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sssammich · 21 days

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fic: let there be another day

inspired by this fantastically angsty gifset of a supercorp AU. happy supercorp sunday yall

thanks x

---

The days transform steadily, selfishly, into weeks. Until the weeks have amounted to six months of nothing. Nothing between them but a phantom line of what they’d been to each other, once upon a time.

There is a crater in Lena’s heart, a botched excavation of the way she’d willed herself to forget Kara, to protect the two of them from the ruthlessness of her family. So she’d cored herself first, hoping to beat her brother and mother to the punch. Yet Kara had dug herself further into her heart, straight into her marrow.

So she failed, in the end, to rid herself of the woman she’d loved with her whole being.

But it’s gotten easier, in a way, existing in this reality where she had to deny herself the chance for happiness if it meant her happiness could live.

Her family has continued to terrorize her, but she’s acclimated. Expected it, really. Their efforts of trying to eliminate the few people who have been able to reach the fortress of her heart have now since changed to recruiting her into the fold of the family business.

She now only functions to keep L-Corp as an entity of good despite her family’s best attempts at compromising her work. It’s fine, because she has accepted that her work will be her life. Her love—her grief—has become the shape of late nights in front of her computer, of half-filled decanters as she oversees expense reports, of dry-cleaned power suits and a lethal red lipstick as armor worn in superfluous business meetings.

It’s worth it, she reasons, when she catches sight of Supergirl zooming past her window to save the day once more.

—

Lena should have known that Lex and Lillian are simply biding their time until they strike. The last couple of months of relative quiet was not a sign of reprieve. So when the glass of her office doors break and splinter into tiny crystalline pieces, her heart aches not in fear, but in disappointment.

She’s never had a death wish and would never wish this hurt upon herself, but the amount of threats to her life has surpassed her age. She thinks that maybe if both Lex and Lillian simply just got it over with, that she can get some goddamn rest. But she knows why she fights and why she keeps going. If only to spite her family, if only so that her sacrifice isn’t in vain.

Another explosion erupts and throws Lena partway across her office, her head hitting the corner of her desk with a thud. She opens her eyes and her vision blurs, her head throbbing with pain, her body tense and sore all at once. Distantly, she can hear the fire alarm go off just as the sprinklers start shooting off water and flooding her office.

She attempts to stand and find an exit, but her body betrays her intentions, buckling under her weight as she’s sprayed with water all around her. She falls onto her knees and subjects herself to crawling towards the exit with only but reckless determination and an almost-extinguished hope that she will make it out of this alive.

Before she can take another step forward, there’s a whooshing sound that fills her already ringing ears and suddenly, warmth envelopes her.

She sighs in resignation and gratitude when she feels the familiar weight around her. Lena knows before she opens her eyes what has engulfed her so safely, so securely. It cuts her heart just as it heals it, and she is in a loop of pain and joy.

She wants to open her eyes, truly, to look into ocean eyes and a field of golden grass. But she is in pain and she is hurting. Her only course of action is to keep her eyes closed as strong arms grab hold of her—gently, always so gently—and whisks her out of her now compromised and ruined office.

—

When she comes to, she finds herself in a secluded and private examination room of the National City Hospital, discretion of the highest priority as a prominent public figure. It’s one she’s been in before, from a past attempt at her life. It’s almost something like a comfort, this familiar space that has seen her bruises, cuts, and scrapes.

The door swings open and she hears Kara behind her begin to make her exit. She doesn’t look up but when she catches sight of the red cape just by the bed, she holds up a hand and stops the movement altogether.

She only lets go when the doctor looks down from her clipboard and settles on the rolling stool, the creak of the leather as she rolls closer to Lena.

She allows the doctor to do what she does best, intently listening to the sound of the squeaking stool and the crinkling of the paper of the examination bed as doctor works.

A mild concussion, some cuts and bruises. It could have been worse, she’s told. It always could have been worse and she wants to yell at Dr. Shapiro that this feels pretty close to the worst. Still, she listens carefully as her doctor explains how fortunate she is for surviving after the second and third explosions completely decimating her office.

“Third explosion?” she asks, this information brand new to her.

“Mm,” the doctor hums. “The second blast was the reason for your concussion, but according to reports, the third blast was close to you and would have knocked you prone and done serious damage had you not found cover.”

Lena tries very hard not to twist her aching body and look over her shoulder.

“Thank you, Doctor.”

The doctor looks at her meaningfully before glancing over Lena’s right shoulder and placing a hand on hers, squeezing, and then letting go.

The door closes with a quiet click, but instead of an exhaled deep breath, she holds herself tense. She shuts her eyes and listens to the way the superhero makes just enough noise so Lena knows where she is. First, from the chair she’d been occupying, then the sound of boots against the linoleum flooring, then the swish of the cape as it catches against the corner of the examination bed and back down again.

“Where can I take you?”

She opens her eyes to the setting sun, to saltwater ocean, to a small smile she hasn’t allowed herself to witness in six months.

She doesn’t know what’s safest, what her family is planning, what the total damage is. She needs her phone, she needs access to her company, she needs—

“Can I go with you?” is what she says.

Kara studies her, like the horizon staring back, and nods. She opens her hand, the thumb loop of her suit wrapping around her palm, and offers it to Lena.

She takes it, sliding her unsteady hand in place and breathes when Kara clasps their hands together.

—

Kara’s apartment smells the exact same.

She does not comment on this, though it’s the most prevalent thought in her mind. Kara lets her walk in first, speeding to the lamps and switching them on until the apartment is bathed in faint golden light. Fitting.

“Get cleaned up. I’ll have some spare clothes for you right outside the bathroom.” Kara passes her a towel, and she hugs it to her chest.

The water scalds her skin, stings the open scratches and cuts. And she revels in it, her alabaster skin reddening under the downpour of it. She savors it until the shower sputters a little and the hot water becomes tepid then becomes cold. She squeals and jumps away, hitting herself against the side of the shower stall and knocking half of the soaps and hair products off the shelf.

Kara is there in an instant, opening the door and getting soaked herself, trying to protect her.

Naked and broken, she looks up to the setting sun that is Kara’s concerned face, and then she starts laughing.

“I—the hot water ran out.”

Kara exhales, that cold water matting down her hair on her forehead as she protects Lena from the downpour. “Sorry, I never did call the landlord about it.”

She turns off the water behind her and steps out of the shower stall to pick up Lena’s towel for her. She opens the towel and turns away.

You’ve seen it all before, she wants to say, but doesn’t. Instead, she takes the towel and wraps it around herself, the cold beads of water from her hair clinging to her neck, her shoulder blades.

Kara steps aside, offers her a shy smile, and leaves wordlessly. Lena listens to the way she walks around the apartment, the clattering of the plates on the table.

She steps out and smiles when she finds spare clothes placed on a stool right outside the bathroom door.

When she next steps out of the bathroom, she is wearing Kara’s oversized shirt with a faded cartoon drawing of National City State Fair on it and a spare set of her pajama pants that she didn’t realize she’d forgotten, she'd thought Kara would have gotten rid of.

The spread of Chinese food on the coffee table is modest, but familiar.

She takes a seat in the spot she once proclaimed as hers, and accepts the plate from Kara’s grasp. They eat in silence with only the sound of the television playing on in the background.

Kara watches her—studying her, Lena’s sure—but doesn’t say anything. She talks about her week because Lena had asked, and so she gives it to Lena. They clear their plates, then she trails after Kara to the kitchen, parking herself on the kitchen island. Kara seems to anticipate her and passes a pint of Cherry Garcia towards her with a spoon on the lid.

“Good for concussions, I heard,” Kara offers, a twitch of a smile on her lips.

She laughs at that, surprised, but accepts the ice cream, opening the lid and taking a spoonful. “That’s tonsillitis.”

Kara shrugs but takes a spoonful of her own Rocky Road on the opposite side of the kitchen island. So much of right now exists superimposed to how things had been before, how their lives had been so entwined, so integrated. It is unnerving as it is comforting, and Lena accepts that for today, at least, she has to accept the disorientation.

Eventually, “here. I charged your phone. I’d call Sam first, then Jess.”

There is distance between them, far greater than the kitchen island in front of her, and it shows itself for the first time now, here. After everything.

“Kara, I—”

“I need to fill Alex in on everything. Let her know you’re alright. I’ll be right outside.”

She nods, glances at her phone and the laptop that Kara slides across the kitchen island, and watches as Kara walks out the front door.

For a solid hour, she works through everything she can considering her mild concussion. She touches base with her assistant, with her team, and finds that they have taken care of everything for her. She sighs in relief, shuddering into her hands when Sam and Jess let her know that they have everything handled, that all they want for her is to rest, that the investigation into her family’s attempt at assassinating her might finally have some legs with some information they’d discovered during the cleanup.

She sighs, sniffling into the back of her hand and tells them goodnight before she closes her phone and sobs into her hands, the day finally wearing her down.

She doesn’t startle when arms wrap around her, the press of a strong body kneeling in front of her as she cries into the crook of Kara’s neck. She grabs fistfuls of Kara’s shirt as her tears soak through the cotton.

Kara only holds onto her, rubbing her back and gently cradling Lena in her arms. Soft shushing filters through Lena’s ears and she sobs further into Kara, hoping Kara can just absorb her entirely, as if that’s the only thing that can protect her—from her family, from the world, from herself.

Her sobs lasts and lasts, a never ending fountain of all the tears she’d shoved back in, a dam bursting now that she’s allowed herself.

—

Kara carries her to the bed, quietly ushering her under the covers just as she sits on the edge of it.

“You saved me,” she says, her voice coming out slightly congested.

Kara brushes her hair behind her ear. “That promise has never changed.”

“They’re never going to stop, are they?”

Kara shakes her head.

“I thought by letting you g—” she huffs, turns away. “I thought I was protecting you. I was trying to do the right thing.”

Kara grabs hold of her hand and places it on her lap, her fingers fiddling with Lena’s palm, but doesn’t quite look at her.

“I’m afraid that the only times I will see you, I’m trying to save your life. And I—it worsens when I think that I can’t make it.”

Lena watches Kara’s beautiful profile, the expanse of her forehead, the slope of her nose into the curves of her lips and down her jutting chin, trembling slightly in the faint light outside the bedroom curtain. Then she sees the bob of Kara’s throat, a single tear falling into the center of her palm.

Kara’s facing her now, and Lena brings up her other hand to wipe Kara’s cheek.

“I missed you, Lena. And I don’t know what I will do if I can’t make it to you in time, I—”

This time, it’s Lena who pulls her close, wrapping the arm that Kara’s been focusing on around her front as she cradles Kara in her arms. “I’m sorry, darling,” she says, voice hoarse. “I’m sorry.”

Kara then turns in her arms and they embrace one another, both hiding in each other.

The tears stain and soak her neck, but she lets it, welcoming Kara’s weight after months of being so untethered.

“Please, just come back to me,” Kara says into her skin, muffled words that hold so much promise. “Let me take care of you. Let me protect you,”

Lena pulls back slightly. “You’d still—you’d still want me?”

“Let me love you again, Lena.”

Unable to hold her own tears back, Lena pushes forward until their lips meet. She angles her head and Kara kisses her back, the pair of them holding each other.

There is an ache to their reunion, but there is healing, too. And Lena remembers, unbidden, Dr. Shapiro’s words. It could have been worse, she’d heard.

But Lena wants it to be better. She deserves at least that, for all of her troubles, and if her family will aim for her and all that she loves, then she can’t hide herself in the shadows.

“I’m sorry. I’m sorry. I love you.”

Tomorrow, she thinks, after the whispered declarations and the promises of more, of better, of a new day. Together.

“I’m here. I’m here. I love you, too. I’m here.”

#samfic #supercorp #inspired by a gifset #i'll post this on ao3 at some point i don't have time for now #anyway please enjoy #kara danvers #lena luthor #kara x lena #karlena #supercorp sunday #god this is riddled with mistakes #i fixed most of them now #god will i ever write the things im supposed to #listen listen i promise i'm working #ok love u bye

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comradekatara · 1 day

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sokka, katara, and the paradox of “the gifted child”

something i’ve noticed is a tendency to (mis)characterize sokka as someone who is dismissed due to being a nonbender, when that’s only partially true. sokka is certainly dismissed by some for not being a bender (namely, by benders), but i think there’s a key difference between being dismissed and not being valued in one specific way. katara was valued by her tribe for being a waterbender for the very crucial reason that she was the last one left. had she been a dime a dozen in her tribe, which would have been the case were it not for the systemic extermination of her people, she would not be valued as highly for possessing this skill. that said, while sokka clearly does hold some resentment over his lack of bending ability, calling himself “the guy in the group who’s regular,” i think it’s folly to assume that this means that sokka was dismissed and discarded as “average” while katara was put on a pedestal for being special. because while katara obviously was considered special, sokka is also clearly considered special by his family, merely in different ways. and if anything, sokka embodies the archetypal struggle of the so-called "gifted child” far more than katara does.

while sokka clearly believes himself to be disposable and intrinsically worthless, i don’t think that he was actively neglected by his family. even if katara was clearly marked by her bending as embodying the last hope of their tribe, that doesn’t mean that she was seen as more gifted than he was or was designated as her family’s obvious favorite. for example, the way hakoda talks about sokka (saying he trusted him with leading and protecting the tribe when he was thirteen, calling him a genius, and other such insanely high praises to heap on a child) shows that he clearly views his son as particularly exceptional and has never been shy about showing that. sokka is distinctly insecure around his father for assumptions he makes regarding hakoda's faith in his abilities and his insecurities when it comes to his perceived failure in not measuring up as a man, but from the second we meet hakoda, it's evident that these insecurities are entirely internal and completely unfounded, at least in terms of his father's perception of him. hakoda is nothing but incredibly proud of sokka, constantly emphasizing just how capable and brilliant he believes him to be. whether or not sokka is capable of internalizing it is another story, but it's clear that hakoda is not stingy in his praise and affection, not even a little bit.

moreover, while katara is clearly kanna’s favorite on an emotional level, she nonetheless affords sokka far more respect. she admonishes katara and tells her to do her chores, and notably, she also impresses the importance of “listening to her brother,” and backs up sokka’s decision to banish aang from the village. you can claim that sexism plays a factor in how sokka views his own supposed position of authority, but kanna is a woman who traveled the entire globe as a teenager because she wanted to escape patriarchal impositions dictating her life. she’s simply far too smart to treat sokka as any sort of authority within their village if she did not fully entrust him with that responsibility. she treats sokka almost like a peer, as if she is legitimately co-running the village with a fifteen year old boy.

katara is only a couple years younger than sokka at most, but her dynamic with kanna is very different. on one hand, kanna clearly sees more of herself in katara, can identify with her sense of adventure and rebellious spirit, but on the other hand, it means that she views katara as a child to be taken care of, who needs to be reminded to do her chores and bailed out when she gets herself into trouble. sokka doesn't want to be viewed as a child, and so he does everything in his power to position himself as kanna's equal rather than her grandson. he takes his duties and responsibilities very seriously, and is obedient to a fault whenever he is submitting to any authority he actually respects, especially his father and grandmother. to be honest, a lot of what katara considers coddling is probably just sokka never being bossed around by their grandmother because she never actually has to tell him to do his chores. because despite katara's claim that he simply faffs about "playing soldier," sokka's problem is actually that he takes himself too seriously for her liking. and with the exception of kanna saying "be nice to your sister," which is the kind of teasing a parent says to their child, she clearly respects sokka's position in the village. when katara tries to run away with aang, kanna takes sokka's side and forbids her from acting impulsively, but when sokka is the one who packs supplies and plans to save aang, kanna gives them both her blessing.

katara is the only person who takes umbrage with the notion of sokka running the village and telling her what to do all day. and those frustrations have likely accumulated up from a lifetime of being told to “do as her brother says” and “why can’t she be smarter and more responsible and levelheaded blah blah blah.” she clearly thinks that she’s punching up when she yells at or mocks him, which may seem crazy to anyone who understands that sokka’s entire identity and existence revolves around being katara’s protector, but katara doesn’t actually know this. in her mind sokka is merely the perfect child who has always represented this impossible standard of “genius.” and what's more, he's absolutely insufferable about it.

and to be clear, this isn’t to say that katara herself isn’t highly intelligent, capable, competent, and skilled. she’s not only an incredibly talented waterbender, but also clever, quick, witty, creative, resourceful, practical, mature, and thoughtful in other ways. at one point, toph calls her a genius (“a stinky, sweaty genius”). and she is, indeed, an extremely powerful and innovative waterbender, both due to her hard work, but also because she is genuinely brilliant. that said, she’s smart in the realistic way that a kid is smart; she works hard to be good at what she cares about (and she has an existentially devastating reason to care about being a good waterbender, mind you), and she’s also good at thinking on the fly when she needs to. however, unlike sokka, or even toph, her intellect may be impressive, but it isn’t astonishing. sokka’s mind functions completely anomalously. i wouldn't say he's unrealistically intelligent, because i do know some people in real life who are similarly adept at processing all kinds of different information with the ability to deftly apply it near-immediately, but it is certainly abnormal, both for real world standards and within his universe.

i normally bristle at this term and its applications (for multiple reasons), but since it is explicitly stated multiple times across the show, it is important to acknowledge that sokka is referred to as a genius multiple times, including by his father. katara is referred to as being a genius by toph for using her own sweat to waterbend (which, as hama points out an episode later, isn't even that clever because you can literally bend water from the air around you); conversely, sokka is referred to as a genius for helping to invent hot air balloons and for figuring out multiple escape routes from the world's most secure prison in less than a day. we don't know the exact timeframe under which katara trained with pakku and earned the title of master, but she clearly worked incredibly hard to earn that title, not only as a master, but as the greatest waterbender in the entire world. i assume it was any time between a few weeks and a little over a month in which zhao would organize a fleet to arrive at the north pole, which is, of course, extremely impressive in itself and a testament to her passion and determination. however, on the other hand, piandao claims that sokka has basically mastered the sword and is ready to make his own within less than a day. it's important to remember that katara is also brilliant in her own way, and possesses great skills that sokka lacks: not only bending, but also midwifery, and an ability to locate her own emotions and allow herself to be vulnerable with others, two skills which should never be looked down upon for their association with womanhood and femininity, and are also particularly impressive considering just how young katara is. she is brilliant in her own right, and in any other family, katara would easily have been "the smart one." and yet, sokka is simply in a league of his own.

so, yeah, he can stand to get thrown around and yelled at; everyone her entire childhood just kept on impressing how special and perfect and brilliant he is, he can handle it. she has no idea that he is depressed, depersonalizes, loathes himself, and thinks he’ll never be good enough, because he never actually communicates any of that to her. the closest he ever comes is admitting that he’s jealous due to not having bending abilities, and even that shocks katara, even though it’s such a small and obvious admission in the scheme of things. she has no idea what’s going on with him psychologically, how he views himself in relation to others, and specifically in relation to her, so she kind of just assumes he’s entitled because surely he must know how special he is and thus feels owed accolades by the world at every turn. he deserves to be humbled, and she is in fact righteous for humbling him.

when she makes fun of him for being stupid or miserable or paranoid or cynical, she thinks she’s owning him the way a righteous underdog fights against an oppressor. it's similar to how zuko wants to "put azula in her place." in katara and zuko's minds, they are both the valiant underdog siblings who had to fight and struggle against the siblings for whom everything came so easily. and in katara’s mind especially, she is always punching up, and she always has a moral justification in lashing out at anyone she pleases. so she couldn’t fathom that the reason sokka puts up with her antagonism without complaint isn’t because he’s so above her that he can simply ignore her taunts and gibes without a care (if that were the case, he wouldn't bother to taunt and gibe in return), but rather that he feels so detached from his own personhood that he would never think to actually explain his feelings to the person whom he has defined himself through since childhood. and if he did ever, somehow, communicate that to her, she’d have to reevaluate their whole entire lives and dynamic. but he never will communicate that to her, so she’ll never actually have to do that.

moreover, even though katara often does tease sokka and cast doubt upon his competence and abilities in low-stakes situations constantly, whenever they are actually facing a real problem that requires an immediate solution, katara seems to forget that sokka is supposedly an unhelpful, lazy, immature idiot because she immediately turns to him to fix all their issues. and then once that issue is resolved, katara goes back to finding his existence bothersome. sokka, on the other hand, falls into this role of problem solver instinctually, with the one exception that when they actually name him as the idea guy, he jokingly complains that it’s a lot of pressure to be one who is always expected to come up with solutions. and while he is joking during that conversation in “the drill,” he’s being honest to an extent, because his perfectionism and fear of failure is truly dire.

when katara is faced with failure, whether as the consequences for her own actions or otherwise, she simply gets back up and tries again. she can’t be knocked down, she can’t be deterred from achieving her goals. she has a very healthy approach to making mistakes, and while she doesn’t always learn from them in the longterm, she does always try her best to fix them and amend the situation as immediately as possible. katara is someone who is incredibly resilient and is constantly demonstrating the sheer magnitude of her inner strength, especially in particularly difficult moments. she has the ability to fail as many times as it takes without letting that failure affect her own self-esteem or desire to keep striving for what she believes in.

sokka, on the other hand, is very physically resilient (he gets beat up a lot), but his emotional resilience is actually quite pathetic. he has no tools for coping with failure. from even the slightest mistake, like not actually being able to open the doors at the fire temple with his makeshift explosives, to a catastrophic one, like his failed invasion, sokka immediately retreats inward. in “the boiling rock,” sokka demonstrates how his first ever real failure that rests squarely on his own shoulders is so devastating to him that he becomes totally irrational and suicidal in an attempt to “rectify” the situation. he does not know how to cope with failure, because he expects himself to be perfect at all times. and it’s not because sokka is overly proud, but rather that his guilt complex is so profound that he blames himself for every single thing that goes awry at all times, even when it isn’t actually his fault whatsoever. so that guilt and shame is magnified a thousand fold when sokka is actually culpable for those losses.

one of many ways in which it is evident that sokka is the older sibling is that he clearly lives with the mentality that if katara messes up or gets herself in danger due to her own impulsive inclinations, it’s always actually sokka’s fault for not being a better, more attentive brother. when she sets off the booby trap in the banned ship, sokka banishes aang from the village so as to protect katara from herself. when katara experiences the consequences of heedlessly blowing up a factory, sokka gets mad at her for her recklessness, but also immediately finds a way to help her fix this situation, because that’s his job, and in fact, his primary purpose on this earth. this is a dynamic sokka has probably internalized even before he was assigned the role of her sworn protector, because that’s just how being the eldest is.

sokka’s tendency to take responsibility for everyone else’s mistakes and his desire to shoulder everyone else’s pain at all times, coupled with his implicit belief that he, uniquely, cannot afford to mess up ever (if other people make mistakes it’s fine and he can help them fix it, but if he makes mistakes he no longer has a purpose on this planet, goodbye cruel world), definitely indicates that he was held to an incredibly high standard all his life. he expects himself to be able to handle a lot of responsibility with perfect ease because he always has. he isn’t used to making mistakes of any kind. if he puts his mind into learning a new skill, he always masters it within a couple of days, whatever that skill happens to be. unlike katara, sokka is used to things coming easily to him, and what he isn’t used to is failure.

katara and sokka are both exceptional, of course, but in very different ways, and for very different reasons. katara grew up with a lot of external pressure to excel as a waterbender, because she needs to embody her cultural legacy and prove that her mother’s sacrifice was not in vain. it’s an unfathomable burden to place on a child, and the rate at which she improves her waterbending once she is actually given the resources to hone her skills is a testament to her perseverance and untiring dedication. katara becomes the greatest waterbender in the world not because she is a natural prodigy (which is something she bristles at when aang does display prodigious skill), but because she is incredibly determined and no one can outmatch the strength of her heart and unshakable commitment when she is pursuing a goal. as pakku even says, raw talent isn’t everything, and katara’s abilities prove that despite not being “naturally gifted,” hard work and determination is far more important when it comes to excelling in any given domain.

however, if katara’s motivation to be excellent is externally imposed by the tragic circumstances of her life, sokka’s motivations are, at the very least, internally maintained. as aforementioned, i have no doubt that he received a lot of external validation and praise from the adults in his life as a child with a dazzling, brilliant mind. as has been established, sokka is constantly displaying an ability to synthesize new information at a staggering rate, which likely means that before katara had even discovered her ability to waterbend, sokka was probably being fawned over for the impressive rate at which he was picking up new skills as a baby. since pretty much everything (cerebral, at least) comes easily to sokka, i can only imagine that hakoda, who never hesitates to express to his children how proud he is of them, would constantly affirm sokka’s intellect. and by boasting that sokka takes after himself (hakoda also refers to himself as a genius, completely sincerely), he unwittingly plants the first seeds in fostering sokka’s belief that he must be exactly like his father in every way, and that any deviation from hakoda’s image would prove him unworthy. but he will never be the spitting image of hakoda the way that katara is "the spitting image of kanna" because sokka is already the spitting image of kya, if not – perish the thought – his own person entirely.

unlike katara, who spent her whole childhood trying to waterbend by herself with little success (beyond, of course, isolated instances demonstrating her sheer raw power when her bending was being influenced by her incredibly strong and passionate emotions), sokka always felt like he could handle the amount of responsibility he was given, because everything came easily to him. until the day that his life changed forever, and suddenly the stakes were no longer abstract, but tangible and personally devastating. sokka had never learned that it was okay to fail as a child because he never had a reason to, and then suddenly, he could not afford to fail under any circumstances. failure of any kind went from being a (purely hypothetical) blow to the ego, to being something that could directly endanger the lives of his loved ones. and so sokka decides that the only way to not be culpable for his potential failures is to be a martyr.

of course, there are instances in which sokka is proven to be inept, such as on kyoshi island or with piandao, wherein his humility and open-mindedness are put on display and sokka puts aside his own standards of perfection to learn from a master, but i don't think these instances qualify as failures. for one thing, sokka happens to master the forms he is being taught in less than a day, at an unprecedented rate, and thus these initially humiliating blindspots in his knowledge become victories as sokka absorbs new knowledge. sokka is always eager to learn, and willing to acknowledge his lack of expertise in area, humbling himself to learn from others any chance he gets. no, what i mean by "failure" as it relates to sokka's self-perception and ego is not a lack of knowledge, but an inability to protect another. to sokka, his existence is defined by his ability to provide and protect, and thus, a failure is, specifically, when someone gets hurt under his watch. that is what it means to not be able to afford to fail. he is not overly proud (if anything he is overly insecure), but he also understands that the stakes of failure – real failure – are tangible.

so when it comes to failure that carries grave consequences, he would rather be dead than fallible (or, responsible for not adequately protecting his loved ones), one million times over. and so every time someone makes a sacrifice for him, he feels as if he has failed on a fundamental level, because simply being exceptional is not enough, he must also bear the entire world’s suffering alone – as (in his mind) hakoda instructed him to when he left him behind to protect and provide for the village. otherwise he has failed in his promise to be needed, which is his raison d’être. sokka’s complex is very obviously not informed solely by his upbringing as a “gifted kid,” and in fact largely informed by the dehumanizing logic of war as it necessitates sacrifice, but his inability to accept his own fallibility as a product of his self-dehumanization is, at the very least, compounded by his debilitating perfectionism.

thus, katara and sokka's dynamic within their family isn’t “gifted kid and neglected kid,” but rather “two gifted kids who are gifted in different ways, one of those ways being valued more on a cultural level due to its scarcity as a byproduct of genocide.” while katara was put on a pedestal her entire life due to her ability to waterbend, it doesn’t mean that sokka wasn’t put on a pedestal in other ways. if anything, the reason hakoda entrusted a child with the burdens he did was specifically because he put his son on a pedestal. sokka assumes that hakoda didn't think he was capable enough to join his army, but that couldn't be further from the truth. hakoda trusted his thirteen year old son so much that he genuinely thought it best to leave him alone with this duty to defend his village and protect katara at all costs. he didn't leave a single man behind, not even the other teenage boys, because that's how much faith he had in a child to take his responsibilities seriously and perform them competently. and if that decision gave sokka one million different complexes and fucked him up for life, it wasn’t because he wasn’t valued for his abilities, it’s because he was overvalued and given too much responsibility at too young an age.

both he and katara struggled to live up to the expectations placed on them, forced to fulfill the roles of their parents instead of being allowed to exist as children. but crucially, katara sees the injustice in that, and clings to her childhood even as she strives for greatness, and sokka simply doesn't. he's long accepted that injustice, and in fact feels guilty that he cannot better live up to the impossible portrait of an idolized father, an idealized masculinity, an illusory model of the infallible, unshakeable warrior. despite all his achievements and natural giftedness, he nonetheless feels totally inadequate, deeply flawed, and ontologically worthless. perhaps, in a world beyond the pressures of war and its dehumanizing logic, sokka would have internalized the praise he was constantly receiving his whole life for his gifts. but since he was only ever a prodigy in ways that didn’t matter (within that colonized paradigm), he doesn’t actually care about how clever and brilliant and creative and talented and unique and special he is, because that would first require him to see himself as fully human, and he can’t even do that.

#analysis #sokka #katara #katara&sokka #hakoda #kanna #kya #hakoda&sokka #kanna&sokka #kya&sokka #kanna&katara #whew...! 20+ paragraphs about sokka and katara’s childhood. it’s more likely than u think (highly likely at all times)#see but this is why sokka is so clearly a mirror to azula to me #like not just in terms of crippling perfectionism and devastating fear of failure and being a child prodigy who is put on a pedestal #but simultaneously dehumanized etc etc #but also the fact that like. zuko treats her the same way katara treats sokka #he clearly thinks his immediate hostility and aggression towards her is like. him nobly fighting the battle against his tormentor #when that is literally his little sister and she is struggling so much and desperate for support from LITERALLY ANYONE #katara and zuko are like ‘let’s put azula in her place’ and high five #and that’s just so fucking apt because they truly do believe that it’s their duty to put their perfect prodigy siblings ‘in their place’#but those are truly two of the most miserable people on the planet #so to any outside observers it’s just like………. why are you being mean to them they’re literally suicidal and shaking like a leaf #but also everyone already knows that azula is the prodigious gifted sibling bc zuko says it like one million times #so there’s rly no need to argue that #whereas katara loves calling sokka an idiot so i do believe that some clarification is in order #but like. yeah there’s no way sokka was dismissed or neglected as a child #he’s dismissed and neglected by the world at large #but within his tribe he’s like a mini celebrity . he’s their young sheldon (sorry)#anyway im running out of room to write tags but um. perfectionism is a disease get well soon xoxo bye

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