#lightning rambles

[lightning-system]

As a medium/lower support needs autistic who works with young higher support needs autistic:

We all matter. We all have the same diagnosis. We all deserve to be treated with dignity and respect.

But we are not the same.

I can mask and might be seen as 'odd' or 'weird' in public. The students I work with are seen as 'dangerous' and 'practically little kids'.

I can go to university and work with accommodations. The students I work with likely will never live independently and a few might find jobs that support them but still pay them less than an abled worker.

I have full control of my finances. The students I work with aren't allowed to make independent financial decisions, even if capable.

If I say 'no,' I'm making a choice. The students I work with can't say 'no' without being labeled as defiant and difficult.

I can feed myself, bathe myself, and take care of myself with extreme challenges. The students I work with are unable to take care of themselves without high levels of support/one on one support.

I had an IEP in high school but was mainstreamed in classes. The students I work with take separate classes and some rarely get to interact with their abled peers.

Our experiences are fundamentally different. Higher support needs autistics will experience a specific type of ableism I never will, and can never fully understand.

Lower support needs autistics need to stop saying we understand what higher support needs autistics are going through and then present autism as only being disabling because of society/lack of acceptance because that is dangerous. We need to stop saying every autistic person is capable of everything if given the right support because that leaves out huge parts of our community who will never be able to do certain things, regardless of support.

We are worthy of existence regardless of our abilities.

Autism is a spectrum. It is not the same for every autistic person. Autism acceptance and advocacy has to come with accepting, acknowledging, and listening to our higher support needs peers.

[shisasan]

I’ll only unravel for hands that know how to hold me.

🜍 ⟡ ⟢

[calli0p3]

has anyone done this yet

[mistakes-have-been-made]

I love it when even Greek mythology also affects my music taste because what is this-

I- look man it's just good idk what to say

If you happen to know any other Greek mythology musicals please let me know I would love to add more to the collection :3

[lightning-system]

as a physically disabled person this was so sweet. like so often abled people try to 'help' but they do it in ways that serve them. they take their own action and use it to serve themselves under the guise of serving a disabled person. but kristen GIVES her action. she gives her action to lydia, for lydia to use how she sees fit to manage the situation, because the disabled person knows themself and their needs best.

its so nice to get help with no strings attached. i love kristen applebees.

“I’m battling against him constantly.”

“oh, okay. i give her the help action.”

“that’s very sweet”

[crazymecjc]

always the pawn in someone else’s game. ♟️

[old-desert]

Inktobertale 2024 Day 5: Camping

Cross doesn't know that the first law of the multiverse is that there's nowhere Ink can't be.

[mozart-the-meerkitten]

*rolls up 15 years late with Avatar the Last Airbender thoughts*

So I've been rewatching clips from the show lately to refresh my memory while I'm writing my Zuko Alone fanfic. And last night I rewatched the clip where Iroh teaches Zuko how to redirect lightning and I have had thoughts about this scene for years so I might as well finally throw them into the void of tumblr.

So, this scene is insane to me, because at the end of learning how he could-hypothetically- redirect lightning, Zuko looks at Iroh and, completely seriously says "okay I'm ready to try it with the real thing now". Like, Zuko, the boy with a massive scar on his face from where his father burned him just looks at his uncle and says, "shoot me with lightning".

And yes, he's 16 and not thinking but that's part of the point because the amount of blind, complete trust Zuko has in Iroh to look at him and say "shoot lightning at me" after the insane trauma he had at the hands of his own father- that is WILD to me. Zuko literally trusts Iroh so much that he just assumes, without even having to think about it, that no matter how volatile and unpredictable the lightning is, Iroh won't hurt him because Zuko cannot fathom his uncle hurting him.

And of course, Iroh's appalled because Zuko's standing there with a massive scar on his face from when his father misused firebending against him and likewise, Iroh cannot fathom hurting Zuko. And since IROH knows how volatile and unpredictable lightning is and how it could literally kill his son nephew he is absolutely NOT going to use it just to let Zuko practice redirecting lightning, but he's so flabbergasted that Zuko would even ask him that that he just kind of splutters angrily that he will ABSOLUTELY NOT shoot lightning at Zuko. (it's also just another layer of how messed up Ozai is because he shot lightning at Zuko without a second thought later)

But I hope Iroh thought about it later and realized the amount of pure, unthinking trust Zuko has in him because ;-; the child didn't even THINK about it. "Okay uncle shoot lightning at me now. I know I'll be safe because it's you." I love them so much 😭😭

[secretarysong]

older drawing from january i (HEAVILY) refurbished + moar recent-ish extras

[sneezypeasy]

The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

[lightning-system]

i am in so much pain.

this is the part of being disabled that sucks.

i took my meds. i tried to stretch. i tried to rest. i got water. i got food, went to the bathroom, got in comfy clothes, cuddled my cat.

i did everything right.

i am still in pain.

i am always in pain.

[ishgard]

"The most important thing is that you survive."

[shisasan]

Why is it always "I love you," and never "I want to sink my teeth into your soul, crawl inside your skin, and bury myself in your dark warmth with insatiable hunger, binding our blood in a rhythm so deep with such ferocity that the earth sighs, and not even the cold grasp of death could pull us apart?"

🜍 ⟡ ⟢

[lightspeed95]

Guys next year will be Cars 20th anniversary!! How are we feeling? 😱

———————————————————————-

One of the things I hope for is that we get a rerelease of the film in theaters :D ❤️🚘

[avnasace]

had an interesting realisation the other day, about how Buck is the only one who has not Purposely left the 118.

Hen decided to leave for med school (even though it was only for like 5 seconds)

Chimney left to find maddie.

Eddie left twice, dispatch and texas.

Bobby tried to retire.

Buck is the only one who has never intentionally left. and honestly at this point i kind of want him to? not permanently, but to stand on his own two feet for a spell and find his confidence.

he is a good firefighter, and someday a good captain, but in the 118 its beginning to seem like he is stuck because of both the solid set chain of command, and because they know him too well.

i kind of want to see buck leave for a change instead of trying to fix everything with the team (especially after how he's been treated this season. the difference between how his '118 family' treat him, and how well his (ex)boyfriend and sister treat him and understood him is vast).

we know buck is a really competent guy, between the s6 freeway collapse, how he stepped up for bobby when he was grieving wendall, the good advice he can give (if one of the others isn't in his ear making fun of him) like with ravi or lucy, and how good a firefighter he is in general. it just so happens that he is always (unintentionally i think) put down by the others who still see buck 1.0 in him and can't let it go. it would be a good arc for him to discover what he can do outside the 118 that he could bring back with him.

[edennill]

elured&elurin who died alone in the forest and elros&elrond who had their home destroyed over and over but survived to help build a new tomorrow and elladan&elrohir who were raised in peace and prosperity, and all of them star-twins. "shakes you by the shoulders" meme, do you understand