterbending to block." arguments like this (as well as overemphasis of the context/how aang feels after) always come from a compulsatory need to protect aang from criticism. which is why i find it ironic that aang/ka fans cannot fathom the idea of katara pedestaling aang when they do it in fandom constantly. Compared to when zuko accidentally burns toph, the emphasis was on toph's feelings (the impact) and not the intentions. Aang asks her directly how she feels about zuko joining the gaang, and toph says it'll give her time to get back at him for burning her feet (lol).
i also agree with a point in the tiktok where she describes that it is not nearly emphasized enough that katara is the last SWT waterbender and she did not get to grow up with masters surrounding her in the way that aang did for 12 years. within canon and even within the fandom, aang's experience as the last airbender is meant to be heavily centered to wash away any critiques. If not, you're being insensitive and (for some reason) antis start to conflate irl and assume that you can't possibly be pro-Palestine.
when katara tells aang, he doesn't understand how she feels in TSR, people have continued to hate on her for that comment FOR YEARS. when aang says the same thing in the new aang movie, "it's valid." the imbalance in the way some kas handle katara and aang's trauma often seems to favor pedestaling aang despite the fact that their trauma is often referenced as something that ka can bond about.
Do yall remember during the episode âSokkaâs Master,â Katara cracks 2 jokes (one about Momo shedding like Appa and another about Toph marrying Sokka), and Aang doesnât respond positively at all to either of them?? He even says to the first joke that âjokes donât run in the family.â
This is a smaller transgression in the mess that is Kataang, but itâs so baffling to me. Like, wouldnât you want to find your (future) significant other funny? And his response is quite rude and unnecessary. I made a comment on a post the other day about how Aang doesnât seem to like Katara, and this is just one of several examples of him not seeing her as a normal human being, one who makes silly jokes so that her friends donât miss her brother as much. He doesnât even bother to pretend to be amused.
Thereâs been an uptick in discussion regarding Aang seeing nothing wrong with how Katara is portrayed in the Ember Island Players, and it goes to show how Aang justâŚdoesnât seem to enjoy Kataraâs essence and personality. Heâs so worked up about being played by a girl that he doesnât give a damn about Katara being shown as an over emotional woman who lusts over the âenemy.â No matter that Kataraâs passion, optimism, and hope is what fuels the plot and enables other characters to overcome their obstacles. In fact, he agrees with this slut shaming portrayal of her, and blows up at her during their conversation on the balcony.
Aang is such a terrible partner to Katara. He doesnât stand up for her, thinks sheâll jump straight to murder when it comes to Yon Rah, doesnât find her funny, abandons her when things get tough, and overall rarely provides her with the support that she lends him. Apart from thinking sheâs pretty and can be his mommy-wife, he rarely thinks of her highly.
Side note: You know who would find Kataraâs corny/silly jokes funny though? Probably the guy who makes jokes about tea and forgets the punch line.
Something about Aang hating being played by a girl in Ember Island Players and seeing nothing wrong with the misogynistic stereotype about Katara because men think that the worst thing you can be is a woman.
Dragon, come snuggle!
(Still my personal dragon-training AU.)
No one? Are you sure?
OP: How to create floating Chinese shufa/calligraphy (crĺ¤ćŤďź
Her Ladyship, Katara of the Southern Water Tribe
The First of Her Name, Queen of the Fire Nation, Daughter and Restorer of the Icebound South, Lady of the Dragon Isles, Keeper of the Tide and Protector of the Four Realms.
Cnetizens: Why the thousand-year-old stone statues at the Northern Song Mausoleums arenât covered with glass enclosures.
The director of the Cultural Relics Bureau replies: "Theyâve stood here largely intact for over a millennium. Why add extra barriers?"
Visitors worry wind, rain and sunlight in the farmland will wear them down. The director explains:
Glass covers speed up decayâitâs like locking the statues in a sauna. Trapped heat and moisture create sharp temperature shifts. Salt crystals inside the stone expand and crack the carvings far faster than open-air exposure.
These statues blend naturally with the farmland landscape. Glass barriers would destroy the sense of scale and historical atmosphere.
When first built, the mausoleum complex was a restricted royal compound ringed by walls, palaces and pine treesâno farmland at all. After the Song fell, protection systems collapsed. Wars and weather destroyed buildings. Local residents gradually dismantled the abandoned structures, reusing timber and bricks in nearby villages.
By the Ming and Qing dynasties, villagers turned the empty grounds into farmland, leaving stone figures scattered amid crops.
Few people damaged the statues for three reasons: each weighs several tons and is impossible to move; folk belief held that anyone who damaged the guardian statues would be cursed with misfortune; every later dynasty passed laws punishing those who vandalized former imperial mausoleums.
Once an exclusive imperial burial ground, now ordinary farmlandâthis shift tells the story of history. Glass covers would only be unnecessary. As an old Chinese poem puts it: ć§ćśçč°˘ĺ ĺçďźéŁĺ ĽĺŻťĺ¸¸çžĺ§ĺŽś
The swallows that were wont to grace the halls of Wang and Xie, Now seek the humble roofs of common men.
(cr ĺ¤§éš ĺeyaeyaeyaďźéĺ¸fotochenďźćč˛đ¸ďźč žč žĺ ĺ đ°)