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likealittleheartbeat · 4 years

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I deeply appreciate how ATLA depicts all the main characters responses to trauma. Aang’s, for me, however, stands out for its rareness in media. And we are not hammered over the head with the idea that Aang (or any other characters) repeatedly act certain ways because of a single traumatic event. Sure, there are key moments in our lives when a certain event comes to the forefront, but no one experiences the world as constant flashbacks. Rather, we see only in retrospect the way our sarcastic sense of humor or our heightened friendliness were protective responses to a deep emotional injury. Being able to understand Aang’s approach to loss is essential for the show. The structure of the series is founded on his arc (despite an incredible foil provided by Zuko). Our little air nomad initially confronts the loss of his people with a full-on meltdown in the episode “The Southern Air Temple,” where Katara’s offering of familial belonging soothes him. But this kind of outburst is not Aang’s primary response (and actually the literally out-of-character apocalyptic tantrums align with Aang’s overall process of grieving). Instead of constantly brooding (hey Zuko!), Aang leans heavily toward the monk’s pacifist teachings and toward his assumed destiny “to save the world.” He becomes overtly accommodating and joyful, constantly trying to see “the good” in everything with a perfectionist’s zeal. This is not to ascribe his bubbliness only to his trauma. Rather, he comes to emphasize this part of his personality for reasons related to the negative emotions he struggles to face. Book 1: Water

In the first season, Aang is simply rediscovering his place in the world. “Water is the element of change. The people of the water tribe are capable of adapting to many things. They have a sense of community and love that holds them together.” This is vital to Aang as he initially faces his experience. He won’t get through this if he is not prepared for his life to change. Even if he hadn’t been frozen for 100 years, his world would never be the same. This fact involves eventually finding new people that he feels safe with. After such a massive loss, he’s learning who to trust, and also often making mistakes; not only does he find Sokka and Katara (and I’d argue he’s actually slow to truly open up to them), this is the season where he helps save a fire nation citizen who betrays him to soldiers, befriends the rebel extremist Jet, and attempts to befriend an actively belligerent Zuko (his moral complexity had only JUST! been revealed to the kid!). He’s constantly offering trust to others and seeking their approval in opposition to the deep well of shame and guilt he carries as a survivor of violence. This is also the season where Aang swears off firebending after burning Katara in an overeager attempt to master the element (one will note how fire throughout the series is aligned with, above all else, assertiveness and yang). Aang is so eager to be seen as morally good to others that he refuses to risk any possible harm to them. And asserting himself carries a danger, in one sense, that he might make a mistake and lose someone’s positive regard, and, in another sense, that he is replicating the anger and violence he’s witnessed. He has no relationship to his anger at this stage of his grief, so it comes out uncontrollably, both in firebending and the Avatar State. It’s through the patience of his new family that he can begin to feel unashamed about his past and about the ways his shame is finding (sometimes violent) expression in the present. Book 2: Earth In the second season he begins to trust himself and stand his ground. Earth, after all, is the element of substance, persistence, and endurance. The “Bitter Work” episode encapsulates how Aang must come to a more sturdy sense of his values. First, there is the transition of pedagogical style. While Katara emphasized support and kindness, Toph insists on blunt and threatening instruction, not for a lack of care towards Aang. Instead, it’s so Aang learns how to stop placing the desires of others above his own--to stop accommodating everyone else above his own needs. Toph taunts Aang by stealing one of the few keepsakes from the monastery that he holds onto. This attachment to the lost airbending culture is echoed in the larger arc with Appa. And, by the end of this episode, it is Aang’s attachment to Sokka that allows him to stand firm. This foreshadows the capital T Tragic downfall in the “Crossroads of Destiny.” Aang gives up his attachment to the other member of his new found family, Katara, despite his moral qualms. Although he has access to all the power of the Avatar state, his sacrifice is not rewarded. Season 2 illustrates Aang coming to terms with his values. He is learning about what he stands for, what holds meaning to him. Understanding himself also includes integrating his grief, and there’s a lonely and dangerous aspect to that exploration. We see Aang’s anger and hopelessness over longer stretches rather than outbursts in this season. It’s hard to watch and hard to root for him. That depressive state leads to actions that counter his previous sense of morality, as he decisively kills an animal, treats his friends unkindly, and blames others for his loss. Letting these harsher feelings emerge is an experiment, and most people discover their boundaries by crossing them. Finding ways to hold compassion for himself, even the harm he causes others, is the other side of this process. Our past and our challenging emotions are a part of us, but they are only a part. Since Aang now has a strong sense of community and is learning to be himself rather than simply seeking validation, we also see him having more healthy boundaries with new people. He’s no longer befriending villains in the second season! He’s respectful and trusting enough, but he’s not putting himself in vulnerable situations nor blindly trusting everyone. Instead, he’s more likely to listen to his friends’ opinions or think about how the monks might’ve been critical towards something (they’re complaints about Ba Sing Se, for example). By knowing what he cares for, he can know himself, the powerful, loving, grief-struck monk. And he can trust that, though he might not be everyone’s favorite person, he does not need to feel ashamed or guilty for who he is or what he’s been through. Book 3: Fire However, despite a sense of self and a sense of belonging, Aang and the group still find themselves constantly asking for permission throughout their time in Ba Sing Se. It’s in the third season, Fire, that initiative and assertiveness become the focus. And who better to provide guidance in this than the official prince of “you never think these things through,” Zuko. It’s no longer a time for avoidance or sturdy defensiveness. It is the season of action. Fire is the element of power, desire, and will, all of which require us to impact others. We see the motif of initiative throughout the season: the rebels attempt to storm the Firelord on the Day of the Black Sun; Aang attempts to share his feelings and kiss Katara; Katara bends Hama and a couple of fire nation soldiers to her will. In each of these examples, the initiators face disgrace. Positive intent does not bring forth success, by any means, only more consequences to be dealt with. This is perhaps Aang’s biggest challenge. He is afraid that his actions will fail, or worse, they will succeed but he will be wrong in what he has chosen. The sequencing in the series, here, is important. We have already seen how Aang has worked to care for (and appreciate) the well-being of others and how he has learned to care for his own needs. With this in mind, he should be able to trust that his actions will derive from these wells of compassion. But easier said than done. Compassion can also trap him into indecision, hearkening back to his avoidant mistake in the storm, in which the whole mess began. Aang’s internal conflict, here, becomes more pronounced as the finale draws nearer. I think it’s especially significant that we witness Aang disagreeing with his mentors and friends. He must act in a way that will contradict and even threaten his sources of support if he is to trust his own desires. Even the fandom disagrees about the choice Aang makes, which further highlights the fact that making a decisive choice is contentious. There is no point in believing it will grant you love or admiration or success. For someone who began (and spent much of) the series regularly sacrificing himself just to bring others peace, Aang’s decision to prioritize his own interests despite the very explicit possibility of failure is the ultimate growth his character can have and the ultimate representation of him processing his trauma. (This arc was echoed and made even more explicit in many ways with Adora in the She-ra finale.) The last significant time Aang followed his desire, in his mind, was when he escaped the Air Temple in the storm. To want something, to trust his desire and act on it, is an act of incredible courage for him, and whether it succeeded or failed, whether anyone agrees or disagrees with it, it offered Aang a sense of peace and resolution. Now I appreciate and love Zuko’s iconic redemption arc, but Aang’s subtler arc, which subverts the “chosen one” narrative and broke ground to represent a prevalent emotional experience, stands out to me as the foundation for the show I love so much.

#aang #avatar the last airbender #trauma #ptsd #cptsd #atla #atla meta #zuko #redemption arc #adora #spop #catradora #catra #also no one will read this far in the tags but this is phoebe buffay's arc on friends

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allywrites360 · 4 years

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Fanfiction Commentary

I’ve seen some people do this is the past, and I thought I’d give it a shot!! So here’s some context/backstory/analyses of my writing! I’ll only be including pieces written over quarantine; starting on march 29th. A lot of these talk about more ideas to expand one shots, so you can always send me an ask if you wanna hear more!!

Calm in the Storm - Inspired by this beautiful piece of fan art by one of my friends. I wrote it as a surprise while we were talking.

Reunited - This was a piece that was originally intended to be the ending of an entire work made up of letter between Cass and Varian. I’d been wanting to write it since the show’s finale, but since I’ve never done a story outside of the more traditional style, I just stuck with this one shot.

City Sounds - Written just after a thunder storm near where I live; and mostly inspired by that.

In this passage, “His vision finally coming into focus, Race was facing the freshly burnt out candle from the night before, topped by a trail of smoke curling up into the early morning air of the lodgehouse until it disappeared. Laying there in the sky’s soft light, Race couldn't help but smile, despite the lack of sleep from the night before. It wasn't often the newsies talked about nights like those, but he knew they meant as much to him as they did his brothers,” the candle is meant to be a metaphor for these brothers creating light for one another, hope, when there seems to be none.

Weightless - Written when I was in the car outside the grocery store. Proof that writing can take place anywhere, if you’re dedicated to making time for it.

Painted Skies - I let this piece be led entirely by emotion rather than a set outcome. I always compared Sokka and Suki’s relationship to the sun; passionate and filled with light, and this was my representation of that.

There was a cut piece of dialogue from this, which I really loved: “Kyoshi Island is my home,” Suki said softly, “And the South Pole is yours. It isn’t fair for either of us to give that up.” -- Sokka smiled softly in response, “But you’re my home too.”

The Game Begins - One of my friends requested I write Zuko, and another mentioned laser tag, and thus, this fic was born. I typed out most of the outline for this fic on a walk to my friend’s house (and yes, I was late, haha). The end is also inspired by conversations my friends and I have had at arcades in the past;

Hold Me Too Tight - Not really ‘behind the scenes’ per se, but the title is taken from ‘As Long As You’re Mine’ from Wicked. One of the most endearing things in a relationship for me is when one person knows there’s nothing they can say to make the other person feel better, but they support them anyway. And that’s especially reminded me of Sukka; just look at The Boiling Rock.

Fountains - I’d never written for Jin before, nor do I really ship her with Zuko (they were cute, but honestly, single dad Zuko for the win), but my friend really wanted some content of them, so I obliged. Which meant rewatching Tales of Ba Sing Se, and making a list of Jin’s character traits. It was actually kinda fun.

A Million Miles Away - This is definitely part of a longer fic. I have a whole notebook filled, just with rough outlines and details. I was watching another cheesy royalty movie, and while I love royalty stories, I always hated the conventional ending. Royal doesn't want to be a royal, has an arc, then takes the throne. And I wanted a different ending. What if they’re not right for the throne? What if they just can’t take the pressure? What if they run and never look back? And thus, this fic was born. Super passionate about this one.

Summer Nights - This is the longest fic I’ve written so far!! And wow, was it fun. This started out as an idea for a screenplay, but after a day at the lake with my friends, I couldn’t resist writing it out in full, specifically the opening scene with Suki by the ocean. There were a few things I liked/challenged myself with in this fic; the first being ample foreshadowing for Suki’s big reveal at the end, hopefully without making it too obvious. The other was using less page breaks and adding transitions!! I had a lot of fun with the fluff here.

Quiet Nights - Character studying as a fic. And a bit of angst. After so long spent together, I always imagined it’d be hard for the gaang to be alone again. I really loved delving into Sokka’s emotions here. Also, the writing advice to only put in to the frame of your story what tells us something about a character was actually used here!!

“He looked around the room that he had spent so long away from, every detail of it committed to memory. There was the dresser, crafted from long worn wood, that he had carved Water Tribe symbols into years ago that he could trace easily in his mind. The facepaints his dad had made him lay on top of it, and he could tell without walking over there which container held which colour. There was the place he always threw his coat into the corner, never really bothering to hang it up. So why did it feel so strange… unfamiliar now?” The carving shows Sokka’s creative side (as well as more Indigenous crafts), the face paint is symbolic of Sokka trying to live up to the other warriors, and the thrown aside coat shows his more carefree side.

Secret Moments - Another Jin and Zuko fic. My friend asked for a sequel to Fountains, and she had a bad day, so I typed this out really quickly.

Walking in the Rain - I was listening to ‘Walking in the Rain’ from Beautiful: the Carole King Musical, and I got really inspired to write this. I’ve always loved rain; it’s my favourite weather, and I thought it’d be nice to see more positive descriptions of it in fanfics.

Grounded - Rather than the long, flowery prose I usually prefer, I intentionally used short, choppy sentences to convey the spiralling emotion they were feeling. I also used repetition to hammer home the tension, as that’s something that happens when you’re panicking. The emotions here were amazing to write, though. And I was really proud of the ending.

Falling Snow - I’ve been planning this fic since Christmas, yet I finally decided to write it in August. One thing that I purposely did in this fic was juxtapose Suki’s description of the cafe. at first, it’s too hot, and crowded, but after she settles in a bit, and meets everyone’s favourite sword bender, it’s more cozy.

Unfamiliar - This was my first time doing a character study of Suki, and let me tell you, I love her so much more now. I loved exploring her emotions outside of her relationship as well. And I always imagined her as the type to not ‘waste her time’ on someone who wasn’t her soulmate, hence the sentiment ending the first half of the story.

As for the latter half, entering around Sokka, I had always had the head canon that he kept the Kyoshi Warrior face paint on until sundown, holding on to the last fragment of that place as long as he could. Just added a little soulmate flair to it. And also, the parallel of him and Suki both knowing the pressure of being a leader is always amazing.

I’ll See You Around - I’ve always said Hugo is (one of) my favourite characters of all time, but I only now got around to writing him. And let me tell you, it was a blast. Normally it takes me a while to jump into a character’s body language, but for Hugo, it just flowed naturally. Maybe it’s because I’ve spent so much time reading him.

I’d also listened to ‘My Petersburg’ from Anastasia, which is such a Hugo song, by the way, and I think I was subconsciously inspired by the lyric, “Funny when a city is all you know, how even when you hate it, something in you loves it so.”

Home is Where the Heart Is - I wanted to try a different proposal for Sukka Week 2020, and I always imagined them to get married (or at least engaged) soon after the show, so I typed this up. Their relationship is what true love looks like, and I think they both know that the other is it for them. Why wait? Plus, getting married is one of the only ways for them to be together (paraphrased from an interview with Kara Lindsay).

Partners - I was watching Brooklyn Nine Nine, and made a comment about Sukka being pretty similar to Amy and Jake, and decided to type up a rendition of the ending scene from The Bet, but with these two. The ending doesn’t make total sense logically, but it was exciting/interesting to me, so I decided to just go with it.

Closed Distance - Rather than a serious piece for the prompt, ‘Letters’, I opted for the more comedic route. With an angsty characters study of Suki at the beginning, because I’ve fallen in love with her character all over again.

Always Come Back - (Sorry guys, no link yet. It’ll be up September 3rd for Water Sibling Week!!). After a post talking about the symbolism of Sokka’s weapon being a boomerang; something that always came back, when he was left behind more than once, I decided to set this whole fic around that metaphor, including these passages;

“The weapon came back, but this time Sokka didn’t catch it. It slammed against the tips of his fingers before slipping through, landing beside him on the small cliff. He drew his wrist back, hissing slightly as he shook it out, impact echoing through his arm.”

“He put his arm around her shoulder, pulling her closer to his side. Katara moved her head to rest against his shoulder. Without saying a word, she picked up his boomerang, setting it back into his hand.”

Symbolic of Sokka allowing someone else to take on the role of ‘protector’, if only for a moment. And someone helping by ‘coming back’, when maybe he couldn't make it all the way himself. (Would’ve loved the ending to involve Suki, but I was writing for the water sibling event week, so this ending’ll do).

#This is more for me than anyone else #but if you've read this far thanks!!#Feel free to ask me about any of these you wanna hear more about!!

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