#BUT then shes like girl. read an atlas. and she reads it. and the world is named after her

[peony-pearl]

Me connecting invisible dots that weren’t meant to be connected at all: Maybe another reason Sokka is really firm towards Iroh when he asks for help to save Zuko from Azula in BSS is because Iroh had pointed out to Yue that she had been ‘touched by the moon spirit’, to which was the catalyst of Yue sacrificing herself to give that life back. While Sokka hates to think of his sister or family or new friends dying because of the loss of the moon spirit, he still lost Yue, and there’s a part of him in his young heart that resents Iroh for bringing up Yue’s gift, because it was the moment that led to his loss of her.

[totopopopo]

Shoutout to yesterday when one of the kids I work with was playing with her friends by like. Preparing to be mailed off to a different country and my coworker asked what country she was being shipped off to and she said the most dangerously horrible mispronunciation of Nigeria imaginable and I got to witness my coworker’s soul get evicted from her body straight into the stratosphere in real time :|

[thehardkandy]

I'm really glad I decided to finish Exordia this morning because it did lead to just about 7 hours of writing (+lunch break and dog walk) so that I was able to do a short story front to back ~3300 words.

Feels like a bit W because the last short I did was October, which is still much more recent than the one before it had been (though I've had a few abortive attempts at getting past the first 20k of a book in there)

I spent a lot of the winter depressed and struggling to find the joy in doing something for it's own sake, so I've been trying to really push myself toward the parts of writing that have me looking back on my own writing fondly. Because even without plans for publishing stuff there is so much of my writing that I think my life is better for having written

I feel very good about what I wrote today, so hopefully I'll keep doing this small stuff

I'll say an especial shout-out to the Penric novellas, the cemeteries of amalo books, and Exordia for really making me feel that extra fondness for books and writing lately

[justthoughts1310]

Sokka may not be a misogynist, but the Netflix live action ATLA is:

There really is no cartoon/anime for female empowerment like the OG ATLA and LOK cartoons.

The creators of ATLA wrote the manifesto on how to create a masterful series on female empowerment and equality that is not cheesy or hocky.

In this show, women and girls are not a monolith but immensely diverse. There's no correct way to be a powerful, talented and bold woman or girl within the avatar universe.

You can be hyper-feminine like Ty Lee and Asami.

You can embody more traditionally masculine qualities like Korra and Toph.

Or you could just be a typical woman or girl falling more in between like Azula, Mai, or Suki.

You see the exact same thing for the male characters. There's no right way to be a man. There's many ways to be a man, and this idea flies in the face of patriarchy.

I say that the Netflix version is misogynist, because it's not enough to be a powerful woman. One must be allowed to be unapologetically, unabashedly and boldy powerful.

Which is what happens in the OG ATLA. Sokka's misogyny was actually a part of his character arc, because every time he was misogynist his misogyny was met with the answer that women and girls are phenomenal, that women and girls are living their lives and largely unconcerned with the opinions of men.

If you read the Kiyoshi novels, you learn that surprisingly enough, the least patriarchal amd misogynist nation in all of Avatar is the fire nation, and the misogynistic nation in all of Avatar is the northern water tribe.

The reason I say that the women in these shows are unabashedly powerful is because aside from Sokka and the master from the Northern Water tribe, no one ever questions why or how they are powerful. They expect it.

Zuko is Ozai's first born son, yet Azula is his pride. When Ozai imagines the future, he imagines it with Azula as the fire lord. He names her after his father. He trusts her to go find the avatar once he knows the avatar has returned.

Sokka and Katara effectively lost both of their parents, but Katara the youngest steps up as the mother and becomes the glue of the group. She's the one who becomes both an immensely powerful bender and healer.

Suki loves Sokka, but when we are introduced to her. She is unconcerned with him. Her and the other Kiyoshi warriors are the protectors of the village who go out into the world to do good into the world.

We see the revseral of all of these tenants in the Netflix show.

Ozai has hope for Zuko at the expense of Azula who he sees as a nuisance. She is no longer am obvious prodigy.

Katara is seen as a child who will not grow up by her brother who is now behaving as a father figure.

Suki is infatuated with Sokka and she follows him around Kiyoshi island when he arrives.

These woman are powerful but restrained and undermined in this power. Suki becomes concerned with the opinions of a man, and a random man at that.

What the OG ATLA taught to all women, girls, boys and men is that you never have to apologize for being powerful, intelligent, kind empathetic.

This is a very critical point that cuts to the heart of the OG ATLA that Netflix has missed.

[modawg]

percy is a very expressive person, when he’s happy it pulls his face into a bright grin, when he’s angry his face is pulled tight, when he’s worried his brows knit together, when he cry’s he can’t stop the tears from falling, he worries his bottom lip and though he’s the son of posídeon he can never fully get rid of the wetness around his eyes

annabeth loves his expressions, she likes being able to read him like that

she has her favorites, his mischievous smile, the curl of his brow

and she has her least favorites, the one she hates, the blank stare he gets after something terrible has happened

the one that means he’s not really there, the one that looks like he’s taken a step back from his mind, it being too horrible for him to watch

she could count the number of times she’s seen it on her hands, she could see him standing there a empty vessel as apollo took rachel his only mortal friend, as they huddled around luke’s dead body, the same with selina, with charlie, when he thought tyson had died

during the war when he would simply watch over new york, telling her about how weird it was to see his friends bodies, children’s bodies, laid out in the city he grew up in. the young memories he had growing up being splattered with blood

she could remember being in the plane flying away from atlas, her arm intertwined with his, he was shaking, one hand holding riptide and the other holding a small statue, gripping them tight like he was scared the shaking would knock them out of his grasp. thalia had told her there was another girl on the quest to get her, bianca di angelo, that the statue was the last of her. she had looked at percy, his forehead pressed against the glass, his eyes almost unseeing. he didn’t say anything.

she could remember when percy had found out sally was gone, when chiron had given her praise calling her brave, percy had stared at a corner of the room, unmoving.

it was a expression annabeth was a little scared of, one she was getting used to after tarturus.

one she still didn’t truly understand how to help with.

one that made her want to hide him away from the rest of the world, curl him into the crook of her neck and never let go

[saijspellhart]

Things I liked about the Netflix ATLA and some critiques:

Before you read. Please go watch the series, take off your blinders and keep an open mind. It’s surprisingly good. This review has spoilers.

They reordered some scenes so that emotional moments would have a larger pay off. Like getting to see and experience Aang’s relationship with Monk Gyatsu, and seeing his tribe before it was destroyed. So when he has his breakdown in the air temple with Sokka and Katara later, you really feel and understand his agony.

Azula is introduced earlier, with a story running simultaneously with the Aang’s journey but not involved with his. So she has a chance to be more fleshed out and explored before she becomes a major threat. Only time will tell if this more complicated Azula comes close to the animated one. Big shoes to fill, but not a bad start.

Fire Lord Ozai plays a more sinister and oppressive role. Not a faceless boogeyman anymore. You get to see his machinations and the cruel games he’s playing with his family, and see the emotional abuse that warps them.

Appa is adorable as fuck, and so is Momo. So well animated, such gorgeous care put into them.

Kyoshi, Kuruk, and Roku make more of an appearance. With Kyoshi narrating the prologue. And if you loved the novels you’ll see they incorporated more of Kyoshi and Kuruk’s backstory from the novels than what we saw in the animated cartoon.

The acting was competent, even if a little wonky at times. I found Sokka very endearing, I loved the kid they cast as Aang and you can tell they really tried to find a balance between serious and playful. They didn’t always hit it, but the effort was there.

Zuko was great. I think they nailed him and he had great chemistry with the actor playing Iroh.

King Bumi was great, I love how they made his internal struggles more complex. He wasn’t just a crazy old man anymore. He was a crazy old man who was weary and worn down by the horrors of loss and war. A crazy old man who struggled to reconcile that the best friend he lost is the avatar and wasn’t there for him.

I loved the costume and set design. It was like stepping into the actual world of ATLA. Cities were complex and well constructed. Every setting was incredible and the attention to detail was intense.

Zuko’s boat is full of artifacts he pilfered from the Air Nomads while hunting for the avatar.

They changed how Aang got the bison whistle so it makes more sense and fits more seamlessly into the story. It never made sense why a random peddler would be selling a bison whistle if air nomads and bison have been gone for 100 years. Not impossible for a peddler to do, but not probable. The Netflix series actually gave more meaning for the artifact and changed how Aang received it.

Emotional points in the show are now more intense and brought me to tears.

Commander Zhao is more competent and conniving, and his presence felt more dangerous and less comedic.

Sokka’s outright sexism was changed from putting girls down, to just manly machismo, talking himself up. Not gone, but not degrading. They decided to let the sexism message shine more prominently with the northern water tribe, rather than tackle it twice with Sokka too. (Sokka’s sexism being solved in one episode was never well written to begin with. And the animated series quickly forgot about it and moved on to him tackling more important issues, like his being a non bender inadequacy, his leadership journey, his physical combat journey, and him finding himself as more than just the funny sarcastic guy.) For time constraints, it was better the Netflix series did not to tackle the same problem twice, especially when you might not have the resources to give both sexism issues the gravity it deserves. By focusing the sexism problem to the northern water tribe they were able to give Katara more attention.

We got to see Katara’s water-bending go from being ultra sloppy and weak to badass. It feels like they are spending more time focusing on her developing into a warrior rather than being the mom of the group. I’m honestly not sad about it. She’s still the hope ridden, emotional glue, but now it feels like she explores that warrior side a little deeper. It felt so earned when she got the title of master at the northern water tribe finale.

The actor playing uncle Iroh nailed the role. I couldn’t think of a better live action adaptation of Iroh. I love him so much.

The shirshu looks fucking phemonal.

Koh was scary as fuck and I love it. They really nailed his horror elements. Even if I’m a little sad that they changed some things about his face stealing. (He eats faces now to steal them, rather than stealing when someone shows emotion.)

The three actresses who play Mei, Azula and Tailee actually look appropriate for their age. Since they are introduced earlier, they are clearly younger, and since this show is intended to get more seasons, the casting choice made sense as we are intended to watch these girls grow up over the course of the entire show. These actors will get older, and the characters will get more menacing and sharper. It’s great. It’s thoughtful. I love it.

We get to see Zuko’s dynamics with his crew more. And find out that he did more than just speak out against his father at that meeting. His outburst at that meeting saved an entire squad of soldiers, and they don’t even know it. Zuko feels such disdain and bitterness because of the situation, and his crew doesn’t even know why. It’s so complex, you can see how the abuse Zuko endured causes him to take out his anger on his crew, and in turn they are bitter back. And it’s this cycle, that festers. But the crew also grows with Zuko, they change and evolve as he evolves. And it’s such a delight to watch.

They could have cut the Secret Tunnel minstrels altogether, given the time constraints and that the episode was mostly fluff in season two. A fun romp, but not necessary. But the creators knew people loved the minstrels so they found a way to use them anyway. Because they knew they were special. I am thankful for that, even if they show up waaay earlier than they should.

I was honestly more sold on Sokka and Suki’s relationship in the live action. It’s was so adorkable. Do I wish it had more time to develop? Yeah, of course I love a good slow burn. But that didn’t mean it wasn’t fun as hell watching the two flirt so badly with each other. Sokka being a buffoon, and Suki overstepping and being too rough, before realizing she was being too hard.

Some Critiques:

They reordered some episode storylines to happen at the same time, and while it does bloat some episodes. it’s understandable due the episode and budget limitations. In the cartoon, during the inventor episode Katara didn’t have a lot to do, and during the freedom fighters episode Sokka didn’t have a lot to do. So they ended up combining both stories into one hour long episode in the live action, so that both Katara and Sokka would be involved in something. Is it the best? No. But it makes sense. I get it.

Katara starts off bland in the first episode and it takes a bit for her to grow into the character.

The past avatars can be a bit strong with the doom and gloom, and I wish they’d toned that back.

Koh and Heibei (I dunno how to spell the panda spirit’s name) got combined to the same episode, and Koh stole Heibei’s spotlight. Again, I understand why these got combined, but I think it could have been handled a little better and Heibei should have gotten more closure.

There should have been a ninth episode, placed between the two episode Koh storyline, and the Northern Water Tribe storyline. Why? Because the Koh storyline was really heavy and intense. And it leads right into the season finale. An extra ninth episode should have been added with a more lighthearted tone. Something to ease the tension between the two very intense storylines.

Aang should have been using a glider to flit about the temples in the first episode. But it’s not something that ruins the whole show. It was a dumb that only happens in a single episode in the season.

I really missed Momo and Appa’s presence. They appeared atleast once in every episode, but it was still sad they weren’t more of a presence. Again I understand why. They were so beautifully animated that everytime they were on screen it (without a doubt) cost the production thousands of dollars. They were generous including as many of the unique animals and creatures as they had.

I still don’t think Sokka had enough time to develop a relationship with Yue at the northern water tribe. It was rushed and contrived in the animated version, and it was rushed and contrived in this Netflix version. There also wasn’t any of the chemistry like Sokka had with Suki to make the whirlwind romance work. I never liked the romance from the original, and I wasn’t a fan of it here. But that’s ok, because it’s such a small and insignificant thing.

In conclusion most of the changes I can see made were due to budget, and episode limitations. The creators were clearly trying to bring theater-cinematic quality to what was essentially an eight hour long film. And you cannot deny that this show is stunning. Absolutely breathtaking. Most of the episodes cut were filler, and while hilarious and mostly loved by fans, were stories not as necessary in the grand scope. You could feel the love and appreciation the creators included in this series. It wasn’t soulless, it wasn’t a heartless cash grab, it wasn’t a shot for shot (thank god) but it also didn’t butcher the source material.

I understand that the animated show creators had creative differences with the live action Netflix adaptation creators. But that doesn’t mean that the Netflix series completely failed. As every fanfic writer out there knows, the original authors are not going to love what you create based on their works. Tolkien hated every adaptation of his works, HATED them. But no one is going about saying that the Lord of the Rings trilogy movies were hot garbage. A creator doesn’t have to endorse a project for it to be good.

Netflix ATLA is good, it’s not perfect. And it never was going to be perfect. The cartoon it was based on wasn’t perfect either. But the ATLA cartoon was definitely some huge shoes to fill that set a bar very high. Any adaptation was going to struggle to be just as good.

I think the Netflix adaptation was a treat and a pleasure to watch. I think people should go into it with an open mind and see that it’s not trying to replace the cartoon. It’s a love letter to the cartoon.

PS: According to behind the scenes commentary on the Nickelodeon ATLA cartoon, the reason we didn’t get a season 4 was because the creators wanted a live action film. Nickelodeon offered the original cartoon creators the option to make season 4 or to spend the budget meant for season four on a live action ATLA film. The original creators chose the live action film directed by M. Night Shamalan. They wanted a live action for their show over a 4th season. They had no idea M. night would butcher their baby with his pathetic film all those years ago.

This show was a second chance after the M. night abomination. And you know what? It’s a pretty decent adaptation. And guess what? With a resurgence of interest in the series, we are getting more animated content for the original animated series. There’s definitely something for everyone on the horizon if this succeeds.

[dukeofdelirium]

I saw this anti-Kataang post saying Katara is 14 going on 25 and Aang is 12 going on 8. And honestly this really pissed me off, the invalidation of Aang’s trauma and the adultification of Katara honestly grosses me out. It’s such a shameful mischaracterization and flanderization of both characters. Zutara stans like these are such fake fans, they don’t care about the show, they don’t care about Katara just their own fanfic version of Katara they can project onto.

https://www.tumblr.com/linnoya-writes/708121534055759872/kataang-but-its-only-a-2-year-age-difference?source=share

imma be real this is the weirdest shit I ever read 😭

“Aang plays with Momo while the other kids drink TEA like sophisticated ADULTS and play GAMES that require CRITICAL THOUGHT !!!! REEEEE”

Aang knows how to play pai sho…… we literally saw him playing it in book 1 episode 12: The Storm…. Fuckin moron @ OP 🤦🏻‍♂️

Also the weird commenting on what Aang would theoretically know about genitalia and sex is … odd…. And it’s also so strange to me that people think Aang would be some naive idiot who knows nothing about the world let alone about sex at his age.

The air nomads were very sexually open in ways that none of the other cultures are in ATLA. This is canon. They were a sexually free people, lol. So saying that Aang would have no concept of these things because he’s too “immature” to know about it is not aligning with what we know of his people and culture. We also know that Katara and Aang married and had a child together when they were pretty young, so… this whole argument is so strange lmao. Adding onto this, Aang traveled the world and frequently at that and we can assume he did so solo. He had way more life experience and knowledge by the age of 12 than Katara or Sokka combined, who had never even set foot outside their village. If any of these two characters is naive about sexuality and all it encompasses, it would in fact be Katara…. Who grew up in a village without men aside from her brother… lol. Aang traveled everywhere, he probably was friends with plenty of girls and I’m sure Katara wasn’t his first kiss, either given these facts.

Their argument is “Aang doesn’t know about female anatomy” which is implying he is unfit to date her on the grounds he couldn’t “please” her. However, as I already showed, this would very likely not be the case given Aang’s culture and people and everything we know of his life pre iceberg.

If anyone doesn’t know about sex and genitalia, it would be Katara. 100%. She literally grew up in an isolated village with no males aside from her brother. She would have virtually no concept of male puberty or male anatomy. Lol. So what’s the argument here? Is Katara now “unfit” for Aang because she grew up isolated from men? See how easy that was to flip their bullshit? 😭

And no, the point isn’t whether he knows or not, OP. The only reason anyone is considering this in the first place is because you argued the point. Yknow, because normal people don’t rlly think about this in regards to cartoon characters.

It’s honestly so bizarre to me how ppl act like Aang is the naive, stupid and sheltered child in the show when in reality, Aang was already self sufficient as a 12 year old. He traveled, cooked for himself and cared for himself during said travels, he knew of other cultures intimately, he knew a lot of history, he was already a master of his native element, etc…. That doesn’t sound like a naive child to me. Aang doesn’t act silly and goof off because he’s stupid. It’s both an aspect of his carefree personality and also a conscious choice and coping mechanism from trauma and grief and survivors guilt.

And anyway, Katara thinks of Aang’s carefree nature in a very positive light. She likes this about him.

I’m also never gonna understand the argument of “she grew up in war” as if Aang didn’t fight alongside her in that very war as a kid, too. Yeah, he had 12 years before that, but who gives a fuck? He also suffered far more loss than Katara or anyone for that matter, and that is objective fact.

[perseabeth]

< What If >

this is a one shot written about @anotheroceanid amazing fic titled When the Horizon Bloom, read it on AO3 you will enjoy it very much and cry very much too - i do not own the idea of the fic and i certainly do not own any character. this is a version of “What if” things happened differently in the fic. enjoy ✨ and i’d love to thank the author again for the amazing fic that i’m becoming obsessed with

****

Percy paced back and forth in her cabin, a growing sense of unease gnawing at her. She felt lost, unsure of whom to turn to, and the lack of dreams last night only heightened her fear. Sleep eluded her; every time she closed her eyes, she was jolted awake by terrifying nightmares.

She had faced Kronos, defeated titans, and held the weight of the world on her shoulders in Atlas’ place. She had endured experiences far worse than any nightmare could conjure, living through horrors that would break most. So why was she so afraid now?

A soft knock on the door pulled Percy from her spiraling thoughts. A blonde-haired girl peeked in. "Seaweed brain?"

Percy lifted her gaze to meet her friend's. Annabeth's gray eyes were filled with concern, as if sensing something was wrong. "You missed breakfast... is everything okay?"

Percy tried to muster a small smile. No, nothing was okay. Morning sickness was wreaking havoc on her, and the nightmares of gods punishing her were relentless. "Yes, I'm okay. I just woke up late," she managed to say, though it was far from the truth.

Annabeth looked at her silently for a minute, her eyes seeming to penetrate Percy’s thoughts. Percy was always amazed at how Annabeth’s eyes mirrored Athena’s, reading a person like an open book. she gulped, hoping Annabeth would believe her words. After a moment, her friend nodded slowly. "Your training starts in 15 minutes. The class is almost ready."

Percy gave a slight smile and nodded. "I'll be there." Yet Annabeth lingered at the door, as if waiting for Percy to confide in her. Realizing she wouldn't get any more information, Annabeth gave a final nod and closed the door behind her.

Percy hated lying to her friends and hiding anything from them. Since the war, they had all promised to be open with each other, to support one another through the healing process. But what could she say? That she was pregnant? Carrying a god’s child? No, not even one—three. Three small lives growing inside her, and she had no idea who to turn to.

She did have an idea. She wanted to turn to everyone around her, but her dreams held her back. Demigod dreams weren’t mere dreams; they were messages, visions, and warnings. And here she was, sleep-deprived because she dreamt of her children being killed while their father watched, emotionless.

The day passed rather quickly, as if Kronos had cursed time to hasten her doom. Everything was normal; life at camp went on as usual. Campers were enjoying themselves, chatting, sneaking drinks, and partying as if there were no worries for tomorrow.

It was ironic how carefree they all seemed. They had won a war and were free, savoring the remnants of their mortal lives. Yet, Percy was once again carrying the weight of the world. It was only a matter of time before someone noticed something strange about her. Then the news would spread like Greek fire, reaching the gods, who would learn of the prophecy. Percy and her children would be doomed.

Unconsciously, she wrapped a hand around her belly, as if trying to shield them from the inevitable. Just then, Percy noticed a pair of lingering gray eyes. "Still not feeling well?" Annabeth's voice pulled her from the ocean of her thoughts. Percy quickly removed her hand from her belly, afraid the gesture might reveal too much. "Yes, don't worry. I think I had too many cookies," Percy muttered, attempting a smile to reassure Annabeth. But she knew her friend wouldn’t buy it. Annabeth nodded silently.

The thing about a daughter of Athena was that she knew when something was wrong. But she waited for you to confide in her before uncovering the truth herself. That’s what Annabeth was offering Percy—time to reveal what was going on before she forced it out of her.

—————

The Olympus council raged with energy—too much energy for Percy’s mortal form to bear. She had been here multiple times before, she reminded herself, but nothing had prepared her for this moment.

She tried to catch her father’s eyes, but he immediately looked away, as if unable to bear the sight of her, ashamed. Her heart sank, and her soul felt like it was shattering. She needed someone to hold onto, but there were too many eyes on her, filled with anger and power. Desperately, she searched for other eyes, gentler eyes that had once looked at her with all the love in the world. Eyes that had held her tight, swearing to protect her from everything.

Percy sought his eyes—sky blue, like a beacon of light amidst the darkness. Her heart yearned for him, remembering how he had looked sitting leisurely on his golden throne, just like the first time she had seen him there. Yet, she couldn’t find those sky-blue eyes. Instead, she was met with golden eyes, burning with rage and a promise of pain.

"Well?" Her uncle's voice thundered through the room, the echo making Percy shrink. She had never been afraid of gods, never. She would have kicked the door of Olympus open and marched in like the hero she was. But today wasn’t about her. It wasn’t about harming her. It was about harming those precious to her—her children, hidden within her belly, shielded from the room's volatile energy.

"Apollo, what do you say about this, since you are, after all, the father?" Zeus’ voice was like thunder, each word more terrifying than the last. His tone dripped with sneer, as if the whole situation was beneath him.

Percy’s eyes remained on her lover, whose gaze had become a foreign land. Apollo did not speak; he just stared at her, as if silently threatening her, blaming her for their predicament. Then, with a cold, emotionless voice, he sealed her doom. "I will have none of this," he stated, turning his gaze back to his father. "They might be mine, but I will not claim them, and they will face the wrath of the gods like anyone else who dares to overstep their position."

Fog and mist clouded Percy’s vision. Tears welled up, blurring her sight. Perhaps her tears were merciful, blocking his face from her so she wouldn’t remember him like this—so emotionless, so heartless, promising punishment. This was the true Apollo, the one she had read about in books, the one who punished Cassandra and skinned a satyr alive. This wasn’t her Apollo. This wasn’t the gentle touch of the sun that had held her warmly. This voice wasn’t the sweet, melodic one that had whispered love to her. These eyes weren’t the beautiful ones she had always admired.

Zeus’ voice cut through the room again, sharp and authoritative. "Then the children should be punished and thrown into Tartarus, and they will take with them anyone who stands in the way." Zeus looked at her, a silent warning in his eyes—'You will go with them if you object.' He continued, "All in favor?"

Percy looked around in horror, her gaze landing on her father, pleading silently for mercy. But all she got in return was, "I agree."

All hands were raised, not one sparing her or her children. Cold, merciless eyes looked upon her, not with pity but with disgust, as if she had committed an unforgivable sin.

Percy’s tears could no longer be held back. She fell to her knees, perhaps because her legs could no longer support her, or perhaps because she wanted to beg. She didn't know. All she knew was that she was crying, her sobs echoing throughout the room, her trembling voice barely holding together.

"Please don’t. Please, please. I’m begging you. Please don’t harm them. Please. I’ll take them away. I’ll raise them far from here, but please don’t harm them."

She wasn’t sure if she was making any sense, wasn’t sure what she was even begging for. All she knew was that her heart was shattering, her soul was dying. She felt an immense, unbearable pain, and she was screaming.

——

Percy jolted awake, the room cloaked in darkness, but the light of the fountain was enough for her to recognize her surroundings. She was in her cabin. Safe and sound. She was safe, and her children were safe.

Tears filled her sea-green eyes once more, her heart shattering anew. For the first time, her cabin, her mini-heaven, felt suffocating. The events of her dream rushed back to her, and Percy could no longer hold back her tears. She needed to get out, needed to breathe. Air was scarce in the cabin, and she needed more.

With shaky legs, she stood and rushed to the door, trying to find air, trying to calm her sobs, but she couldn’t. She burst through the door and into the night. She didn’t remember where she walked or where her legs carried her. All she knew was that she found herself in the middle of a path lined with trees, the only light guiding her being the moon’s gentle glow.

She tried to control her sobs, tried to take deep breaths to calm herself. She was safe. They were safe, she reminded herself.

A sudden movement behind her froze the blood in her veins. She sensed him—felt his presence. His energy was always so warm, so peaceful, that she could always feel him. But this time, this peaceful energy brought her only fear. She didn’t dare look behind her, didn’t dare see if those eyes had turned golden again. She didn’t dare to hear that cold, merciless voice. So Percy stood there, wrapping her arms around herself, protecting herself, protecting them from the coldness she had just begun to feel.

"My love?" His gentle voice was like a sweet whisper, so lovely and filled with emotion. It carried love and concern, just as she was used to, before her nightmares.

"Percy, my love, why are you here?" he asked again, his voice almost a whisper, as if afraid of startling her. That’s when she broke down again. Hearing his voice like that only reminded her of her nightmare, her visions, and what his voice might sound like when all was exposed.

Percy didn't remember how it happened, but she found herself enveloped in warm arms. She remembered his gentle voice whispering sweet nothings in her ear as he held her, shielding her from the coldness of the night. It was ironic how the person she feared was the one giving her peace and comfort now, the only one capable of calming her tears. She sensed the fear and worry in his voice as he held her, felt his concern through the gentle touch of his hand soothing her hair.

If only he knew what he would become in the future...

She stayed there for what felt like minutes, maybe hours. She didn't even realize when he had picked her up and led her to a rock, where he sat with her wrapped in his arms, still caressing her hair and calming her down. She didn’t dare speak or look at him, afraid her eyes and voice would betray her

After what seemed like forever, she finally dared to look at him, to meet his gaze. He allowed her to lift her head, and she saw his eyes—beautiful, clear sky-blue even under the moonlight. His eyes were filled with love and gentleness, just as she remembered, now mingled with concern. Percy’s sea-green eyes locked with his, afraid that if she looked away, his eyes would turn to gold again. Her lover didn’t speak, only looked at her, always considerate, always patient, waiting for her to find peace before finding her voice.

“What’s wrong, love?” he muttered, his voice carrying the gentleness of the world. He brushed away the hair blocking her face, soothing her racing heart. He waited for an answer, but she shook her head, still unable to find her voice.

She felt terrible lying to him; she couldn’t look into his eyes and deceive him, so she averted her gaze, studying her surroundings. Only now did she notice they were in the middle of the forest. Suddenly, a warm hand gently held her chin, forcing her to meet his eyes again. “Percy… what’s wrong?”

She knew this tone—the tone of demanding answers, answers he would get no matter how long he has to keep her wrapped in his arms. A voice inside her head, a tiny voice, told her she could trust him, find peace in him, that he would protect her as he promised. But that voice was immediately drowned by the ocean of nightmares that filled her nights.

Percy shook her head again, trying to find her voice, now raspy from screaming and crying. “J-just a nightmare,” she muttered, still unable to look away as he gently fixed her chin with his warm fingers, holding her gaze.

Apollo studied her for a few minutes before gently stroking her hair again with his other hand. “A nightmare that made you run to the woods in the middle of the night?” he asked, still gentle and patient.

Percy simply nodded and muttered, “A bad nightmare.”

His gaze never left hers, studying her while his hands continued to soothe her. “What was it about?”

Percy gulped. She knew he would ask. He was always curious about every detail of her life, always there listening to her nightmares. He wouldn’t let this one go.

She looked at him, still holding his gaze, as if trying to show him she was being honest. “About the war.”

Apollo simply nodded before Percy felt the gentle touch of his lips on her forehead, kissing away her worries. His warmth spread throughout her body, comforting her, enveloping her in peace. For a fleeting moment, Percy wanted to believe that all was perfect in the world.

He whispered, his lips still on her forehead, "My love, have I ever told you how terrible of a liar you are?"

Percy's heart sank as nightmares rushed back to her—the memory of his cold voice, his golden angry eyes, and his indifferent gaze. She could feel her heartbeat in her hands, only for him to look at her again, his beautiful blue eyes meeting hers, guiding her through the darkness.

His eyes held nothing but pure gentleness, a hint of teasing, and a lot of love. His fingers started brushing her cheeks gently as he spoke again, his voice as gentle as a feather, "You are a terrible liar, and I love that you try to lie to the god of truth." He kissed her nose affectionately.

Speechless and unsure of what to say or how to react, Percy was overwhelmed. her silence didn’t seem to bother him as he continued to brush her cheeks and pepper her face with sweet, gentle kisses. "Now tell me, what’s wrong?" he asked softly, his voice filled with concern and love.

Percy couldn’t do anything but shake her head as she attempted to free herself from his embrace, only to find him holding her tighter. He remained silent, patient, silently facing their battle as she struggled against him.

She heard him sigh, and for a split second, fear gripped her—fear of him running out of patience, fear of meeting those golden eyes again. But the more she protested, the gentler his hold became. She looked into his eyes again, his lips curving into a small smile. “You aren’t going anywhere, my love, until you tell me,” he stated, his voice filled with warmth.

She shook her head as silent tears started rolling down her cheeks. “I-I can’t,” she whispered.

He shook his head, as if her answer wasn’t what he was seeking, before kissing her tears away, wiping them away with his lips. “Yes, you can, and you will, Percy,” he sighed before continuing. “I know you well enough to know that nothing, absolutely nothing, could make you run into the middle of the night like that unless it was something terrifying.” He kissed her forehead again, as if aware of the calming effect his gentle kisses had on her. And he wasn’t wrong. The more he did it, the more she felt at peace in his arms, despite all the nightmares.

He gently continued, still holding her gaze. “You looked at our dear grandfather eye-to-eye and stood your ground. I know my Percy. Nothing can scare her. So tell me, my love.”

She wanted to, oh how she wanted to tell him everything, to spill everything and hold him close. But she knew she couldn’t. She knew how he would react, and she knew what they would face.

Percy shook her head again, tears streaming down her face as she forcefully freed herself from his grasp. She couldn’t bear to look at his hurt expression, the pain in his eyes as she distanced herself from him, as if she were afraid of him. And who could she lie to? She was afraid of him.

She kept shaking her head, trying to make him understand. She didn’t want to hurt him, but he had to understand. She struggled to find her voice again. "I can’t, I can’t, I can’t!" she repeated, tears flowing freely. The night’s coldness enveloped her once more, while her body begged her to return to the warmth of his arms. Percy tried to look at him, hoping he would spare her from explaining anything, but she was once again met with his beautiful blue eyes, tinged with pain and uncertainty. His voice broke her, destroying all the self-will she had been trying to gather, as he whispered, "Don’t you trust me?"

She does! She wanted to scream at him that she does, that he was foolish to even doubt it. But does she? Percy questioned herself as she looked at him again. does she trust him? If she did, she wouldn’t feel afraid of him. If she did, she wouldn’t believe he would harm her or their children.

The longer she took to answer, the more pain showed in his eyes as his gaze locked onto hers. Then he spoke again, almost in a whisper, his voice showing hints of pain. "What did I do?"

Silence enveloped them, the night alive with the symphony of the forest. The rustle of leaves in the gentle breeze, the distant hoot of an owl, and the occasional chirping of crickets provided a backdrop to their conversation, amplifying the tension between them.

She kept looking at him, observing how he tried his best to understand what he had done wrong. Knowing him, he was probably going through a mental list of things he thought he might have done.

But how could she tell him?

“You didn’t do anything,” she finally said, her voice quivering.

“Then why?” he pressed.

“Why what?”

“Why are you looking at me like you aren’t sure whether you are safe with me or not?” he asked, his eyes still fixed on her, waiting for any reaction.

Percy couldn’t handle this anymore. She couldn’t tell him anything, yet she couldn’t not tell him anything. He stood there, hurt, thinking she didn’t trust him, yet he was so far from the truth.

Apollo slowly stood and stepped a little closer to her. Blame it on her nightmare or her lack of sleep, but she couldn’t help but take a step backward, earning her a quizzical look from him.

“St-stay away,” she muttered, hoping to stop him. She realized too late that her words had indeed stopped him, but not in the way she wished, as he stood frozen, looking at her with pained eyes. For the first time in her life, Percy witnessed fear in Apollo’s eyes.

She had hurt him, deeply. But who could blame her? If anyone with a healthy mind saw these visions every day, they would react the same way.

She tried to speak again, hoping to remove that pained look from his face. “I-I didn’t mean it that—“ But before she could finish, he spoke again.

“You are scared of me… What did I do?”

That’s when Percy broke down again. Maybe it was hormones, maybe it was nightmares, maybe it was a terrible mix of both, but she couldn’t bear to see that look on his face. She started sobbing, holding her face in her palms. She felt him hesitate, unsure whether to step closer or stay where he was, knowing she was scared.

Percy kept sobbing as she muttered, "It’s not you... You will harm us... In the future, you will harm us... I can’t let that happen... They don’t deserve this!"

Apollo’s voice cut through her sobbing state as he simply questioned, “Us? They?”

Here’s a few things about Percy: sometimes words don’t go through her brain before speaking them out, which has gotten her into trouble with gods, titans, and monsters alike. When she is in distress, this tendency becomes even worse, and following order becomes harder for her. And in that special moment, Percy was in her most vulnerable state as she couldn’t control her sobs. Gaea had warned her to be careful with every word she says, but it’s not Percy’s fault that Gaea trusted her with such a mission. And it was too late when Percy realized what she had done as she looked at her confused lover. It was too late to withdraw her words; her tears still blurred her vision as he stood in front of her. “I-I mean us, me and you,” she stammered.

Apollo shook his head, didn’t he just tell her how terrible of a liar she is? “You just said ‘they’? Who are they, Percy?”

She wanted to run, to escape now, never look back because she just realized that she had messed up everything. Her tears were uncontrollable at this point, but she couldn’t let herself drown in them. She needed to stay awake to face him, but with what? What could she say?

In a blink of an eye, she felt warm palms cupping her cheeks, caressing them softly as his eyes poured into hers. “Who are you talking about?” he whispered gently, as if he was aware that whatever topic they were approaching was something destroying her.

Was it worth lying at this moment? Percy questioned herself. Maybe Gaea had promised to save her from all, but was it a real solution? Was she able to run from the twelve Olympian gods forever? Was she really able to postpone whatever destiny her children might face? She is a child of prophecy, and she knows how hard it is to escape prophecies. Was any of it really worth it?

She could feel a voice in her head telling her to confide in him, and another screaming and shouting at her, telling her that these nightmares would come true, and she was only making them come quicker. She could feel invisible hands holding her throat, preventing her from talking, a pressure almost preventing her from breathing. But one thing, one small thing, was holding her like an archer holding a ship amidst a dark storm: his eyes. Those gentle eyes that looked at her with all the love and concern possible. Eyes promising her that he would protect her no matter what. And in that second, she trusted those eyes, for they had never broken a promise.

“Our children,” she whispered, maybe even afraid that he would hear. But she knew that he heard, because the frozen state he was in proved that he did, in fact, hear.

His frozen state only fed her fears more; his eyes never left hers, but he was oddly silent, and that didn’t help her at all in this situation. She regretted blurting it out; she regretted not controlling herself, and she was about to regret confiding in his eyes when the silence was broken with his voice.

“You are—” he began, but couldn’t finish. He waited for her to finish, waited for her to spill the words so she could confirm them.

Tears rolled from Percy’s eyes again. That was it, that was the moment she had dreaded. But when was she a coward running away? Never, and she never would. Percy nodded, still holding his gaze, as she finished his own sentence. “—pregnant.”

And again, frozen, he was back again to that state where his eyes widened, looking at her, searching her eyes for any hint of a lie. She had to break this silence; she had to speak. She led armies, so she could lead a conversation, even with tears rolling down her eyes.

“triplet.. But there’s a prophecy… Dangerous… Gods will be angry… You will be angry… A lot of danger… Tartarus… I need to prote—” But before she managed to finish her incoherent speech, which she was sure made no sense, she felt warm lips on hers.

It was a gentle kiss, soft and tender, like a feather brushing against her lips. It was a kiss filled with happiness, reassurance and love, a silent promise. In that moment, all her fears melted away, replaced by a sense of peace and warmth. She closed her eyes, savoring the moment, letting herself be enveloped by his love.

Maybe she wished to believe that it was a normal pregnancy announcement; maybe his kiss did make her feel like that. And for moments, she wanted to believe that. He broke the kiss only to replace it with another tender kiss, and another, and another.

She tried to whisper between kisses, reminding him of their situation: “Prophecy.” But it only gained her an inaudible mumble as he kissed her one last time. Maybe he didn’t hear her incoherent speech; maybe he was also wishing to live in his own world for a few minutes.

He looked at her again, and if she thought that she already found his most beautiful gaze, she was wrong. Because at this moment, there she found the most beautiful gaze. He looked at her with eyes full of love, happiness, pure happiness he barely showed, besides when she confessed her love for the first time. But now, it was a new type of happiness, a new type of hope. His hands never left her cheeks as he kept caressing them with even more tenderness. He whispered, “I love you... so much,” before kissing her again softly and mumbling, “Thank you.”

She hated to break that moment for them; she hated to ruin this happiness. But she had to. She had to tell him the full truth since he already knew the worst part of it. “Prophecy,” she mumbled again. That’s when she caught his attention, and he spoke, “What prophecy are you talking about my love ? I heard of nothing.”

She took a deep breath before she spilled everything to him, from the moment she discovered her pregnancy to the prophecy, to the nightmares, and even Gaea's secret mission in 'helping her'. She could feel Gaea’s rage; don’t ask her how, but she could feel it.

Only after saying everything did she finally dare to look at Apollo, who was now holding her waist with his brows knotted in confusion. He was silent for a few minutes, her anxiety at its peak as she waited for any word from him, anything.

Maybe after telling him everything, he would agree with her plan with Gaea? Maybe he would agree with how dangerous her children are? Maybe he would say that the prophecy could be wrong? She didn’t know. But she did know one thing: his face showed pure curiosity and not anger.

After what seemed like hours, he finally spoke softly, "No." She looked at him in confusion.

"No..." he repeated again, Percy still not understanding what he was trying to say, when he cupped her cheeks and forced her to look at him. "I don’t care what this prophecy says. I’ll have a talk with Rachel for hiding this. But I don’t care what it means."

Percy whispered, afraid of raising her voice, "You are the god of prophecy, you can't say that."

He shook his head, his blue eyes still filled with determination. "If me being the god of prophecy means I’ll let harm come to my children, then I’ll let Delphi crumble to pieces."

"No harm will come to them. I will not allow any harm to come to them, and I don’t care if the price to pay was Olympus itself," Percy tried to shake her head, as if she was warning him that he was saying nonsense, but he fixed her face and made her look at him. "Nothing, and absolutely nothing, will harm you or our children, love," he stated. "I swear it on the River Styx." A sudden thunder broke the silence of the forest.

An oath... he just made an oath while holding her as if he didn’t just make the most sacred oath. Percy tried to reason with him, "But Gaea—"

Apollo shook his head again. "I’ll not let anyone take care of you. I don’t trust anyone with you, and especially not a primordial goddess that was supposed to be sleeping."

"But Olympus—"

"I’ll deal with them. Leave them to me."

"But—" She tried to protest when his lips found hers again in a gentle kiss, silencing her. "Stop with buts. Nothing will happen, and you have the word of a god. I will never allow anything to happen to you... all of you." That’s when his eyes were suddenly filled with happiness and gentleness again. He suddenly grabbed her and pulled her into a tight hug, burying his nose in the crook of her neck.

As he mumbled in her neck, in a soft, gentle tone, "Gods, Percy..." and "Thank you," she didn’t understand what he was thankful for, but she was sure of one thing: for the first time in weeks, she felt a huge weight lift off her shoulders, just like when Atlas took the weight of the Earth from her again. Yet this time, she felt utter peace. Complete peace.

For the first time in weeks, she felt her heart filled with happiness. She was in his arms, the arms of the one who made a sacred oath to protect her and her children. Not just her, but also them. And maybe, just maybe, it was worth it.

It was worth having this nightmare so she could find him here tonight. Maybe the Fates really took pity on her... just maybe, there is hope.

[sleeplesssmoll]

Analysis: Another perspective into Sonetto and Vertin's complicated childhood relationship using new information from Green Lake.

We know Vertin and Sonetto were not on good terms after the frog event in the hallway but after playing through Green Lake, I think Vertin still tried to befriend Sonetto. She didn't give Sonetto things from the outside world, but instead she shared her toffees. Even if they didn't speak much (Vertin mentions this when Sonetto gave her notebook. It's rare for Sonetto to talk to her first), this says volumes about their relationship to me.

Vertin, who's love language is giving/providing, found a way to give Sonetto things without making her mad. Perhaps it was more than her being nice. She wanted to befriend Sonetto, but she didn't know how to bridge the gap since her interests are the main reason they don't get along. They had nothing to bond over, but Smoltin did her best to build something. Sonetto also didn't hate the brat, but she didn't like the rule-breaking. She accepted the toffees because they didn't break the rules.

During the Green Lake event, we see Sonetto decipher Jessica’s learning style and modify her lessons around it. Sonetto is very observant.

Back to Vertin and Sonetto's childhood, What if Sonetto knew Vertin was trying to bridge the gap because giving is how she shows affection? She didn't care about the flavor. In fact, she admits she can't remember what they tasted like. But they were a gift from Vertin and she accepted them instead of breaking her heart again.

Vertin was trying to mend things but she wasn't the charismatic Timekeeper then. She was a kid who really wanted the girl sitting next to her to talk to her. She's genuinely surprised when Sonetto comes to her first after the Parade Protest, which ngl breaks my heart.

She couldn't fathom Sonetto checking up on her because she assumes Sonetto doesn't like her. Placing that into context, she “knew” Sonetto didn't like her, but Sonetto “likes” the toffees she shares with so she continued to share. The pining is real.

Unlike everyone else at the Foundation, Sonetto isn't a victim of her cheeky comebacks. Vertin is unusually quiet and soft spoken when she talks to Sonetto by time the Parade comes around. There's no playfulness in her tone or dry humor.

But her efforts were not in vain. Sonetto was highly aware of her deskmate.

When Vertin was hurt, what did Sonetto do after they spoke again?

She gave Vertin her notebook.

Sonetto isn't like Vertin with a bunch of random crap in her pockets to share, but she shared something very dear to her and wrote little notes to her in the margins. While Vertin was in a coma, Sonetto annotated her notes with the intention of Vertin reading them (can be found in Ch3 Atlas). She even left a little get-well-soon message at the end. The highly focused, no nonsense Sonetto wrote annotations in a way someone like Vertin would understand by associating them with things she might be familiar with. She's trying to speak Vertin's language because she gets that one part of her deskmate.

She is trying to wrap her head around Vertin too, even if it's not obvious in her interactions.

Vertin still has the notebook Sonetto gave her.

Moving on, Vertin might learn in a similar fashion to Jessica. Afterall, Sonetto's notes were effective at keeping her out of the guardhouse.

Vertin is a tactile person. Sonetto teaches Jessica about tangible cognition in a way similar to the notes she gave to Vertin through associations.

It's frustrating to think how much these two understood each other yet kept missing the mark because of the Foundation! Also, we can see Sonetto was distracted in some of her notes when Vertin was no longer at her side. Vertin was always a distraction, especially when she's not around.

Sonetto wanted Vertin to succeed. She wanted her to stop getting punished and just listen to the Foundation. However, once Vertin's made up her mind to leave Sonetto fights by her side, because she in fact does care about Vertin. She doesn't understand her completely, but she gets that this is important for Vertin.

And maybe at the back of her mind, seeing Vertin shot down in front of her finally planted that seed of doubt.

Sonetto never tattled in game, but she threatened to. Why? Because Vertin was going to get punished and she wanted to prevent that. Unfortunately, she couldn't. I wonder if that frustrated her? Did she see the bruises when Vertin shared her toffees after seeing Tooth Fairy? Did she feel helpless? Angry? If she's observant, she must have seen them.

In hindsight we can see TWO IDIOT CHILDREN WHO NEEDED TO HUG IT OUT.

[narrativelysignificantturtleduck]

okay things i liked about the live action:

the southern water tribe being bigger. it's still small but less unrealistically so

gyatso saying he's aang's friend

suki chafing against kyoshi island's isolationism. mostly bc it reminded me of "suki alone". you should read that instead probably

all the avatars serving as spirit guides instead of just showing up at the end. relatedly, incorporating kyoshi novel lore with kyoshi & kuruk

zuko throwing a fit bc aang stole his diary Manly Avatar Journal

zhao being a lower-status guy who just benefitted from right place right time

sebastian amaroso jet. he is so beautiful and perfect and that he was a mama's boy like katara's a mama's girl really worked

smellerbee and longshot existing. like they were obviously gonna be there but i got a little excited when they came on screen

moving the mechanist storyline to omashu. i thought his mad scientist energy fit well with eccentric omashu and it fixed the problems i had with his episode in atla. also he has a name now!

the idea that bumi, after living so many years as a leader during a war and losing his friend, may be bitter and upset with aang. his tests seem to have real meaning now instead of just being pranks and i like that eventually he softens when aang reminds him of friendship. like really gets at that theme of aang bringing hope back into the world

bumi's new design & omashu's general south asian feel

the one woman who started beating zuko's ass in the middle of the fight in omashu

OMA AND SHU LESBIANS!!!!

cameo by secret tunnel hippies

cameo by cabbage man

the guys in the bar referencing "the great divide" and "the waterbending scroll"

the way the spirit world works, responding to your emotions and shaping the environment around you. i know that idea's not exclusive to this show (it was in lok) but it's a concept i enjoy nonetheless

aang hugging gyatso and katara hugging kya in the spirit world got me a little teary

yagoda kind of a milf

yue making an actual cultural dish (it's called akutaq and often referred to as "alaskan ice cream")

katara responding to zuko saying "you found a master" by saying that she's the master

sokka's little plan to take down the fire nation ship where he went in and bashed in all their machinery. that was very in-character

sokka/hahn

unfortunately so much of what happened around those things was clumsily written but there WERE some decent ideas and good moments. idk i just wanted to be a little less negative

[linkspooky]

I got to say. I really love your OC Lio within your atla fanfic. And that is saying a lot for I never been a fan of OCs within fanfics. I do wonder what was your inspiration for writing them

I'm glad you like Lio my OC from THIS ATLA FIC.

Well what inspired Lio was reading the search years ago and seeing Azula run off into a forest and Zuko not trying to go after her and help his sister when she's clearly mentally breaking down. Then just, not really looking for her by the time that Smoke and Shadow comes around.

The idea of Lio sprung for that, what if because Zuko didn't go after her someone else found Azula when she was at her lowest point in her life. What if when Zuko wasn't there for her, someone else was. What if this person wasn't a good influence, but was a predator lurking in the woods, and someone who couldn't be trusted and never wore their genuine face. Someone now attached to Azula who has an agenda of their own. It's like a plot consequence for Zuko never lifting a finger to help his sister.

The character they're based on the most is Yun from The Rise / Shadow of Kyoshi. In particular they're based off of my massive disappointment for how his character was handled. So excuse me while this post turns into a rant.

Rise of Kyoshi introduces a character known as Yun, the false avatar. A character who was taken off the streets and led by Kuruk's companions to believe he was the next avatar because they couldn't find Kyoshi in time. The earthbender's usual divining method for finding the avatar wasn't working and they essentially took a random nameless street kid on a hunch and prayed it would work.

They then put Yun through what could only be described as Zoldyck training if you've ever read Hunter x Hunter. He was forced to swallow poisons and stay up sick for nights on end so he'd be immune to all of them. He was forced to try to learn firebending by standing on hot coals, or training on spiked caltrops that permanently scarred his feet. His teachers horribly abused him, then frequently called him lazy for not being able to bend fire, because he you know... wasn't the avatar.

He does his best to put up with abusive training for years because he wants to help the world, and then he finds out that he wasn't the avatar. The way he finds out is that his master asks a spirit which one is the avatar him or Kyoshi, the spirit picks Kyoshi, then he's like "If you don't need Yun anymore, then I'll just eat him."

He's then dragged to the spirit world, and has to fight off a spirit named Father Glow Worm for days and then EAT him in order to escape the spirit world. He asks for a drink of water from a nearby village and not a single person helps him, and one throws the water on the ground and tells him to waterbend it. So Yun has his Geto moment and kills everyone around him.

Then, in Shadow of Kyoshi (this all happened in Rise of Kyoshi and is told to us in flashbacks of Shadow) Yun enacts a scheme to kill every single one of his abusers for revenge. His abusers who I remind you are not good people. Rangi's mom had the most student deaths by Ag Ni Kai when she was head of the Royal Fire Nation Academy for Girls and also probably killed her sister in order to get the position. The same woman that made Yun dance around on caltropped spikes and called him lazy when he showed the SLIGHTEST hesitation.

Now my point isn't that Yun deserved to get his revenge. Revenge bad. Of course revenge is bad. But Avatar somehow, while being the pro-redemption and pro-forgiveness show always manages to screw up the "revenge bad" message. I think it can be summarized in the way both Jet and Hama are treated in their respective plotlines. The feelings of the abusers (in this case the colonizing fire nation) are put in prioirity over the feelings of the victims. Even though the violence they commit is in retaliation to violence that was done of them first. Avatar only stops the question of "violence bad" without addressing where the source of the violence came from.

They also put down both victims with violence instead of trying to find a third way to stop this cycle of violence by reaching out an healing an abuse victim instead. Like, violence is bad, unless a protagonist is using it I guess.

There's no real substance to these anti-revenge messages. They're not overcoming the cycle of revenge. They're just failing to save victims with no plot consequences because they're not main characters.

Anyway, back to Yun. As I said, the feelings of Yun's abusers, particularly Rangi's mother are prioritized over the feelings of Yun the victim. Even though everything thing that Yun does is in retaliation to years of child abuse he suffered under them. Yun's abuser gets the chance to apologize and atone but not Yun himself. All because Yun wants to murder his abusers, which you know child abuse and torture is forgivable but not an abuse victim being angry and showing that anger in ways that aren't approved of by the good guys TM!

All Kyoshi can say to Yun in the end essentially is "let it go." Like, god the whole monologue sucks let me take a moment to transcribe it.

"It's time to let go." Kyoshi lowered her hands. "Whether you kill me here today or not, you have to let go of what happened." "And it didn't brting me peace. It was wrong that you were lied to, Yun. It was wrong for Jainzhu to do what he did, but he's gone. Whatever pain and anger you have left - you have to live with it. You can't put it on anyone else."

Actually, yes Kyoshi he can put it on someone else. An entire group of adults collectively abused him for like years on end and you're defending one of them because she's your girlfriend's mom, and prioritizing her feelings of the hurting victim right in front of you.

Also, Kyoshi ends the plotline by murdering Yun. Which you know, once again, violence is bad, revenge is bad, unless it's a protagonist doing it. Kyoshi preaches how you can't end the cycle of revenge with murder and then proceeds to end it with murder.

So basically after the narrative sides with Yun's abusers and Kyoshi shows no empathy for Yun, the narrative goes on to further imply Yun never really loved kyoshi because he only loved her when she was underneath him not her own powerful avatar. Like you can't just have Yun experience negative character arc due to trauma you've got to imply they were bad all along.

I do like revenge stories where the victim dies. However, they have to be tragedies for the main characters, or be used to show the flaws of the main character. Ciel / Noel in Tsukihime is a fantastic example of what could have been done with Yun's character. The TLDR: version of tha tpost is Ciel's treatment is Noel is MEANT to make her look like a bad person. To show that Ciel may be a hero but falls short as a person. Kyoshi isn't MEANT to look like a terrible friend but that's how she comes off.

Sorry, this turned into a Rant. Lio is basically my attempt to do Yun again with several aspects of their character. The child abuse. The clown / jokester personality. The gentle nature turned violent. The feeling that Lio is "Nameless" or a "Mask Maker" rather than a person. That they're worth nothing unless they play a role that was given to them, in this case protecting a royal family member. Their charisma, and their intelligence as a schemer and a tricskter. The connection to the spirits. All of it, but without horribly murdering the victim and redeeming the abuser at the same time. An attempt to redo Yun's tragedy but without blaming the victim.

Lio is also based off of Azula herself, and to a lesser extent Zuko. Like Azula, they value loyalty above all else. They show extreme loyalty to others while expecting other people to show that exact loyalty in return. They'll also resort to emotional manipulation to control people because they can't handle even the idea of rejection. Lio is clever, and a good liar, and is one of the few people who can mouth off to Azula without fear. In fact, Azula enjoys trading insults with Lio because literally no one else is able to talk to her that way. Like, it's fun for both of them to just sit there and think of comebacks and they both due it in place of actually talking to each toher about feelings because they're both fake people who like to put on masks and tell lies to hide their identity.

One more inspiration for Lio is Hak from Akatsuki no Yona or rather my problems with Haks' character. This is going to be less of a rant because the rest of the series is great. Hak is always a character I wanted to like, but the more he became a love interest the less I liked him because the plot began to ignore his glaring flaws. Basically, the difference between Soo Won and Hak, is Hak is someone who is a knight, he is loyal to one individual. He would put one person's life over the entire country. He might be the ideal knight, the best there is, but he really doesn't care about things on a grand scale. He judges things on how they affect Yona, and how people are kind or not to Yona. He didn't care about if King Il was a terrible king or people in the kingdom suffered because he was personally loyal to King Il. Whereas Soo Won will make decisions to screw over his friends and sacrifice himself as well, but for a greater good.

The plot goes into detail showing the flaws of Soo Won's decision making, that by being too willing to sacrifice people he didn't see things coming like Yona's growth into an eventual leader, or that he could have from the beginning tried to think of a way with less sacrifices if he hadn't underestimated both Hak and Yona's growth and tried to do everything by himself. Essentially he treated his two best friends as gameboard pieces but they showed him all along they were his equals and he was wrong for objectifying them and nto considering their feelings.

However, the show doesn't nearly go into Hak's flaws. After like a hundred chapters or so he basically just becomes the perfect boyfriend. So, Lio's inspiration was what if I take Hak's personality to the extreme. What if Hak was so obsessed with Yona because he was like REALLY WEIRD ABOUT IT. What if Hak's entire personality was being Yona's bodyguard / boyfriend and he had no sense of self outside of that? What if that was exactly his flaw, he's Yona's bodyguard and nothing else and therefore cannot exist without her. What if Hak's love for Yona was a FLAW?

So basically Lio is like Hak if Hak were a TOTAL FREAK about things.

[kataraslove]

katara isn't sutble at all in her interest in aang i think zutaras have their blinders on if they can't see how much she was into him. its why i find that fandom so frusterating i've never seen a pairing that was so obvious and yet they act like it was one sided.. when katara was all into him since ep 1 to wanting to run off with him when he got banished. if that dont scream girl is gonna fall in love with main character i dont know what does.

in order to understand katara’s feelings for aang, you need to understand katara’s character at a fundamental level. unfortunately, many, many people in the fandom do not and refuse to understand. for an example, a common misconception is that katara crushed on jet because he was the tall, good-looking “bad boy” archetype. while she did have an instant infatuation for jet because he was tall and good-looking, he was also brave, charming, and heroic and a natural leader to her - all components that katara’s described about aang throughout the series.

“You’ve been training for this since the day we met. I've seen your progress. You're smart, brave, and strong enough.” Katara in Nightmares and Daydreams.

the depths of katara’s love for aang can be seen in the ways that she speaks about him:

“Aang is the bravest person I know!” (The Storm)

“Please don’t go, Aang. The world can’t afford to lose you to the Fire Nation. Neither can I.” (The Winter Solstice Part 2)

in the ways that she’s fiercely protective over him:

in the ways that she’s physically affectionate with him:

in the ways that she gets immensely happy when he acknowledges her power or calls her heroic:

in the ways that she cries when they’re apart:

and in the ways that she cries when they’re reunited:

or when he tells her how much she means to him:

I mean, after they get through a really emotionally charged moment, or overcome danger or death, just look at the way she looks at him. look at the way she hugs him.

only in the atla fandom will someone look you straight in the eye and say that character A kissing character B (after the characters literally had an implied cave kiss) on the cheek before they’re separated isn’t meant to be romantic, but rather maternal.

and okay, I’ll give them the benefit of the doubt: it’s true that katara’s feelings were intended to be “ambiguous” up until the climax so that we don’t get any canon verbal confirmation that she was in love with aang. i am critical of that. but nothing in the narrative suggests that katara ever viewed aang as a brother or worse, as a son. katara herself does not admit to that when aang brings it up in the ember island players episode, even when she had time to state that she did view him as a brother or, at the very least, did not see him as a love interest.

if you believe that the ambiguity of katara’s feelings for aang is far too much for you to ship them, that’s fine by me. but at the same time I’ve seen people say that katara had feelings for haru just from one blush. or feelings for zuko from their conversation wherein they bonded over their mother’s deaths in crossroads of destiny. if the hug at the end of the southern raiders can be read as romantic by these same people, why not the many hugs, cheek kisses, face touches, and emotional reactions katara feels towards aang? i do have to believe that the reason why it’s so hard to view these as romantic for people is because aang does not look the part of the stereotypical romantic lead, ie he’s bald, younger than katara, and shorter than her.

[matan4il]

Hi friend! I was wondering if you had any favorite Israeli/Hebrew children's books! Also any fave Israeli musicians??

Hello, my lovely! :D How are you?

Ooooh, do I! Man, you're gonna regret asking me this. XD Sorry, not sorry... So shall we start with Israeli/Hebrew kids' books?

Anything by Yehuda Atlas (יהודה אטלס), but especially And That Kid is Me (והילד הזה הוא אני). Short humorous stories, written in rhymes, perfectly capturing how baffling the world can be for a kid, and how silly adults can seem, or just what things can sometimes feel like for a child. It's one of those books that work, funny and essential, 'coz it's so true. He just gets kids.

Another one that I love, and am probably one of the few Israeli kids who even know this book, is Siamina and the Cats of Yemin Moshe (סיאמינה והחתולים של ימין משה) by Holocaust survivor Uri Orlev (אורי אורלב. He's more well known for his books about that period of time, which are also highly recommended, but I only dared read them when I was older). Jerusalem is known for its many stray cats, and the book is a love fest for cats and Jerusalem, with some historical sites becoming in the book the "homes" of the cats.

David Gershtein, who crafted the engravings for the book, is a pretty popular Israeli artist, and you can find some of his creations all over the country, and even entire shops dedicated to his works.

Last one ('coz I don't wanna burden you too much, but lemme know if you want more recs!) that I really loved as a kid, was Yael's House (הבית של יעל) by Miriam Rot (מרים רות). It was about a girl who has a home, but she wants a house that would be all her own. She tries all sorts of solutions, including taking over the space under the kitchen table... Not gonna lie, as a kid I was inspired to follow in her footsteps, but my parents were not impressed.

Now, as for Israeli musicians! You have stumbled onto dangerous ground, my friend, since I'm a music addict, and in love with the Hebrew language, so songs in Hebrew are something I can go on about for freaking years...

I'll share with you the link to two unlisted playlists that I made on YouTube. One is of some of my fave Israeli songs (though I started it years ago, so sadly, I see some vids have been deleted or made private, and there are literally hundreds of songs on the list, meaning I'm not sure which ones are missing), but also with a few thrown in 'coz I think they're good for people who wanna know Israeli culture and popular Israeli songs, and the other is one that I started making with songs connected in different ways to the current war we're in. They're not all faves, but I thought they capture a moment in time, so I wanted to have them grouped together. I'm actually not done with either list, the latter I really just started not that long ago, so you can expect them to grow.

If we're talking specific Israeli musicians, I find it hard to answer, I think almost every singer or songwriter has at least one good song to offer, and likewise whenever I wanna name one, I feel like adding, "Except for this song... and that one..." No musician is great all the time. But I guess some of my faves (where I like more songs than I don't) include Ivri Lider, Berry Sakharof, Yehuda Poliker, Ran Danker, Harel Ska'at, Chanan ben Ari, Narkis, Eliad, Amir Dadon, Avraham Tal, Marina Maximilian, Achinoam Nini (Noa), Sheila Ferber, Gilad Segev, Ofra Chaza, Meni Berger, Yardena Arazi, Natan Goshen, Keren Peles, Izhar Ashdot, Nurit Galron, and the bands Beit Ha'bubot, Ha'Yehudim, Metropolin, Ethnix, Mashina and Synergia.

I was thinking I should add at least one of these vids to my reply, and for whatever reason, the one that started playing itself in my head (where there is always music) was a song first released in 1993, אדמה חמה (Hot Earth) by Shlomo Gronich and the Shva Choir (Sheba is the English pronunciation of Shva). I love this song, I think the vid was very cool for its time, and I'm still never gonna forgive the MTV viewers who gave it last place in a video music awards. The song incorporates Hebrew and Amharic, both Semitic languages, the latter being the language spoken by Ethiopian Jews. You can actually listen to the whole special album (inspired by the story of the Ethiopian Jewish community's journey to Israel) here.

But just for the fun of throwing in a gay themed song as well, here's התשמע קולי (Will You Hear My Voice), a love poem for a man, originally written by an Israeli poet called Rachel (full name: Rachel Bluwstein Sela), but it's performed here by only men, and no one changed the pronouns, which makes it a mlm song to me. It's so pretty and sad (Rachel is believed to have written the poem to a former lover, a man she even thought at one point she would marry, but WWI tears them apart and they never meet again. She wrote this poem, after getting the news that she's terminally ill), it fills my soul at the same time as it tugs on my heart.

I hope this helps! Sending so much love! xoxox

[a-resplendent-mushroom]

;;;;;;;;;;;; (atla)

I have questions 😂

ABSOLUTELY. this is one of the first fic ideas i ever wrote, so...it might be bad XD. i think it was intended to be a longfic, but i never got around to writing it (not that i've actually published i've written yet lmao), so it's just a bunch of weird, half-formed ideas smushed together in a semblance of plot at this point.

fair warning, i have a weird writing style in my wips, so it might be hard to read/understand. sorry in advance.

It’s Jinko bitch

So Zuko and Jin are doing the cool dating thing

And he realizes that he like

Really likes her?

And thinks she’s beautiful?

And is the sweetest person alive and he would really like to give her the moon?

So he’s trying to figure that out

Meanwhile she’s just waiting for him to stop trying to convince her that he’s not a fire bender

Cause like

She’s not blind or stupid

She saw that shit at the light fountain or whatever it was called

So finally he tells her he’s a fire bender

And then the rest of it slowly starts to come out

He starts with his real name

And then his uncle’s name

And then the fact that he’s banished

Next that he has a sister

Then how the Fire Lord gave him his scar

And that he was raised in a …noble family

Aaaaaaand eventually she just figures it out

So then she knows about him

He’s hopelessly in love with this sweet, ridiculous, funny, and completely untamed girl that’s completely different from anything he’s ever known

And makes him feel like he can forget about his honor and his shame

And just relax into his body without remembering its blemishes

And she’s starting to realize that he’s adorable

Like

He’ll give her the strangest things

Like a rock that’s shaped like a sheep-pig

Or a spiky plant that she can loop around her ear like a piece of jewelry when she looks at earrings neither of them can afford

Or a piece of scrap paper that matches the shade of her eyes

And so she’s reconciling the fact that this earnest, painfully awkward sweetheart is the Prince of the Fire Nation

And then she finds out how he got his scar and things start making a lot more sense

And so then she falls in love too

And they’re both ridiculously sweet and adorable and there’s lots of fluff for a while

And then

Of course

The Earth King invites the Jasmine Dragon to serve him tea

And whoopdidoo, Azula’s here

Marvelous

So everybody does the normal escape thing

But instead of going after Azula he thinks about Jin

And how she’s going to get caught in the crossfire of whatever shit is going down here

So he runs home and packs up his shit and starts banging on her door

And is like, yo Jin we gotta go my little sister’s here

And she rips open the door and says something like, the psychopathic one who’s been trained to bring down governments for years and pushed you off a roof when she was six?

And he’s like, that’s the one

And she’s just goes, shit, gimme a sec and grabs her essentials and gets ready to skedaddle

She’s alone in Ba Sing Se by the way

Haven’t decided if she just left her family behind or if they’re dead

But we don’t have to worry about them for now

So Zuko runs back to the palace with Jin in tow

And tries to get Uncle to leave with him

But he’s like, no, my dear nephew

You have made the choice on this crossroads

I could not be more proud of you

But I must stay to right the wrongs my brother has inflicted on the world

But with 100% more proverbs

So they say a tearful goodbye

Zuko tells Uncle to give Azula a chance, because she’s fourteen

And Uncle runs off into the catacombs and Zuko and Jin book it the fuck out of there

So they’re on the road for a bit

And do all sorts of Blue Spirit-y stuff

He teaches her how to fight

And she teaches him how to survive in the wilderness, something that he definitely couldn’t do beforehand

Like, she knows how to hunt

And fish

And skin kills

And he’s like, how do you know this with stars in his eyes

And she just looks at him and says, I was raised in a village on the outskirts of a forest, not sheltered in royal life like you sweetie

Now cut the loose skin over the shoulder blades, there’s a dear

So they survive like that

As it turns out, having a royal fire bender as a heat pack on cold nights beats curling up under a blanket and shivering

Cool, cool

Zuko: Do I get a say in this?

Jin, attached like Velcro to his back: No, now shut up and be my blanket

Eventually they find a town on the outskirts of the Earth Kingdom where people don’t blink at kids with golden eyes

And start to relax

They become artisans

Or something

Because the fandom has decided that Jin is an artist and I’m on board with that

So they sell her art

And Zuko does odd jobs around everywhere

Considering that he has like, the biggest skill set in the history of the world

Food service? Check

Rock climbing? Check

Manual labor? Check

Experience on ships?

Experience with ostrich horses?

Experience with murder?

Check, check, check

So they’re doing fineeeee

And like

We get through all their awkward stages

Zuko realizes he likes this life a lot better than anything he got in a royal palace

They receive word the war has ended, and Fire Lord Iroh has named Azula his heir after getting her the help she needed

They get married

A healthy dosage of marital bliss and domestic life

They have kids

After a long time don’t freak out

And then we get a little Gaang interlude where Katara asks Uncle whatever happened to his nephew

And Uncle just smiles and says something along the lines of, well, the girls in Ba Sing Se were always so pretty

And everyone is just like "wut"

But he provides no more context

They get it out of him eventually

Zuko decides he needs to see his old home again

Just to give himself closure

Jin agrees and tells him to come back soon, because we have two young children and I cannot be responsible for them more than pushing them out of my body

You’re the kid person here

Zuko: yes dear

So Iroh’s taking a break from all the Fire Lord-ness and playing Pai Sho with some old buddies

And a shadow falls over the board in between games

And this man, who holds himself so loosely and confidently

With smile-lined eyes and shaggy black hair hanging around his face and green clothes and work torn hands

And a faded burn scar over one eye

Asks him to a game of Pai Sho

And Iroh smiles wide enough to split his face

And accepts

...so please keep in mind that i only write wips for my eyes XD. it's not pretty or particularly eloquent, but i PROMISE i can write better than this lmao.

yaaaaaay

[aspoonofsugar]

hey! Good day :) here to ask a question!! I was wondering about your process for analysis, character analysis, theme analysis- do you just write or are there specific things you look for? I suppose I’m curious if you have an idea/general gist of what you’re doing or steps you take to do your breakdowns. I’m trying to do something similar out of interest and your works are simply fascinating to read. I look up to your writing a lot!

hello!! Can I ask how you started analysing shows, how you went about it? I’m learning literary analysis and trying to do the same for hunter x hunter but I find it infinitely harder to analyse shows. Especially since I most notably consider diction in literary analysis lol

Hi!

Thank you for your nice words anon(s) and yay! I love meta-asks <3<3<3

So, it depends on the meta. In general, I try to focus on a specific topic, which can be:

a character (arc + foiling between characters)

a theme

the use of a specific motif, when it comes to a character or a theme

These are my three favourite kinds of analyses, but there are other types, as well. For example, some people are really into plot theories/predictions. Others prefer to focus on characters from a psychological viewpoint. Some other writers like to use philosophical lens or to compare different works. It really depends on your preference.

My preference is mostly for thematic analyses. This means that my character metas too tend to use a thematic lens. So...

WHAT IS THE THEME?

In short, the theme of a story is both:

the topic the story is exploring

the moral of the story, aka a phrase which summarizes its message

Stories explores topics through characters and plot, while the way the conflict is solved tells us the moral.

Some examples:

RWBY's main topic is humanity in both its weakness and strength and its moral is that victory is in a simple soul

Madoka's main topic is wishes and its moral is that it is worth to want things and to fight for them, even if it is painful

HXH is strange structurally, but its main topic is self-search, with its moral being that a person should not focus on the goal, but enjoy the journey

All of these messages and ideas aren't just things stated in dialogues (even if someone saying the theme helps). They emerge from the story itself.

RWBY's main conflict is about a destroyed world (remnant) surviving the anger of an evil witch (Salem). If humans let hate divide them, they lose. If they unite, they win. The main thematic question is then... can humans make the right choice? And the answer is that they can, as long as they remain simple souls (Ruby, but also Pyrrha at Beacon, Blake in Managerie, Yang in Mistral, Weiss with her family, JNR when they tag along and Penny in Atlas). The main message is that several people making the right choice leads to change. And that is humanity. This is why the characters keep being asked to give up their idealism and to embrace a more utilitarian way of doing things. And this is why every time they refuse and stick to their idealism. The conflict itself keeps testing their resolution.

Madoka's power system works through wishes, so the girls' powers and their backstories are all defined by their wishes and by how they relate to them. Madoka doesn't know what she wants. Homura's wish turns into an obsession. Mami makes a wish too early and thinks only about herself. Kyouko and Sayaka make a wish for someone else and have opposite reactions to their wishes ending poorly. Finally, it is revealed the girls' wishes are literally the force that keeps the world at balance. So, the plot, character arcs, conflict and worldbuilding are all about wishes.

HXH is made up of several arcs and each arc has its own theme. That said, the overall structure conveys the main theme. Gon's objective is to find Ging, but he keeps taking detours and getting engulfed in unrelated conflicts. However, the moment he meets Ging he realizes it is not his father who defines him, but rather it is all the people he met in his journey and his own experiences. Basically, HXH's strange structure conveys the main theme.

So, the theme (both topic and moral) should emerge by the characters, the worldbuilding, the conflict and sometimes even by the structure itself. In order to find it, one should start with the topic and ask themselves "What does the story really talk about?". The answer to this question will let you understand the theme as topic. The second step is to see how the story explores it.

DIFFERENT POINTS OF VIEW ON THE TOPIC

There are different ways a story can explore a topic. Still, the best stories have different perspectives clash with each other. Very often these different points of view are embodied by different characters.

Here are some examples, with some linked metas that explore the respective stories more in depth.

Madoka (topic= wishes):

Homura is determined to fulfill her wish no matter what

Kyubey is her opposite, as they are unable to wish since they lack feelings. This is why they need to recruit girls into creating energy through wishes

Madoka is in the middle, as she wants to wish for something, but doesn't know what

Mami, Kyouko and Sayaka all explore negative effects linked to wishes, which are connected to other secondary themes. Specifically, Mami explores the consequences of an immature wish, while Sayaka and Kyouko explore the selfishness/selflessness inherent in wishes

The conflict is solved through Madoka learning about the price of wishes, but still choosing to make a wish and to sacrifice her whole self for it. This ending conveys a specific moral: despite the pain and sacrifice that comes with them, wishes are still beautiful and worth it all. If Madoka had chosen to give up being a magical girl and had ended up the series without making a wish, the moral would have been the opposite: that a normal life is better than grandiose and dangerous dreams.

Monster (topic = the value of life)

Tenma believes that all lives are equal, which is why he chooses to save Johan as a child, despite being ordered to operate a far more influential patient.

Eva and Nina believe that not all lives are equal. In particular, Eva thinks that social status and importance in society influence the value of one's life. Nina instead believes that people who commit crime should be punished and lose their lives.

Johan believes no-life has value, including his own. In his words, the only thing all humans are equal in is death.

Here, the moral is conveyed through the Tenma/Nina vs Johan's conflict. Tenma is tested in his beliefs, but ultimately does not abandon them and ends the story by saving Johan. Nina instead is asked to change her mind, as she ends the story embracing Tenma's point of view.

RWBY - The Atlas Arc (topic = trust)

Ozpin lacks trust, as he is unable to trust others, no matter how loyal or dedicated to his cause they are

Ruby wants to "trust safely". She wants others, like Ironwood, to prove themselves to her before disclosing the truth to them

Ironwood is initially on Ruby's same page, but he spirals and comes to embody the "enemy of trust" aka control. He doesn't trust others, but wants to control them.

Oscar embodies trust, as he wants to trust Ironwood since the beginning. Even later on, he keeps on trusting people like Hazel and Emerald who are his enemies.

Cinder embodies another "enemy of trust", aka manipulation. She doesn't need to trust others to work with them, as she can use their feelings and wishes against them.

Penny embodies faith, which is a more extreme form of trust. She sacrifices herself and leaves the maiden power to Winter. She has no proof Winter will be able to save Weiss, Jaune or the relic, but she entrusts the future to her.

All these characters struggle with trust and its dangers. Some, like Ozpin, Ironwood and Cinder decide that trusting is too dangerous. Others, like Ruby, Penny and Oscar realize that to trust is the only way to move forward. Moreover, they learn there is not way to trust safely. As a matter of fact the moral of the arc is that "trust is a risk" and risks mean that things can end up badly. Still, not to take risk means to give up hope.

Hazbin Hotel - You didn't know song (topic= knowledge)

This song explores the idea of knowlege. The characters are after all in the middle of a questioning, which leads to several secrets coming out. Moreover, throughout it all the characters either admit or realize how ignorant they all are. The way they deal with this lack of knowledge establishes different thematic stances.

Charlie and Emily are both naive and ignore the darkest sides of their loved ones. Charlie doesn't know Vaggie used to be an exorcist and Emily has no idea Sera ordered the exterminations. Still, their answer to ignorance is to keep on questioning. They have no idea why only certain souls are admitted in heaven. Still, they think it is important to investigate the phenomenon and use it as evidence that there might be hope for the spirits in hell.

Lute and Adam don't know why some spirits end up in hell and others in heaven. Still, they do not bother to question it. So, Adam is caught by surprise by Charlie's question and has to improvise an answer. Not only that, but even later on the duo insist that Angel not being in Heaven proves he is unholy. And that's it.

Sera does know about the extermination, as she knows the system is unfair. Still, she refuses to question it and forbids others to do the same. She is the only one whose sin isn't ignornace, but knowledge.

There is no a clear thematic resolution to the question posed by the song. This is because the series is not over yet. However, the scene sets up the theme and the way characters will deal with it in later seasons will give us the moral.

As you can see, not only whole stories (like Madoka, or Monster) have themes, but also arcs (RWBY) and even episodes or scenes (Hazbin Hotel). That said, the way to go at it is always the same. Pintpoint the main topic and start investigate how the characters or the worldbuilding deal with it. You are gonna get several stances. The one which emeges victorious is the moral.

Let's highlight that the moral is not always embodied by the protagonist. For example, in the Madoka and RWBY's examples, Madoka and Ruby are initially at a loss and come to learn the moral by the end of the story (for Madoka) and arc (for Ruby). Similarly, Tenma initially does believe the moral, but doubts it throughout the story, only to be reminded and helped by other characters (like Nina).

In any case, the way the protagonist and characters in general relate to the main theme and to secondary themes is key for their arcs.

CHARACTERS AND THEME

When it comes to theme a character can either:

Believe the moral since the beginning

Not believe the moral since the beginning

In the first case, the character either stops believing the moral by the end (negative arc) or keeps believing the moral until the end (positive arc). In the second case, the character either learns the moral (positive arc) or doesn't learn the moral (negative arc).

In short, the story keeps challenging the character on their beliefs and they must either stick to their point of view or change it, depending if they believe in the moral since the beginning or not.

Exhibit A:

Charlie's belief that sinners can be redeemed is right. Still, in the beginning nobody else agrees with her, so she is challenged by the world around her. Her objective is not to lose faith in the Hazbin Hotel and to inspire others to change their mind too. Throughout her journey, she is bound to grow too. She starts as sheltered and naive with a simplistic idea of what redemption is. By the end, she will gain a deeper understanding of redempion and will grow as a result.

Exhibit B:

Eren's journey is about realizing what freedom (the main topic) is about. The problem is that he fixates himself on the idea that freedom means no boundaries, either natural nor humans. This leads him to embrace destruction and nihilism and to lose himself. In the end, the character who realizes what freedom truly is is Mikasa. She doesn't discard her bond with Eren, but is still able to make independent choices and to live as herself. In short, Eren doesn't learn the moral, hence why he spirals instead of growing.

Charlie is a protagonist who knows the moral and will grow with it in a positive arc. Eren is a protagonist who doesn't know the moral and never learns it. This is why he has a tragic negative arc.

These are just two examples, but there can be different combinations. By interrogating yourself on how characters relate to a theme, you get better a better understanding of their role in the story and of their overall arcs.

Still, how to find themes in a story? Luckily, each text is full of hints that are there for us to interpret them.

MOTIFS

Motifs are repetitive details within a story, which are used to communicate themes.

Anything can be a motif: a line, a musical tune, a specific imagery, an object. By repeating them in key moments throughout a narrative, they become symbols, which means they can lead to bigger metaphors and convey specific meanings.

In the song More Than Anything, dream is one of the main topics. We realize it because the characters keep mentioning it. At the same time, light keeps popping up. Lucifer summons light and throws it away, Charlie rememebrs a light show Lucifer imrpovised for her. Lucifer and Charlie start the song in the shadow and they end it in the light. This means that "light" is a motif throughout the song and by seeing how it is used we better understand the theme and the relationship between the two characters. We understand that light is a metaphor for dreams. Lucifer gives up on it, Charlie is inspired by it and eventually Lucifer summons it back as he has decided to believe in Charlie's dream. By looking at the way light is used, we can see that Charlie teaches Lucifer the moral that it is worth it to fight for dreams and not to give up on them.

In the CAA of HXH, gungi is a motif that comments both the topic of humanity and Meruem and Komugi's relationship. Their matches become a metaphor of monstrosity vs humanity, as humanity slowly conquers Meruem to the point he himself chooses to live and die as a human, rather than the King of the Ants. Similarly, Kokoriko symbolically becomes Komugi and Meruem's child, in the sense they give birth to this move and evolve the game.

Sometimes, their meaning is unique to the story. For example, gungi is a motif that makes sense within HxH and can't be brought outside of the series, as it is not a real world game. It only exists in that universe. Some other times, a motif can tie to bigger sets of symbols. For example, light and shadow are universal symbols that bring with them several additional meanings:

Good and Evil

The Jungian persona shadow

In the Hazbin Hotel song the first dychotomy doesn't fit, while the second one does. Initially both Lucifer and Charlie hide things from each other (shadow), whereas by the end they show who they are (light).

In short, to analyze a story, you should find its key motifs. They are hints to better understand the theme and the characters. Different stories will use different motifs and tie them to different wider sets of symbols. To find the right ones can help a lot in better understanding a story, as a whole.

Some examples:

RWBY uses fairy tales and alchemy as its main motif, so these two sets of symbols are the most useful to analyze the series

HxH is a shonen and uses its powers and fights to convey character arcs and themes, so to analyze one's nen abilities helps a lot

Hazbin Hotel is a musical series that takes inspiration from religion and mythology. So, it is probable that the best understanding of it will come from analyzing its songs and from looking into its religion inspiration

Of course this doesn't mean you should only use one motif to analyze a story. For example, you can use RWBY's semblances to look into the characters, as well. And there are some fairy tale allusions in Hazbin too. In the end, it is about using what best helps you understand a story as a whole.

What is more, there are general sets of symbols that can be useful in most stories, such as jungian archetypes. Finally, you might want to start from other aspects of the story itself, rather than theme or characters or plot. For example, you might be drawn to the world-building and realize it is used in a special way to explore the theme. Or you might be curious about character designs and see that they have their own symbolism (for example, I believe RWBY ones do and probably Hazbin Hotel ones, as well).

SOME PRACTICAL ADVICE

I have linked in the title of each paragraph, but this last one an article by @septembercfawkes. Her posts are great to better understand narrative structure and I found them enlightening.

I think the best thing you can do is to start with focused metas. Choose a scene, a character, a motif that intrigues you and start exploring it. It is better to start small and to narrow your focus, it would be easier to organize your article.

I usually outline the contents of the meta before starting to write it. Still, it sometimes changes as I keep writing.

It can be useful to write at the beginning of your analysis what you are gonna do. It will help you remember what the point of the meta is. For example, in my RWBY allusion meta or HxH nen meta, I always start with the motif I am analyzing. I summarize the fairy tale (even if many people know it already) and I explain what the character's ability is about. It helps organizing the flow and the contents.

The more you analyze the better you become at it, so it is just a matter of starting :)

Thank you for the asks, I hope this was helpful and not too much confusing!

Have a nice day!

[librarycards]

hi, are you up for a rec post? I'm looking to read more utopian fiction, skewing toward the recent if possible. I've read le guin's the dispossessed and always coming home, I've read some iain banks with very mixed feelings, read and was middling on a half-built garden, am about to finish everything for everyone and waiting to pick up the faggots and their friends between revolutions. where should I go next?

ty for your patience on this! utopian fiction is tough to write and tough to find, especially well-written (I have issues with AK Press's Black Dawn series for precisely this reason...lots of really great political/cultural speculation and utopian imagining, with some shit-to-mediocre prose.)

that said, a few (e)utopian - that is, works that may imagine 'better' worlds and in so doing imagine different worlds, worlds with new genres of problem even as they presuppose some issues (capitalism etc) have been meaningfully addressed/not existed int he same way) - works I rec:

Becky Chambers's oeuvre. Just, like, all of it. If I were to name a 'next generation Le Guin,' it'd be her, no question.

Malka Ann Older, ...And Other Disasters

Sybil Lamb, The Girl Who Was Convinced Beyond All Reason That She Could Fly (anarcho-scavenger utopia in the scrungly city!)

Neal Shusterman, The Arc of a Scythe series

Keely Shinners, How to Build a Home for the End of the World

Bonus: C Pam Zhang, Land of Milk and Honey (aka: what if utopi–– OH FUCK OH NO STOP) (aka: what if Atlas Shrugged was self-aware and written with skill?)

hope you find something you like :) & ofc keep on with the le guin (this goes without saying)!