7 Reasons you might be procrastinating and how to solve them:

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@irohisms
7 Reasons you might be procrastinating and how to solve them:
gentle reminder you can rise up from everything. you can recreate yourself. nothing is permanent. you are not stuck. you have choices. you can think new thoughts. you can learn something new. you can create new habits. all that matters is that you decide today and never look back.
i’ve seen a lot of posts abt what iroh had to say abt zutara in legacy of the fire nation but can we PLEASE talk about what he had to say about SOKKA?
[id: a cropped portion of iroh’s letter to zuko about sokka from legacy of the fire nation. it says “the prince and the fool. but is that all you and sokka were, or were to one another? no, i think not. there, see? i got to answer my own question. one of the many joys of writing this to you. well, that and i don’t have to hear your back talk. but talking is most of what sokka is: a…” the letter cuts off. end id]
god bless iroh’s patience
today i’m sad about that one line from the creator’s commetary about how zuko is a tsungi horn prodigy and the little letter zuko, aged 7, sends iroh in “legacy of the fire nation” where he very politely requests that iroh come home and teach him pai sho tricks, because that casts such a different light on their interactions in book one. it was never iroh trying to push his own favorite things - pai sho and music night - on an uninterested zuko, it was iroh desperately trying to reconnect with zuko by recreating the activities he knows zuko used to enjoy. zuko, aged 7, once begged iroh to come home and play board games with him and now zuko wants nothing to do with him and you know that eats iroh up alive
Avatar: The Last Airbender - The Tales of Ba Sing Se (2006) THE TALE OF IROH
If we're so here to redeem Iroh on his past wrongdoings, then why is a clearly traumatized Native elder considered just pure evil.
I feel that people are missing the point when they bring up how Hama was not redeemable because of the things she did.
To me, it’s more about how her character was written in general. It’s about how white men specifically wrote a native woman who experienced trauma and torture at the hands of her oppressors and then ended her story with her being captured again. We need to consider how that looks when native women have a history of being abused -- and that what the Fire Nation did to the Water Tribe reflects too strongly with real life.
They gave her trauma and they made her hellbent on revenge to the point where she would not be redeemable. And it feels wrong that they would also push the line to make sure she can only be seen as a villain because, at her core, she wants retribution for the things that were done to her and her people.
It’s not wrong for her to want retribution. It’s not wrong that she used whatever means she could to get out of the Fire Nation’s hands. The Fire Nation had already taken everything from her -- she doesn’t owe them patience or compassion.
And yes, the way she handled things was wrong but you also have to consider that this is just how they written her to be? They framed the entire fact of her developing blood bending as a horrible act that made her unhinged and crazy. The focus isn’t on her pain or what she and her people suffered, it was on how she went crazy and lashed out at people.
Maybe it’s just me but I was sad at the fact that we missed out on Katara being able to connect with someone from her tribe and for them to relate to each other’s pain. It would have been nice to have Hama, jaded and paranoid from being forced to live as a recluse in the Fire Nation, to begin to open up more when first meeting with Katara and the gang and realize she could heal from her pain and become more -- she could pass on her skills and become a mentor. Grow her family and tribe.
When it comes to stories that revolve around the marginalized, I think it means so much more to have them on the path of healing and growth, especially if it is in spite of the pain they have been dealt with at the hands of their oppressors.
The fact that her blood bending as demonized has always bothered me, because it was the one tool she used against her oppressors. It was more demonized than fire benders, and the show collectively forgot just why it was made.
I had such bad feelings about it.
The thing I find really awful about Hama’s storyline is that I understand what the writers were trying to do? It’s one more part of the third book’s main theme (that was built up to repeatedly in earlier seasons) which is that the world isn’t black and white?
They do this most obviously, of course, with Zuko’s entire plotline, starting him out as the major antagonist and repeatedly and continuously peeling back layer after layer until he’s been entirely turned around, narratively, from the ‘big bad’ of the first episode, to a fundamental ally by the end. But they do it all over the place at different levels. Zuko is an individual who undergoes a redemtion, who changes from one state to the other. Then there’s the contrast of people Like Jeong Jeong and General Fong, Iroh and Long Feng, as ways to show that even if a culture is ‘evil’ or ‘good', individuals in that culture can be different, can even poison parts of that culture with enough power, or begin the healing process for more than themselves, with enough power.
Then they do something I’ve never seen any other children’s cartoon even attempt, which is they do it on a cultural level, too. They take Aang to the Fire Nation and show him that even the Fire Nation, as a culture, isn’t all bad. There are fishing villages and schools and acting troupes doing what fisherpeople and students and actors do. Cultures are made up of people, and the people aren’t wholly good or bad.
And the thing with Hama, what they were trying to do, was add a layer of this nuance to bending. They established, waaay back in season 1, that water is the ‘good’ element. Water heals, Fire destroys.
And the message of Hama’s episode was supposed to be ‘Water can destroy, too.’ (Later to be hammered home with the Sun Warrior episode with ‘Fire is life, too.’) But they kind of lost it because... because they lost their own message in trying to cram that revelation into one episode and a throw-away episodic character.
It kind of erased Hama’s nuance. In bringing the focus of that episode to how water-bending can be just as destructive in it’s own way as fire-bending, the nuance of Hama’s story, her suffering, gets lost in the cackling villain stereotype. The nuance is there, in her story as an abused woman who fought back against her abusers the only way she could, but in their effort to drive home ‘look, water-bending can be awful too’ they completely erased the power (and empowerment) behind it’s creation.
They included all the pieces for a true nuanced reading of Hama’s story, where she is neither wholly victim or villain, but a melting pot of both, because that’s far more realistic than either extreme. But they lost it, they missed the mark because our emotional conclusion to that episode was Katara’s horror, her swearing off of this path (which, I will admit I love that she didn’t manage to hold for it for more than like half a season), her disownment of Hama. Her complete and utter rejection of Hama, which feels like a victory in the face of the truly awful things Hama did, and thus completely eclipses the pity we ought to feel for Hama. Which is then reinforced as Hama cackles as she’s led away like it’s some kind of victory for her.
An abused-abuser is given into the care of people who are alligned with her old abusers, and she's more focused on ‘lol I corrupted you to, I win'??? They’re so focused on Katara’s arc here, the ‘add nuance to bending’ theme, that they completely miss the moment that proper characterisation and representation of the complexities of abuse could have made the episode a true masterpiece.
What if Hama doesn’t laugh? What if she screams? What if she’s furious, and terrified, and thrashing as she’s dragged away? What if she begs Katara to save her, avenge her, continue her work, kill them all, please, you’re just like me, you have to STOP THEM!
After that, I don’t think it truly matters what Katara does. What’s the right answer here? To violate the people who are just trying to protect their own in order to free a serial killer? To leave an abused woman in the hands of people alligned with her abusers?
They both have benefits and problems. If she freed Hama, what then? They're children already burdened with stopping a whole goddamned war, they don’t have the resources to take care of, rehabilitate, or even relocate Hama, and if they leave her where she is, what’s to stop her from just starting up again once they’re gone? If she didn’t, what then? Can she really just leave a member of her tribe in the hands of her enemies? What does ‘I will never turn my back on people who need me’ mean when both sides of the war need her, and picking a side means she has to turn her back on one of them.
Have the guard take Hama away or have Katara save her, it doesn’t matter. Afterwards, have Katara break down. She collapses to her knees in the dirt with her arms around herself like she’s trying to hold all the pieces of herself together and sobs ‘I didn’t know what to do, I couldn’t save everyone, what was I supposed to do?’ And she looks to her big brother, who’s only a year older than her, because there’s no one else to look to, because this war has taken everyone from her in one way or another. It took her mother when it killed her, it took her father when he went to fight, it took Gran-Gran when it called Katara to fight, and now it’s even taken Hama, a woman who should have been another Grandmother to her, by turning her into a monster.
And, because this is a kid’s cartoon, and there has to be a neat bow and a moral message, and this is already getting pretty damn dark, Sokka gets a moment to be the mature one, to show off how much he’s grown, been forced to grow by this war, and he kneels beside Katara and puts his hand on her shoulder and says ‘sometimes there is no right answer, you’ve just got to do your best, and you did. Sometimes you do your best and you try your hardest and you still don’t win, you still lose something, and that’s okay, that doesn’t make you bad, or wrong, or a failure. I’m so proud of you for trying anyway.' And he holds her as she cries under the full moon.
this is the only valid Hama meta and alt episode ending
signed,
a female native
[ID: tweet from Sarah Montoya that reads “If ATLA was written by native people, Hama would have had a happy ending because she is an elder who has been through a lot and hating her is something for white people.”/ End ID]
Wait the fuck a moment in rise of Kyoshi we learn that fire benders are semi fire proof so the actual fuck Ozai! How long did you hold your burning hand on a literal child’s face to make him scar like that!!!!!
Every day of the week every hour of the day is Ozai hate day
“You know I’ve been alone for…a while now. Without any…purpose. Just hiding. It’s no way to live. Not for a Jedi. Or a droid. Maybe Cere was right. Maybe we’re done hiding.”
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Requested by @brandedknife (blows u like eleven kisses)
zuko and iroh request for @peikonlainen
my best friend re-taught me how to high-five people because apparently i hit "too hard" & "hurt others" but i am gentle now
-- Zuko, circa 113 A.G
my brain couldn't stop thinking about this so
Zuko & Azula used to high-five each other like it was a competition
i mean, it was a competition and the winner was whoever inflicted the most pain on the other
this would be normal sibling behavior if that attitude stuck to high-fives but as we know.... it didn't
but unlike all the other ways the Fire Siblings were pitted against each other growing up, the competition of high-fives was just between them
high fives were fleeting moments of competition and comradery judged only by themselves
so over the years as the siblings grew apart and were forced against each other, giving high fives was one thing that remained the same for them
like, Azula would see Zuko looking extra sad and thats not right because she wasn't the cause of it, so she says "high five looser" and they slap hands and she refuses to admit that it hurts and just calls him a weakling
but its fine. they don't hug anymore, not since mom left, but they have this
flash forward a few years to when Zuko joins the gaang
Zuko comes up with the idea to hide out at his family's old beach house on Ember Island
Sokka says 'nice thinking dude!' and holds out his hand for a high five
Zuko instinctually slaps Sokka's hand so hard he nearly takes his arm off
Everyone is like ???? 'why are you mad at Sokka???'
Except Toph, who is cracking up
Zuko doesnt understand the issue so he says 'wtf kind of high five was that, why didn't you hit back'
So Sokka & Katara demonstrate a normal high five thats just a friendly slap of the hands and Zuko is more confused
because it's become a sign of affection between him & Azula to hit their hands as hard as possible
and Katara & Sokka are siblings so.... ? what gives?
Aang explains that most people do not high five with this same competitive mentality
Zuko is like 'sounds fake but okay'
Then Aang patiently teaches Zuko how to nicely high five people
'dont hit with your whole palm Zuko, here-' and 'dont wind up for the hit like a punch just bend your elbow-'
Toph disapproves of this
Her way of showing affection is exactly what Zuko is used to
So while he now gently and cautiously high fives the rest of his friends
Him and Toph slap each other's hands as hard as possible
It reminds Zuko of family. And its what Toph imagines family to be like
So it doesn't come as a surprise, years later, when Toph casually refers to him as 'her brother'
and then they high-five so hard it hurts and he thinks 'yeah. thats one of my sisters all right'
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