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rockpaperimpala · 2 months

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So about Netflix's the Last Airbender....

I am literally so confused you guys. You made me think I would HATE this show. And I LOVED it. Me. Known perfectionist and hater.

Katara was lovely. Yes, she started as a more soft spoken character than her cartoon version, but she was still passionate and hopeful throughout, just visibly unsure of herself. I think people were thrown off by this actress' natural way of expressing herself, which is Different from animated katara for sure, but not bad. Then she spends the whole season growing in Confidence and Fire. I Adored her fight with Paku, it really did feel like a payout of the whole season's development, and the bending kicked ass!

The Bending Kicked ass!!! The martial arts was fun and fast and creative and exciting! It looked SO good. That alone would be enough reason for me to watch and enjoy any show.

Zuko's actor was fantastic. He really captured the rage and confusion of this 16 year old banished prince. And there were so many Added moments between him and Iroh wich to me enriched their relationship. Like YES! This is why I'm watching, to see more of them, to see things done a little differently.

Iroh facing the consequences of his actions at Ba Sing Se!! That's what I'm here for!

Zuko's relationship with the men on his ship! That's what I'm here for!

The Extra layers we get to Ozai manipulating his children!

Also no one is talking about Admiral Zhao, who I had SO much fun with. I feel like they slightly fleshed out his character in a really dramatic way, really developing the hubris and frankly insane grasping ambition of someone who would kill the moon. I completely enjoyed this wilder, less controlled version of him, who comes up through the season from basically nothing and no one!

I am OBSESSED with King BUMI and his anger and disillusionment with the world! Like this was SO real. Living a hundred years of futile war would do that!!!! It is one of my favorite changes to the whole series. This new layer of emotion and character depth is what I'm here for!

Sokka was SO funny. He literally had me laughing out loud so often. That actor GETs Sokka, and GETS the way his humor is delivered. And is also able to tap into the more vulnerable side of him. People said he was "obsessed" with leadership. WHAT? That is a young person trying desperately to do his best and to try and find his place in the world, to figure what he has to offer. I loved his pride at hearing the Mechanist say that he would make a good engineer, and the sweetness of the moment that Yue's father says that he can be a hero without being a warrior. Sokka does so much growth in this series, in understanding himself and life.

And his chemistry with Suki was adorable!! I even like him and Yue (who was a totally unexpected sweetheart, despite her terrible wig)!! Like he has that same ability that Sokka has in the original to Connect with people.

Aang was great! He WAS fun loving and sweet and funny. I don't know what you guys wanted. Cartoons are always bigger and more exaggerated than live action. People's eyes swell up an, birds fly around their heads, and there are funny sound effects. That larger than life quality is the strength of animation! You have to look for different strength in live action. Like the SUBTLETIES of the acting choices. This little actor brought so much kindness, innocence, and strength to Aang.

And I FELT his frustration at being asked to do this at 12, his fresh hope anytime it looked like someone more experienced would be able to help him and no one did, and that's why he didn't learn waterbending this season, because he kept waiting for an freaking ADULT to show him the way, to help him carry this immense burden, but every adult he meets asks him for help instead, asks him to carry it himself, and then the finale hits and he realizes that there won't be any adults helping, he does have figure this out himself, and he makes the hard choice, takes on responsibility more than his years and offers himself to the ocean spirit, and he might have been lost entirely if not for Katara!

And that counter running theme to the show pays off: that he doesn't have to do it alone. He may not have more experienced guidance, because the adults have let him down again and again, but his friends will be with him, and they will figure it out together!

This is there throughout the series! Katara tells him this about learning waterbending, when he says he still wants to wait. Bumi tells him this in the palace at Omashu, and Aang sees the faith he has in his friends repaid!

I like these changes! And the show still found time for silly fun adventures and character building moments.

The show was never going to be the animated original. That is already a Masterpiece, and it frankly did NOT need to be adapted at all. I did not WANT a live action adaptation. I was adamantly convinced I would hate it. But the changes that they netflix show gave are what I Iike most about it. If I want to see Zuko say "you rise with the moon, I rise with the sun," I will go watch the animated original, because that version is perfect. And now, if i want to see Zuko say "Lu ten would have been proud to have you as a father," and see iroh pull him into a tight hug, I can watch this live action version, which is very good too. I'm going to disagree with most of the people on here and say that the Netflix's Avatar: The Last Airbender, DOES capture the heart of what we liked about the original show. It's spirit, fun, excitement, and characters. And the changes made are the reason we should be watching.

#avatar the last airbender #natla

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bloodbenderz · 1 month

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there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad

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ittsybittsybunny · 2 months

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ATLA Live Action Series Review:

The Good

Aesthetically this show felt right. Sure sometimes the outfits didn't quite feel lived in, but I always felt like I was watching a fantasy world with decent effects and interesting design. Also, I really enjoyed the sets!

Bending: Yes some of the fights feel very quick, but the bending looks cool. It is certainly better than 10 benders lifting one big rock. I can honestly say the opening bending fight scene gave me so much hope for this show.

Kyoshi Warriors: I loved seeing them in live action, and I thought Suki's performance was great!

Omashu: I think the mashup of the mechanist made sense since that is an important character overall and I would hate to see him cut. However, both Jet & the secret tunnels felt sloppily thrown in.

Northern Water Tribe: I really loved the way it looked, and appreciated the two episodes we spent here. I think Yue gained more agency in this interpretation, and why shouldn't the moon spirit be a waterbender. Also, episode seven felt the most in tune with the original show's spirit.

Zuko: I think he was one of the most fleshed-out and best parts of the show! Dallas Liu really captured Zuko's spirit, and the scene between him and Aang in episode 6 was wonderful!

Soundtrack: Hearing the original soundtrack bits is always great, and when I first heard the ending music I was so excited.

Is the show perfect, no - but I wouldn't mind a season 2.

The Bad

Pacing: Turning 20 episodes into 8 was bound to lead to some cuts...but oftentimes times things felt too quick or disjointed. I think there were editing problems contributing to this for sure, but sometimes things skipped around too much without a clear purpose as to why. Also, why bring in plots from later seasons when you barely have enough time already?

Writing: This show definitely suffered from exposition dumping, though it did get better as time went on. I think the biggest example of this is actually opening in the past rather than the present. We do not get to learn along with Aang that the world has changed, instead, we get to learn that 100 years have passed....which doesn't hold the same tension or worldbuilding.

Clunky Dialogue: Along with exposition, clunky dialogue is another example of bad writing. I think sometimes I felt like the acting was kind of meh in the beginning, but then over time I began to realize it had far more to do with the lines characters were trying to deliver. The actors themselves are not bad, just cursed with awkward writing and lines that feel out of touch with the setting they're in.

Main Trio: I don't entirely know that I believe Katara, Sokka, and Aang are friends as opposed to 3 people stuck together to save the world. Aang feels a little too somber for a young kid running away from his responsibilities, Sokka is protective, but not exactly the heart of the team, and Katara is sort of just there until the last two episodes. Where is her struggle, her desire to learn so strong she steals from pirates? Also, while Gordon Cormier did a great job, Aang does zero waterbending on his own, is overly serious, and tells Katara not to fight. Where is his desperation to protect his friends? It feels like they all lost emotional depth.

Tension: Bringing Ozai, Azula, and Zhao out in the beginning immediately causes us to lose the realization there is an even bigger bad. Part of why Ozai is so terrifying is he is a primarily silent villain until the third season when we finally see the face of the "big bad evil guy" behind it all. Yes, they add to Zuko's backstory, but again, they are revealing the villains too early. Azula is the antagonist of season 2 and one of my favorite characters, so I hope they do more with her in the future. Finally, Zhao is supposed to be an example of the uncontrollable nature of fire unrestrained, instead, he comes off as vaguely threatening with the supposed true power being Azula.

Characterization: While all characters are bound to lose something in a shorter show, it still felt like certain characters were more mutilated than others. I am sure there are 100 different opinions on who, but I think the biggest victim was Katara.

Katara: Katara manages to go from a complete novice to a bending master in what feels like a matter of days. The journey feels short, and that makes the results feel largely unearned. Katara is one of the strongest personalities in the show, determined, kind, and fiery. In many ways, she is the unpredictability of water - equally dangerous as it is necessary to live. She is the child of a war who lost her mother, forced to grow up too soon, and even raised her older brother. Yes, Katara often gets stereotyped as the mom friend, but overall she feels underutilized in this show. We really don't see enough of her journey until the very end.

Iroh: Iroh was always comedic but most importantly wise. Even when Zuko is trying to give himself advice, he mimics Iroh. Instead, he seems to be used more as comedic relief without the underlying experience. He just doesn't feel right. Also, he kills Zhao instead of Zhao getting himself killed - which is less about Iroh and more about the writing than anything.

Ozai is weirdly a little too nice. Yes, he burned Zuko and pits his kids against each other, but he feels toned down in a show claiming to be more mature than the original cartoon.

Azula is perhaps more realistically worried about losing her status as the golden child, but she is also missing the cruelty she and her father share. I understand worrying about making your character cartoonishly evil, but the Fire Nation is currently a deeply nationalistic empire trying to control the world. Where is the deep-seated belief that they are better than other people, not just trying to bring balance to the world? There is a line between creating complexity and toning down the very real evil inherent in this plan.

Roku: I can only say what the fuck was that. He was barely there, and not the serious master to Aang's youthful exuberance.

The Ugly

Show, Don't Tell: The show's single biggest issue seems to be speeding through story parts by simply stating things. Instead of allowing the audience to discover, trusting that we are smart enough to understand, let's just blatantly say things like Zuko is the only reason the 41st division is alive to their faces. Even though in the context of the story Ozai literally already said that.... it's the division, the division for Zuko, Zuko's division.

Thematic Misunderstandings: I think this show makes several minor changes with major implications, such as airbenders actively fighting the firebenders, when airbenders are known for their pacifist nature and the lie of an Airbender fighting force is actively propaganda. Similarly, Aang very quickly accepts his role as the avatar and doesn't even run away in the beginning. Without this conflict between his desire to be a carefree child and the fact that the world needs him - the show loses a key aspect of Aang's character. Also, the obsession with downplaying the avatar state as something dangerous feels like a disservice to the tradition, connection, and strength of the avatar, which can be permanently destroyed as the trade-off for that kind of power. It's dangerous for the balance of the entire world, not just because it's powerful!

The Agni Kai: Zuko's fight against his father is one of the defining moments of Ozai's cruelty, not just because he is willing to fight his child, but because Zuko tried to do everything right. Zuko shows deference to his father, apologizes, and most importantly refuses to fight! The determination not to upset his father and still be grievously injured and banished is a hugely important theme for the fire nation and Zuko's life as a whole. He tries to do everything he is supposed to and only regains his father's acceptance after he "kills" Aang. Zuko's struggle between moral vs. social right and wrong in contrast to his family is hugely important to his character.

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TLDR: ATLA was a fantastical animated television show that was never afraid to show character development and flaws. When you turn 20 episodes into 8, you are bound to lose something. You hollowed out the middle, leaving the shell of important moments and events without ever wondering if all the times in between formed the true spirit of the show.

Rating: 6.5/10 It's perfectly fine and worth a watch. Not a disaster, but certainly falls flat of the original.

#atla #avatar the last airbender #avatar the last airbender tv #atla tv #spoilers #natla #i loved it i hated it i mostly sat through it #i would like a season 2 though #aang #katara #sokka #zuko #iroh #uncle iroh #azula #ozai

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sunlightnmoonshine · 2 months

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I don't know whether anyone has talked about this yet but wasn't the main point about the Jet storyline, that fire nation ppl shouldn't just be killed off as revenge?? Wasn't it also supposed to be an instance of comparison between what a good leader is and what an edgy leader is aka sokka being the former and jet being the latter?? Wasn't it also supposed to be an instance that made katara sad because she bonded with jet over the loss of their family and nearly went down a dangerous path because of him??

1. How is replacing it with oh let's kill the scientist guy that's helping the fire nation and use that as an opportunity to kill the royals too a good change? Thereby taking away substantially from the whole innocent "fire nation" ppl shouldn't be punished for the actions of, plot point which is very relevant to the thematics of the story?

2. Why take away sokka's intuition as a leader and instead turn it into a sibling squabble where sokka has literally no role in the Jet storyline except that he appreciates Sai and doesn't think he should be killed? And instead have katara through one tiny whip of water save the day?? Thereby taking away a part of sokka's growth, even though this live action loves shoving it down everyone's throat that sokka's personality trait is that he's obsessed with being a leader?

3. Why take away from katara's emotional range? And how her fight with jet was fuelled by rage that she's coming to terms with and how betrayed she felt?? What does having jet say her waterbending is good because of him and have her say, no its because of her, add to the story??? It's like the live action is obsessed with highlighting that katara is a master water bender (which is incorrect since she trained hard and got very good at it) and that she doesn't have the emotional bandwidth to express mixed emotions?? Also their interaction, was supposed to highlight how even if two ppl suffer the same way, their approaches in response can still be very different and that revenge is not the answer, which is foreshadowing to katara's journey in the story.

I just don't understand why the story had to go in this direction and I certainly don't understand how one can be okay with how much they chipped off in relation to characters and thematics??

#avatar the last airbender #atla #natla #avatar #I didn't even like the Jet ep in this original #but that was because I couldn't stand Jet lol #but oof did I hate what they did here #i get why they have to merge plots #and certainly you don't need a scene by scene copy of the original #but why get rid of the essence?

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longing-for-rain · 6 months

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what exactly is Aang's toxic masculinity that you're talking about? there are no examples of such behavior on his part in the show. he is not an ideal person, he is a child who sometimes behaved incorrectly, just like all the other children in the show (Katara, Toph, Sokka), and this is normal.

in addition, we see how he regrets some of his wrong actions and gets better, while Zuko does not regret his toxic behavior, doesn't apologize and doesn't face the consequences of his behavior (racist jokes about Aang, demands that Katara forgive him as if he has the right to her forgiveness, an attack on Aang to "teach him a lesson" and many other things).

Hi anon, thanks for the ask! This is a very good illustration of what I was talking about in this post when I mentioned that I feel toxic men are overlooked more often for appearing “nice” than they are for being conventionally attractive.

No examples of toxic behavior in the show? What do you call this then?

I know what I (and the law) call it:

But you see, he’s “nice” right? This is just a misbehaved child, as you put it? Yah, no. He knew better and still did it because he was possessive; this whole interaction started because he was jealous that an actress playing Katara was interested in men other than him. And the show proceeded to frame the situation in a way that made Aang sympathetic, despite being the aggressor and the one behaving irrationally. How much more “toxically masculine” can you get than that? But he put on a flower crown once so we’re supposed to think he’s a soft uwu feminine boi (even though he was absolutely enraged that a female actress played him).

I also find it very interesting that you describe Katara and Sokka as “children” while Zuko is omitted from that list despite being the same age. Are you admitting you agree he’s more mature, or are you admitting that you hold him to different standards?

But, anyways. You asked about toxic behavior on Aang’s part, which I’ll get further into now that the most egregious example is out of the way.

Let’s break down what you consider unforgivably toxic behavior on Zuko’s part and compare it to Aang’s behavior in similar situations.

1. “Racist” jokes

I’m guessing this is made with reference to the “Air Temple preschool” comment. How exactly is this racist? In context, Aang is the one trying to force his beliefs on others, and Zuko makes this comment to a) tell him to back off and b) point out that Aang is, in fact, a child who doesn’t have any business telling Katara how to feel.

This point is particularly interesting to me, because it implies that the simple fact that Zuko doesn’t agree with the philosophy of Aang’s culture makes him racist. By this logic, Aang is also racist against Katara’s culture, because he clearly disagrees with her philosophy and is openly telling her that his culture is morally virtuous over hers. And well. That’s even more believable considering Aang’s previous reactions to Water Tribe culture.

Ah, yes. Playing with a cultural artifact like it’s a toy because you were upset about not being the center of attention for once, and telling everyone how disgusting you think cultural food is, what great ways to show the supposed love of your life how much you respect her culture!

I know your response to this point would be something like “uwu but he’s a kid he didn’t knowww” ok well. The same logic can be applied to any alleged “racism” on Zuko’s part.

2. “Demanding” forgiveness

Zuko: What can I do to make it up to you?

Ah, yes. How demanding of him. He’s clearly so self-centered and only thinking about his own values and agenda here.

It’s not like he…

…told his friend how she’s allowed to process her grief and try to impose his own morals…

…or demanded to know if his crush liked him back, wouldn’t accept “no” as an answer, and forced a kiss on her…

…or told an abuse victim he was wrong to want to kill his abusive father for trying to commit a genocide…

…oh, um. Yeah. Sorry, but after actually watching the show it’s very clear to me which character doesn’t seem to regret or see the flaws in any of his actions at the end of the show, which is when all of these examples took place.

3. Training in the finale

“Attacking Aang to teach him a lesson” … wow, that’s a very dishonest way of phrasing that situation. I’m impressed, I have to say. I’ve seen lots of dumb takes from Aang stans over the years but this is a new one.

Well, luckily I actually watched the scene in context, so my reaction was the same as all the other characters’ reactions in canon when they learned the context behind this “attack”:

They agree with him. Yeah. Obviously, when nobody is taking training seriously when the world is about to literally go up in flames, you might need to do something to get their attention.

“But it was dangerous!” you might argue. Well… yeah. When magic and bending is in the equation, training in the Avatar universe has been shown to be somewhat dangerous at times. As an example, from this very same episode, Toph very nearly smashed Sokka with a giant flaming rock. That was way closer to hurting someone than Zuko was in this incident. If you’re going to fault characters for making their training exercises too dangerous, I guess Toph is mega cancelled.

Now back to Aang. What was his reaction in this situation? How did he react to the end of the world being days away? He ran away with absolutely no plan. Just like he did at the very beginning of the show.

I mean, think about it. This is a critical flaw (and toxic trait) in Aang that is literally never addressed, because he starts and ends the show the exact same way: he’s faced with a problem, he runs away from it, then he’s saved by an in-universe equivalent of an Act of God. Wowie, such great character development. Not fixing your core flaw and having a mythical plot device materialize into existence to solve your problems for you. Aang’s whole arc is a big blah, because the writing fails to address any of his flaws or have him meaningfully question any of his values.

Meanwhile, Zuko has consistently been a fan favorite because he’s the opposite. His flaws are meaningfully addressed, he does admit he’s wrong and fix his flaws, and his character shows a critically acclaimed change throughout the show. His arc is written so well that despite being a cartoon character, Zuko is widely considered the poster child for a good redemption arc across all forms of media.

So anyways, miss me with the double standards… there is a reason why Zuko is the fan favorite, and it’s not just his abs 🔥

#fandom salt #meta #zuko #katara #aang critical #canon critical #atla #zutara #anti kataang #ask #anon

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firelxdykatara · 2 months

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sorry not sorry but i'm actually completely fine with getting a version of katara where she wasn't parentified at eight years old (something that was lampshaded but never actually unpacked or presented as something she shouldn't have gone through, it was in fact not part of her arc to work through this in the original show and the proof of that is in the fact that she was shoved into an endgame 'romance' with someone for whom she'd expressed no romantic interest, even when prompted, and whom she spent a large portion of the show mothering). a katara who still had to deal with the trauma of her mother's death, but without having to become her own mother and her brother's mother on top of it in her place. katara whose struggle with waterbending is rooted in trauma, because her power is what her mother was killed for, her mother who died protecting her. katara who struggles to be taken seriously not because she's a silly girl with magic water but because her brother still sees her as his baby sister who needs him to be strong and she desperately wants him to lean on and trust her because that's what she needs to be able to grow.

and i like getting to see sokka actually behaving like a big brother! sokka whose responsibilities to his people and to his sister are treated seriously, rather than as fodder for jokes. sokka who is still a dork and a goofball and a pragmatist but underneath it all is that fear that he isn't actually good enough--that his family and his village don't actually need him, and who is he if his own sister is grown and doesn't need him anymore either? (sokka who is terrified of katara learning to bend not because he doesn't take her power seriously but because that's exactly what got their mother killed, and it's so, so obvious they've had that fight many times before.)

are they the exact same characters we got in the original cartoon? no, but i never expected them to be and frankly i didn't want them to be. something that every fanfic writer doing an AU or canon divergence has to grapple with is how would having these different experiences change the way this character behaves and interacts with and perceives the world. do i think the live action did it perfectly? no, but then the original show was far from perfect to begin with and i never expected perfection in this adaptation.

what i do think, though, is that i can see where certain creative decisions were made and the resulting ripple effect, i can understand the logic behind them--and i can enjoy the end result, because a lot of it is stuff i've rolled around in my brain in the past anyway. and what i really want to see is where things are headed in the future.

#atla #atla la #katara #sokka #im a natla apologist at this point #gonna do a more comprehensive overview of my thoughts later on probably im still letting stuff percolate #but i had a great time and really enjoyed what we were given

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sapphic-agent · 1 month

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Let's Talk About How Book 3 Ruined Aang

If you've seen any of my prior ATLA posts, you know that I don't hate Aang. In fact, I quite liked him in Books 1 and 2. He was flawed, as all characters should be, but the show didn't shy away from those flaws or justify them. He was called out for burning Katara and rushing his firebending, Sokka and Katara were rightfully upset when he hid Hakoda's letter, he willingly owns up to the fact that his actions helped drive Toph away, and his entire arc after losing Appa and finding hope again in The Serpent's Path was beautifully done.

(Hell, even in The Great Divide Katara says what Aang did was wrong and he agrees. It's played for comedy, but the show still makes the effort to point out that what he did wasn't the right thing to do. You're just meant to understand that he was fed up and acted off of that)

Those flaws and mistakes were addressed and improved upon and helped Aang to grow as a character.

But for some reason, that aspect of Aang's character was completely flipped in Book 3.

The best examples of this are in both TDBS and EIP. Both the show and the fandom are too quick to brush off that Aang kissed Katara twice without her consent, one of which after she explicitly said she was confused about her feelings.

(And yes, she is angry in response and Aang calls himself an idiot. But after this, it isn't really addressed. They go on like nothing happened for the rest of the episode. Aang's lamentation comes from screwing things up with her romantically, not that he violated boundaries)

The show never really addressed why what he did was wrong. Not only because he wasn't given consent, but also because both times he isn't thinking about what Katara wants. In both instances, Aang is only thinking about himself and his feelings. This is something that persists through a lot of the third book. And by Sozin's Comet it ultimately ruins any character development he had built up in the second book.

One thing I feel was completely disregarded was the concept of having to let go of Katara in order to master the Avatar State.

For me, the implication wasn't that he had to give up love or happiness necessarily. He was emotionally attached to and reliant on Katara, to the point where she was needed to stop him from hurting everyone around him and himself. This is obviously detrimental to his functionality as the Avatar. And the point of him "letting her go" wasn't that he had to stop caring about her, it was that his emotional dependency on her was stopping him from being the Avatar he needed to be and that was what needed to be fixed. I don't even think it's about the Avatar State itself, it's about being able to keep your emotions and duty as the Avatar separate.

(If you look at Roku, he loved and had a wife. It wasn't his love for her that messed everything up, it was his attachment to Sozin. He wasn't able to let Sozin go and not only did he lose his life for it, the world suffered for it. It's the unhealthy attachments that seem to be detrimental, not love itself)

And Aang realizes that in the catacombs, which is how he's able to easily enter the Avatar State and seemingly control it. He let Katara go.

So then why does it seem like his attachment to Katara is not only stronger, but worse in mannerism? He liked Katara in Books 1 and 2- obviously- but he was never overly jealous of Jet or Haru. He only makes one harmless comment in Book 2 when Sokka suggests Katara kiss Jet.

But suddenly he's insanely jealous of Zuko (to the point of getting frustrated with Katara over it), off the basis of the actions of actors in a clearly misrepresentative play. Katara showed a lot more interest in Jet and Aang was completely fine with it.

(Speaking of EIP, Aang's reaction to being played by a woman was interesting. He wore a flower crown in The Cave of Two Lovers. He wove Katara a flower necklace. He wore Kyoshi's clothes and makeup and made a funny girl voice. He willingly responded to Twinkle Toes and had no issue being called that. And for some reason he's genuinely upset about being played by a woman? Aang in Books 1 and 2 would have laughed and enjoyed the show like Toph did. His aversion to feminity felt vastly out of character)

I guess my point is, why did that change? Why was Aang letting go of Katara suddenly irrelevant to the Avatar State? It felt like him letting go was supposed to be a major part of his development. Why did that stop?

Myself and many others have talked about The Southern Raiders. The jist of my thought process about it is his assumption that he knew what was best for Katara. And the episode doesn't really call out why he was wrong. Maybe sparing Yon Rha was better for Katara, maybe it wasn't (the only one who's allowed to make that choice is her). Pushing forgiveness? That was wrong. But the episode has Zuko say that Aang was right when the course of action Katara took wasn't what Aang suggested.

Katara's lesson here was that killing him wouldn't bring back her mother or mend the pain she was going through and that Yon Rha wasn't worth the effort. That's what she realizes. Not that she needed to embrace forgiveness. How could she ever forgive that? The episode saying Aang was right wasn't true. Yes she forgives Zuko, but that wasn't what Aang was talking about. He was specifically talking about Yon Rha.

And that was wrong. Aang can choose the path of forgiveness, that's fine. That's his choice. But dismissing Katara's trauma in favor of his morals and upbringing wasn't okay.

I know it sounds like this is just bashing Kataang. But it's not simply because I don't like Kataang, in my opinion it brings down Aang's character too, not just Katara's. But let's steer away from Kataang and Katara for a minute.

The one thing that solidifies Aang's character being ruined in Book 3 for me is the fact that he- at the end of the story- does the same thing he did in the beginning.

He runs away when things get hard.

Aang couldn't make the choice between his duty and his morals. So he ran. Maybe it wasn't intentional, but subconsciously he wanted an out. And this is really disappointing when one of the things he was firm about in Book 2 was not running anymore. His character went backwards here and that's not even getting into the real issue in Sozin's Comet.

There's been contention about the Lion Turtle intervention. For many- including myself- it's very deus ex machina to save Aang from having to make a hard decision. And that in turn doesn't reflect kindly on his character.

Everyone- Sokka, Zuko, Roku, Kyoshi, Kuruk, and Yangchen (who was another Airbender and was raised with the same beliefs he was and would understand which was the whole point of him talking to her)- told him he had to kill Ozai. They all told him it was the only way. And he refused to listen to any of them, rotating through his past lives until he was given the answer he wanted.

And before anyone says that I'm bashing Aang for following his culture, I'm not. Ending the war peacefully, in my opinion, wasn't the problem. In a way, I think it allowed the world to heal properly. However, that doesn't make up for the fact that Aang refused to make a choice and face the consequences of that choice. Instead, he's given an out at the very last second.

Even if he couldn't kill Ozai and someone else had to deliver the final blow, that would have been better than the Lion Turtle showing up and giving him a power no one's ever had before. It would have been a good compromise, he doesn't have to have blood directly on his hands but what needs to be done needs to still get done. It would also show that being the Avatar isn't a burden he has to bear alone. That when things get hard, he can't run away but he can rely on the people closest to him to help him through hard decisions.

All these issues aren't necessarily a problem with Aang. Aang prior to Book 3 didn't have most of these problems. This is a problem with the way he was handled

#aang critical #anti aang #tagging just in case #i don't want aang stans accusing me of cross tagging #it's really not anti aang tho #long post #anti bryke #this is their fault #look how they massacred my boy #anti kataang #katara deserved better #she's not the focus here #but i thought I'd add that there #character analysis #atla critical #anti book 3 #which is kind of an exaggeration #because a lot of book 3 is great #it's just most of the latter half

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morkhan · 2 months

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I did not have high expectations to begin with, but I am genuinely blown away by how much I despise NATLA. Every moment reeks of cynical corporate cowardice. "We can't have Sokka be sexist, people will think we're endorsing sexism!" "We can't have Katarra be angry, people will think she's a nag!" "We can't have Aang abandon his responsibilities on purpose, people might think he's bad or flawed instead of the perfect good hero!" Just, decision after decision that demonstrates not only a complete misunderstanding of the source material, but a lack of understanding of, like, stories in general. Of why they work. Of why we even bother to tell them. Every decision made in NATLA feels like it was born in a board room and designed to make the characters and world a more palatable product, something they could more easily sell, something that will go down smooth and not offend anyone. Well, newsflash, assholes; I'm pretty fuckin' offended, and I'm not alone. You're too cowardly to give your characters flaws they need to work to overcome, but you have no problem showing a genocide onscreen, that's fine. Character development is bad! Let's replace it all with pointless action scenes and the dryest, most sleepily delivered exposition in the history of film! Fun? We can't show our characters having fun. Fun is for children. What's that? Our characters are children? Well, too bad, our target audience is people who liked Game of Thrones, so those kids are just gonna have to learn to be miserable.

Alright, I gotta stop talking about this or I'm going to choke someone, possibly myself.

#avatar the last airbender #netflix atla #To be clear: I don't blame the actors for this #The script is awful #And the direction is almost stunning in its blandness

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doyouevenshipbr0 · 2 months

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examples of atla live action’s attempts to be more feminist and how they actually had the opposite effect and/or hurt the integrity of the show

already talked about katara and pakku. does not make sense that she did not have a master. point blank. just because something sounds empowering (ie katara saying “yes. and ur looking at her.” after zuko asked if she found a master) doesn’t mean it automatically is. there still needs to be logic and katara “being her own master” defies logic imo im sorry!

katara in general. she has no ferocity here which to be very honest i dont think is fully the writers’ fault. some of the blame goes on them but the actress for katara just delivered alllllll of her lines w the same exact mild tone. katara is overly motherly. she is bossy. she is passionate. she is nurturing. she is emotional. THERE IS POWER IN THESE THINGS!!!!! why would we take away her spark?!?!?!

i loved live action suki. however, i LOVE the line in the original when her and sokka part ways and sokka says “i treated u like a girl when i should’ve treated u like a warrior.” and suki says “i am a warrior” *kisses sokka on the cheek* “but im a girl too.” THAT LINE WAS SO PERFECT like lemme say it again there is POWER IN FEMININITY! there is no shame in that!!!!! why does this show wanna take that away so badly. at one point live action suki says something like “im not just a warrior, im a kiyoshi warrior” and before she parts ways w sokka she thanks him for showing her some of the world or something like that. which was fine but i just love the simplicity of the original. a girl can be a warrior and have a crush. why do we have to change that?

this is a small one and it doesnt REALLY matter, but i cant help but think they changed this to be more “feminist” which is just dumb. yue isnt betrothed? well she was but she broke it off? and hahn (her ex) isnt a huge dick? i mean it wasn’t the worst thing and i didnt really mind it but i was just kinda like ?????. feel like yue being betrothed tied into her sense of responsibility and foreshadowed the sacrifices she will make for her people. so. feels rly weird that they changed it. i think it was to show more women agency which is always cool. but in the original, yue finally gets her agency by becoming the moon spirit. that should be the end of her character arc. idk. a weird change that seemed unnecessary.

sokka not being sexist. honestly i think the live action did a good job at omitting this while not REALLY making it feel like something was missing. with that being said, something was still missing lol. once again, its apart of sokka’s character. i feel like everyone has already expressed their hate for this so ill just leave it at that.

i am a TAD indifferent on the women of the northern tribe joining the forces during the fight. on one hand i cant lie i smiled bc obviously i love water bending and i love women so there was definitely apart of me that was happy to see that moment. however. it was kind of giving like in endgame when theres that random shot of all the women superheroes in one frame so the movie could have a “slay queen. we are girlbosses:)” moment. like it just felt a little empty and it wasnt the feminist battlecry they thought it was. these women have been healing their whole lives. why would they be any good on the frontlines of a fight? they never learned combat skills! HOWEVER, when we see them, its mainly just them reinforcing the walls so like. that makes enough sense. im cool w that.

i know im dwelling but as we know i hold atla in the highest regards. it does a lot of things perfectly imo. and one of the things i think it does PERFECTLY is its treatment of female characters. literally the only thing i can think of that i dont like is when team azula beats the kiyoshi warriors and ty lee says something like “u are NOT prettier than us” NDBSKSJDJ like ok that was weird. but anyways. it irritates me how the live action kind of seems to have this pov that says “the original was good, but there were some ideas and plots that were outdated so we changed them to keep with the times” like they’re fixing something that was broken if that makes sense. when in actuality, i think atla’s representation of women is perfect and timeless. it was relevant and powerful in 2005, and it is equally as relevant and powerful in 2024. there was nothing about its feminist themes that needed to be “fixed” or “updated”.

#personal #atla #avatar the last airbender #avatar #avatar the last airbender live action #avatar live action #live action avatar the last airbender #live action atla #atla live action

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zutarasbuff · 2 months

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I watched the Netflix adaptation of ATLA today and being a hardcore fan of the OG series who knows every nook and cranny of the ATLA world, here’s my unbiased and truly honest review (It contains both the negatives and positives of the series, so dear reader please enter to read at your own risk).

Firstly, let’s talk about the wonderful additions to the already magical world of ATLA.

1. The depth of the genocide

Well, I always wanted to know how the air nomads were suddenly wiped out and how it would have been for them? Why didn’t they resist? I got my answers in the first episode where we explore how the unhinged power of the comet was “actually” used to create a genocide on a massive level. Before that, I had only heard about it in the OG series. Those few scenes were so powerful that they had left me sobbing uncontrollably and Gyatso’s concern regarding Aang had me bawling.

2. Suki’s Characterization

In the OG series, we do find our Suki the fiercest warrior, but here in the live action, she’s an absolute goddess. She is perfect in every sense. She understands the responsibilities she has being a non-bender and is fearless. Her character is what I believe to be was the strongest one of all.

3. Graphics & Music

We never talk about a film by M.Night (that didn’t happen), but this one is really a visual treat for you can readily set yourself up for some mind-blowing bending scenes, plus the fight scenes are quite impressive. It seems that the VFX team had really done their homework this time. Plus, both Momo and Appa are so freaking cute. I loved the fluffy Appa. Good work over there. The revival of the OG theme is also a highlight plus the sun warriors’ chanting in the end is given a new but intriguing twist. The background music especially in scenes where Aang unravels his Avatar powers is mystical in every aspect.

4. Life in motion

I don’t know about others, but I have always been a sucker for animation as well as live-action where characters are operating even in the direst of the circumstances. Life is there and even after they know what happened a hundred years ago, they are still trying to believe and regain their past confidence. This is beautifully portrayed and I was very much impressed by the way people are continuing their day-to-day activities even in the middle of a crisis.

Overall, the series serves the purpose of an adaptation carrying its unique colors (at least better than the previous live-action disaster that didn’t happen).

Now let’s move to the bad side, and when I say it’s honestly what I felt, you need to take my word on it being a hardcore Atla fan.

1. Weak writing & lots of exposition

ATLA remains at a 9.2 IMDB rating even after years because of its writing, strong plot, and very few plot holes. This time, the writers are the real amateur ones. Despite addicting more to the already flourishing universe of ATLA, sadly, they killed the quest of the viewer to find answers. There is too much exposition. It seems that every character just wants to see the end of the war and keeps on revealing things after things. Plus, some of the OG moments that were the soul of the series are not even included. The way Aang finds Momo and then decides to keep it with him as a last remnant of their bygone air nomad civilization is nowhere to be found. In fact, the replacement of Roku with Kyoshi is the biggest disappointment. I love Kyoshi like no one else but that was unnecessary as per the cycle.

2. Bland acting

Even the worst writing shots can be digested only if the acting appears real good. Sadly, this is another issue that I found with the NETFLIXED version. No doubt the characters must have done a lot of hard work for this, yet, they lack the expressive power. Gordon as Aang is super cute but the goofiness is not even there. Katara seems a nerd who doesn’t like to talk much even when it’s necessary and Sokka’s jokes are forced. Meanwhile, Dallas seems to save the day at one point, but again his over-the-top angry young man attitude ruins it for me. Maybe the actors will learn from the criticism in the upcoming season (if Netflix plans to go with it).

3. Major changes

Yes, it’s okay to change the narrative while you are working on an adaptation, but targeting the loyal viewers who are OG fans of ATLA means that you have to be very careful when you are trying to implement your changes in scenes that are the real soul of the OG. You can’t change the Omashu myth as if it’s nothing when we actually see even the cute animated version of the folklore. You cannot portray Roku more as a perpetrator of the genocide and Bumi as the evil king when in truth he’s the mad king who’s known for his genius ways of teaching. I hated that. Plus, reducing Zhao’s authority and taking Uncle Iroh’s sarcastic attitude is just meh. Mai again doesn’t even seem perfect as a cast. Jet is good as far as the aesthetics are concerned but Jet being in Omashu doesn’t even sit right with me. The amalgamation of multiple storylines creates so much confusion and this persists till the end.

4. Bending at convenience

We all know how Katara’s bending progressed throughout the first season and it’s little effort each day. However, in series, one day she’s unable to bend even a droplet of water and the next day she is capable of producing ice crystals. This was unacceptable for me because I was anticipating her learning strategies. Besides, Aang doesn’t learn much water bending throughout this season and in the end, it’s him being the savior in Avatar state. Thoughtless bending sucks despite the great VFX and that’s one thing at which you can’t convince me otherwise.

5. Forced friendships

We all know how it took some time for Sokka to embrace Aang as a chum. However, here Sokka keeps on calling him “the kid” and remains mostly alienated from Aang. Talking to Katara, then she also seems more interested in helping Avatar fulfill his goal than being with a friend. I hated the scene where Aang comes into the Avatar state and instead of hugging him just like in the OG series, Katara runs along Sokka and keeps on calling his name. How is that going to build any organic friendship? I think the first mistake began right from the very moment when Aang was taken back to Wolf Cove on a boat in his unconscious state. Upon opening his eyes, the first person he finds near him is neither Katara nor Sokka but a tribesman who’s playing guessing games. Writers were really high when they wrote that.

6. Lack of the four nations’ biodiversity

Maybe in live action, it’s difficult to create all the marvels of the four nations when we talk about their natural biodiversity. In the OG series, it is indicated by Aang that even after 112 years, he has still not forgotten the animals that define different regions in the four kingdoms and that’s exactly why he wants to finish those “important tasks” alongside saving the world. His important tasks included keeping a check on the natural biodiversity of the lands and exploring whether the Hundred Years’ War had not damaged the majestic animals. Actually, his first dialogue right after regaining consciousness is to go for an otter penguin’s ride with Katara. When I thought about that I felt that somewhere in Aang’s mind he was always connected to nature and that’s why he wanted to regain that connection by being an avatar. Sadly we never see much of the biodiversity but I hoped that maybe they will.

Also, how come Aang had that silent whistle for one hundred years when in the series he only discovers that accidentally? I missed the OG Yip Yip for our Appa. There are lots and lots of problems with the Netflix version, and no I am not being a nitpicker. I appreciate how the current creators credited the original ones, but now I know why Bryan and Michael bade farewell to this project. On a scale of 10, it’s a 4 for me or 4.5 if I am being too generous.

If I am asked to review the live action in a single line, I would only say this:

“The Netflixed ATLA makes you go back to the OG series and you end up watching the animation to give your mind a much-needed respite from a carefully crafted artistic disaster aimed at the sensationalized generation.”

#atla #avatar the last airbender #atla live action #atla netflix #avatar aang #atla katara #avatar zuko #avatar roku #avatar the legend of aang #iroh & zuko #zutara atla #kataang #avatar canon #avatar review

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comradekatara · 2 months

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So, we don't often see Sokka being really passed off at anyone in the show. We see him being angry with Aang when he burned Katara, with Han bc of course, but like, Katara gets mad quickly, and it frizzles out, but I feel like, actually angry Sokka is dangerous, and no one is willing to see how dangerous he is going to be.

Thoughts?

I mean, sokka gets pissed off a lot. at idiocy, foolishness, incompetence, cowardice, rashness, cruelty, corruption, naïveté, illogic, callousness, heedlessness, and so on and so forth. he makes definite exceptions, but he’s constantly objecting to pretty much everyone and everything. besides the obvious blindspots in his judgment (usually father issues, occasionally a pretty girl) he is a ruthless critic chugging haterade at all times. even just mentioning your horoscope in his vicinity gets his heartrate spiking (and ppl wonder how/why he died relatively young). but you’re right, sokka isn’t really rageful in the way katara is.

it’s in fact crucial that while katara is motivated by blinding rage during her lifechanging fieldtrip/apotheosis, sokka is motivated by blinding guilt. sokka really only freaks out when aang hurts katara, hahn demeans yue (among other things), and azula threatens suki. and in all three scenarios, his rage overtakes him due to his own guilt. he feels that he, personally, has failed by “putting” katara, yue, and suki in danger.

as we know, sokka has deeply internalized the patriarchal logic that dictates that he must act a protector figure, especially towards girls. and sokka’s protectiveness is so entrenched in his identity that even when someone he cares for experiences harm in a way that is beyond his control, he feels directly implicated in their suffering, and the guilt plagues him. in the case of yue and suki, being imprisoned (metaphorically and literally) was a choice they made (obviously not an ideal choice, but an expression of their own duty, resigning themselves to suffering for what they believe to be the greater good). and yet, since sokka feels that it is his burden to carry all the world’s suffering for others (especially if those others happen to be a sibling, girlfriend, or parent), receiving definitive proof (and in the case of hahn and azula, deliberate taunts) clarifying that sokka is fundamentally unable to bear the brunt of everyone’s pain for them is what causes him to snap and physically attack them without first stopping to consider the consequences.

unlike katara, who is guided by impulse, sokka usually does first stop to think. very rarely does he let his rage overtake him the way she does. but occasionally, his own guilt complex is threatened to the point of overtaking his logic and letting his violent impulses take the wheel. this is magnified tenfold in the boiling rock, which is the ultimate expression of sokka acting rashly out of guilt. this time his failure isn’t even tangential, as he was actually responsible for the loss at the invasion that resulted in the imprisonment of those he has always most wanted to emulate, including his ultimate role model, hakoda. of course such overwhelming guilt would prompt him to feel as if he had no other choice but to save his father or die trying.

sokka is also full of rage, but unlike katara, his rage is only truly triggered when it is turned inward. katara blames others for her problems to a fault; only to aang does she ever actually apologize and take responsibility for her actions. sokka, on the other hand, internalizes blame to an absolutely absurd degree, and as much as it may seem like he is constantly finding fault with everyone around him, that ruthless criticism is really just a milder externalization of his own perpetual self-criticism, which is the sharpest and most ruthless of all.

#salt-popcorn #asks #sokka #katara #analysis #he is sooo. fucked up :)

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i-lost-my-heart-in-republic-city · 2 months

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Only villains are allowed to be complex in Netflix's Avatar: The Last Airbender

I had a major issue with the treatment of the original gaang in natla and I think it has to do with character flaws. As in, they don't have any.

In the case of Aang, other characters keep telling him that he can't ignore his responsibilities but when do we ever see him actually do this? When does he seek out distractions to avoid his duties, like penguin sledding, or riding elephant koi, or hiding in a cave? Hell, the reason he gets trapped in the iceberg is changed. In natla he was only going out on a short flight with Appa and gets caught in a storm. In the original he ran away, and it's understandable because he felt alone and out of control of his life. But it is still a choice he makes, to run away from his responsibilities, and he has to deal with the consequences.

In natla there is no choice to run away, it's fully an accident and it takes away his agency as a character. So when Bumi starts blaming him for the war it really rings hollow because it was all an accident. It has more weight when a random fisherman blames him in atla because at least in that version he did make a choice to runaway. Obviously he had no way of knowing what would happen and he never intended to abandon the world to genocide and war. But that's the thing about life, you never know the full consequences of your decisions, and you just have to deal with them when they happen. The war is not Aang's fault, but he did make a bad decision, and it had far reaching consequences. It made Aang's character more relatable and gave him a starting place from which he could grow as a character. He had to learn how to accept responsibility for his actions without blaming himself for the actions of other (i.e. Sozin starting the war).

I feel like in the case of Katara, they stripped her passion and anger. They explored Katara's PTSD but they take away how angry it made her. Anger is a totally normal response to trauma. While letting yourself be consumed by anger is obviously bad, anger can also be channeled into passion and energy to enact positive change. This was a big part of Katara's character in atla, learning how to control her righteous indignation and use it to fight for the rights of other. She has none of that anger here, so there is no character growth and no emotional connection to the character through that arc.

This especially falls flat in her 'feminist arc.' She fights with Pakku but there is no anger, no fire in her. In atla at the end of the fight, even though she was pinned down and had clearly lost, she was still going. She was almost feral. Even though she was worn out, her passion of fighting for what is right still fueled her. She would not give up. So I guess it's fitting natla's unpassionate Katara just falls down at the end of the fight. And they cut out the whole importance of the necklace, which serves as Pakku's realization on how his sexism has negatively impacted his own life. It's this realization that motivates him to reevaluate his beliefs and agree to train Katara. Which needs to happen because having a master's tutelage is what allows her to become a master herself. Alta makes it clear that she excels because of her hard work and determination along with guidance from a mentor. There's none of this in natla. They just start calling Katara a master because 'girlpower' I guess? They certainly don't show how she became so talented. But natla Katara doesn't need help from other people to grow. She's already a master. She's already perfect.

Sokka is also stripped of his flaws as well. Obviously we know he is not sexist in natla. I don't think this is inherently a bad change, but you have to understand how the sexism impacted his character in atla and adjust accordingly. In atla, Sokka's sexism is really the origin of his all his insecurities. He believes there are roles for men and roles for women. Protecting the tribe is a man's job. So when the men go off to fight in the war, he believes he must carry the burden of protecting the tribe as the oldest male. He sets himself up for failure because he places impossible standards on himself. He cannot protect and lead the tribe all by himself, especially not when he is a young child. This leads to him feeling inadequate because he cannot measure up to his own impossible standards or his idealized version of his father (who was an adult and had the support of his tribesmen).

I could still see a way to still adapt atla without the sexism. (For example Hakoda tells Sokka to look after his younger sister. He takes that to an extreme of being overprotective of the whole tribe. And we are back at him failing to met his own impossible expectations again). But natla doesn't do this. Instead it just throws in a flashback of Hakoda saying that Sokka isn't fit to be a warrior. This kind of defeats the purpose of Sokka's own internal conflict about not measuring up to his own unrealistic expectations. Now it's his father's expectation's he doesn't measure up to. This is not a bad story beat in and of itself. It works well with Zuko. But it's not Sokka's character conflict. In alta Sokka's insecurities, internal expectations, and sexism also cause him to lash out at others sometimes. He's not allowed to act so negatively in atla. So again there is no place for him to grow as a character, as he does not have these flaws.

Honestly it seems like they tired to removal all negative character traits from the main characters, which makes them feel more stiff and allows them no room for growth. I really wanted to like this adaptation. And I do think there are some changes they do really well. But those changes are related to the villains and they just drop the ball so hard with our main characters.

#avatar: the last airbender #atla #natla spoilers #natla #aang #katara #sokka

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juana-the-iguana · 8 months

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Sometimes I just think of fan interpretations of the cut-away between Zuko telling Katara that he knows where the man who killed her mother is and her packing things and getting ready to leave, and Aang and Katara having their last in-person interactions on screen (when they are lone together in EIP and when they are in a group in the finale) be fights to them kissing at the end.

People who support Kat-aang and do not like Zutara (and specifically comment in the Zutara tag about this) often say that Zuko had to convince Katara to go after her mother's killer. A lot of those people also assume that Aang must have apologized to Katara off-screen for the EIP kiss.

I have had a lot of people who share these interpretations accuse me and other people of not having "media literacy" because we can't clearly understand he must have apologized off screen. The irony is that is the exact opposite of the truth.

The cut away between Zuko telling Katara he knew how to find her mother's killer and her getting ready to leave signifies swiftness. Her response to this knowledge is so clear that showing her reaction would actually take away from conveying it. Things are moving fast, her mind was made up right away and she kept moving so the scene did too. And because she is moving so quickly, the audience can fill in the fact that any conversation she may have had with Zuko about this (How do you know this? When did you find out? etc.) did not play a role in her decision to find her mother's killer.

We know from both her past actions (being haunted by her mother's death, her righteous fury) and her future ones (trying to take Appa without talking to Aang or anyone else, telling Sokka that he didn't love their mother like she did, bloodbending) there is nothing Zuko could have said in a period of time that would have been a few hours, tops, that could have made her that angry or driven if those emotions were not already there. Zuko telling Katara he knows where her mother is isn't actually the completion of that narrative moment: her affirming that she needs to confront said killer when her actions are questions is. (I should note that part of the cut away could have been to leave room for a commercial break - I can't remember if that was the case when this aired on television - which would break up the viewing, but does not take away from the fact that Katara's shown response to this knowledge is to leave as quickly as possible).

Now compare that with the EIP kiss. We see the full moment play out, from Aang meeting Katara on the balcony to pressuring her to commit to him to kissing her when her eyes are close to her getting upset to her running away to him reflecting on what happened... Set up, action, response, reflection. This is an emotional scene, Katara is clearly distressed and this is one of the few times we actually see her mad at Aang. Their kiss at the end is another emotional moment, as it marks the culmination of Aang's journey as an Avatar. There needs to be a bridge between these intense scenes for them to make sense. Kat-aangers will argue that the EIP kiss is A and the ending kiss is C, so B must be the implied apology. But if A and C both matter a lot, and there needs to be a connection between the two things, then B should matter a lot too. C is the last scene in the show! This bridge should be shown, or at the very least referenced!

Unlike the TSR scenes, there is so much time between EIP and the finale that there is no clear flow between these moments. To the contrary, there are moments that break up this romantic sub-subplot, from them playing at the beach together again to them fighting again over how to deal with the Fire Lord and Aang running away (something worth noting is that Katara is the last person who is talking when he runs away - he literally left her - and she lets him go after a light touch on the shoulder from Zuko). Fight, friends, fight, love.

Since that B scene, the thing that bridges together Katara and Aang's relationship, is not there, then it either isn't important or did not happen.

Now let's get into media literacy. Media literacy isn't filling in gaps to make things make sense. Media literacy is understanding the messages that a piece of media is sending, intentionally or unintentionally. Even, in theory, if Zuko did have some conversation with Katara convincing her to seek out Yon Ra, it isn't shown and it isn't alluded to, so it doesn't matter. What we are supposed to take away from that episode is that Katara was ready to hunt down Yon Ra, she needed closure and got it, and that Zuko helped her. The same can be said for an apology after EIP. It doesn't matter if one happened off-screen, if it wasn't shown or referenced to, so it isn't important to the narrative. And if Aang making amends for hurting Katara isn't important to the narrative, but her kissing him after he fulfills his duty as the Avatar is, that is a huge statement about their relationship. Katara only rejected Aang because he wasn't an Avatar yet, so the only thing that matters in their relationship is him being the Avatar.

But the thing about media literacy is it isn't just about what is shown on the screen itself. It is about the bigger picture, what this is trying to convey as a message to the viewers.

So what does the gap in time in TSR tell us? Katara is this caring, nurturing friend who, in her brother's words, doesn't hate anyone except the people who took her mother. If she doesn't hate anyone except for the people who took her mother away from her, and she was immediately able to act on that hate when she got the chance to seek closure, then that hurt must have been closer to the surface than anyone thought. She acted fine, but her trauma was still there.

So what does this mean? She was able to address the anger conveyed in the scene in the episode and by the end of it, even though she was still conflicted about Yon Ra, she made peace with Zuko. Zuko whose mere presence caused her distress for weeks, not only because of his betrayal, but because he reminded her of her mother's death. Zuko who became her good friend and saved her life later on. Confronting her demons not only brought her peace, it improved her life tremendously.

So what is the "media literate" message from the lack of apology? The absence conveys is that the most important thing needed for Katara to like Aang was for him to fulfill his role as the Avatar, because that is the only thing that changed in between those two scenes. He didn't treat her any differently, he didn't apologize for hurting her, in fact its vague that he even acknowledged that what he did was wrong because it hurt her (the "I'm so stupid!" could easily mean he blew his chance, not that he cared). And Katara never went through the process of forgiving him or making peace with him wronging her. She never even acknowledged that he underwent a significant change as a person in the last episode either (Aang, who ran away from his duties at the start of the series, faces them head on in the last episode. YMMV on how good that was developed) - if it's not shown, it doesn't matter.

So what does this mean? It doesn't matter when Katara is hurt, conflict resolution doesn't matter, and apparently Aang's personality doesn't matter either. Their interpersonal relationship and emotional connection mean very little. Men do great things and women love them for it, how they act or are treated does not matter.

And before anyone comments "they're kids, it's not a big deal," this is a direct response to accusations about media literacy which, by definition, is a big deal - it's about the messages being made to viewers and its commentary on how society works and how things should be.

#zutara #anti kataang #the discourse

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hypexion · 2 years

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There was no Chloé Bourgeois Redemption Arc

It’s time to for me to write about the so-called “Redemption Arc“ for Chloé Bourgeois, of Miraculous Ladybug infamy. Many people claim that such a thing existed. These people are wrong. While Miraculous Ladybug may provide the illusion of such an arc, that’s all it is - an illusion. And like all illusions, it falls apart once you touch it.

There’s also some questionable takes in regards to exactly how responsible Marinette is meant to be for Chloé’s “redemption”, which need to be tackled since they help feed into the illusion. And also because I find them deeply offensive. To me, personally.

A neccesary preface here is that I’m not saying Chloé is incapable of redemption. What I am saying, however, is that during seasons two and three of Miraculous Ladybug, the redemption arc people claim existed clearly did not.

Redemption 101

In the most basic sense, a redemption arc is a type of character arc where a bad character decides to stop being bad and start being good. Along the way, it’s generally accepted that they need to atone for their bad actions, and perhaps do something to reverse the damage such actions have caused. A critical component required for this to work is that the character both understands that their actions are harmful, and so decides to act in a better way.

Probably the most famous redemption arc in western animation is Zuko’s, from Avatar: The Last Airbender. Zuko begins the show as an antagonist, directly attempting to capture Aang, the Avatar and Last Airbender. Doing so will allow the Fire Nation to win the war, and also complete their genocide of the Air Nomad people. However, Zuko realises that supporting the Fire Nation’s bid for world domination is harmful to others, and himself. By the end of the series, he has rejected the worldview of his father, grandfather and great grandfather, and indeed helps Aang defeat the Firelord. Along the way, Zuko find a way to help not just Aang, but also Katara and Sokka, who are also victims of Fire Nation Imperialism. Zuko earns redemption not through the decision to be good, but by performing good, and in many cases, reparative actions.

Honestly, from this basic definition, I think it’s pretty obvious that Chloé hadn’t even started the first step of a redemption arc by the time she betrays Ladybug in Miracle Queen. She never accepts her actions are wrong, makes no attempt to change them without an ulterior motive, and generally continues to do bad things for bad reasons. But in spite of this, the claims of this mythical redemption arc don’t just exist, they are considered generally accepted. Why? It’s complicated, yet simple.

Chloé Who?

On a basic level, Chloé Bourgeois is fairly generic character - the “mean girl“ school bully, who torments the protagonist, Marinette Dupain-Cheng. In keeping with Miraculous’ superhero genre, Chloé admires Ladybug, Marinette’s superhero alter-ego. How ironic! Generally, Chloé acts as a minor, civilian-level antagonist to Marinette, who gets in the way, while being clearly much less of a deal than Hawk Moth. However, due to the mechanics of akumatization, Chloé’s actions often spiral into larger, supervillain-shaped consequences. Because while she may fit into the bully archetype, there is one thing that makes her somewhat atypical: a reach that extends far beyond the school setting.

André Bourgeois is his daughter’s primary enabler. As a rich person and Mayor of Paris, he has a significant amount of influence. Influence he makes freely available to Chloé for basically any purpose. No grudge is too petty, no problem too small when it comes to indulging her whims, and no bridge is too big burn. Nobody who theoretically has the authority to say no to Chloé actually can, because her father is implicitly approving her every action. It’s hardly a shock that Chloé is consistently terrible when she faces no consequences for her actions.

But there’s one last piece in the Chloé puzzle - Audrey Bourgeois. Chloé really wants her mother’s approval, but her mother lives in another country. Audrey is also a terrible person, a character who is literally defined by her vileness. She has Chloé’s attitude, and André’s level of influence, and like her daughter, immediately throws a tantrum when she can’t get her way. The attention Audrey gives towards her daughters is primarily negative, and that’s when she actually pays attention to them. Thus, Audrey provides Chloé with a Tragic Backstory, and some much needed Sympathy Points. This, of course, forms the foundation of the Redemption Illusion.

The thing about Chloé’s relationship (or lack thereof) with her mother is while it explains her behavior, it doesn’t excuse it. The harm she inflicts is no less because of it, and many of her actions cannot be ignored due to it. I think there’s a pretty obviously piece of bad logic here. Many characters who undergo redemption arcs are often sympathetic villains. Chloé is a sympathetic villain. But that doesn’t mean that Despair Bear, the episode that introduces this sympathetic side is the start of, nor the foundation of a redemption arc. If anything, Despair Bear shows the primary reason why Chloé isn’t on the path to redemption - her attempts to be “nice“ are motivated entirely to maintain her friendship with Adrien, and once she has what she wants, she immediately reverts to her normal behaviour. This theme of apparently good acts being done for selfish reasons will be repeated later.

Marinette: Victim, Not Victimizer

An important part of the Redemption Illusion is how it ultimately revolves around not just Chloé, but Marinette. Chloé is nothing but negative towards Marinette, but at the same time admires Ladybug... who is Marinette. This isn’t Alya style “wow look how cool and heroic she is“ style admiration, however. No, Chloé, in a sense, wants to be Ladybug. First by pretending to be her, and later via the Bee Miraculous, which would seem to put her on the same level as Ladybug. But since Ladybug is Marinette, this can only lead to conflict.

While Chloé has perpetrated many on-screen acts that are selfish, obnoxious and downright cruel, something that manages to slip under the radar is her pre-Origins treatment of Marinette. Sabine’s comment about how long Marinette and Chloé have been in the same class indicates that the latter has been bullying the former for at least three years. This has evidently damaged Marinette’s self-confidence, since even after being Ladybug in part one of Origins, she still thinks she can’t do it, and tries to give it up. She also doesn’t dispute Alya’s rather hasty assessment of Chloé as evil, and immediately assumes that Adrian is a bad person because he’s friends with Chloé.

Marinette’s relationship with Chloé is already poisoned at the start of the show. And it’s entirely Chloé’s fault. She didn’t have to bully Marinette. Being cruel to Marinette wouldn’t earn Chloé her mother’s approval. All it achieves is making Chloé feel better, by making Marinette suffer. Three years of bullying isn’t something you can ignore. It’s not something Marinette can simply “get over”, even as Ladybug. She probably hates Chloé, and every drop of enmity is earned. But how can I know this all from the limited picture painted by Origins, and the glimpses into Marinette’s pre-Ladybug life? I don’t. This isn’t something I needed to find from the text or subtext of the show. So then, how do I know?

I know because I lived it. When I was Marinette’s age, I was bullied. A lot. It hurt. But what people don’t want to acknowledge is that being a victim of bullying doesn’t just make you sad. It’s deeper than that. It made me angry. At the perpetrators, and the staff who let it happen, no matter how many times it was brought to their attention. It’s took me years to realise just how much it affected me, how my aggressive behaviour in certain online spaces might be connected to it. In Marinette, I see a part of myself. So when I see people claim that Marinette is somehow to blame for Chloé’s actions, that “Marinette should have given Chloé a chance“, it makes me a little angry. If someone told me I should be responsible for making my bullies better people, I’d tell them to fuck off.

Attempting to shift the responsibility for repairing Chloé’s bad behaviour on to Marinette is simply victim blaming with extra steps. Yes, Marinette is Ladybug, hero of Paris. But Marinette is also Marinette, a long-term victim of Chloé, and someone who Chloé continues to try to abuse, even if the efficacy is no longer there. It’s also not really fair to Chloé, either, when you think about it. Marinette is positioned to think the worst of Chloé, meaning she’s likely to see any regression on Chloé’s part as proof that the whole endevour is pointless. For Chloé to escape her toxic behaviour, she needs help from someone she hasn’t caused significant damage to.

And as with the rest of the Redemption Illusion, you have to ignore a lot of the text to make the idea that Marinette is somehow to blame seem reasonable. Marinette shows more compassion to Chloé than Chloé does to anyone in her entirety. It simply doesn’t help, because Chloé doesn’t want Ladybug to be nice to her, she wants Ladybug to accept her as an equal. And when that isn’t given, Chloé isn’t above trying to take it, with disasterous results.

Bad Bee-haviour

A key point in Zuko’s redemption arc is when he joins Team Avatar. This is when he truly abandons the ideals of Fire Nation Imperialism, and chooses to work directly against them. It’s not the end, but a midpoint. And it’s not a reward - it’s a duty, a commitment to help Aang defeat Ozai. I think it’s worth noting that Zuko actually gets weaker due to this, as he can no longer draw on his negative emotions to firebend. Only by helping Aang discover the pre-imperialism version of Firebending does he regain the ability himself. Rejecting the negative brings Zuko so far, but to be complete he must embrace a positive alternative.

Chloé’s transformation into Queen Bee is her anti-Zuko moment. She doesn’t work to attain it - the Bee Miraculous is literally dropped into her path. It gives her power, yes, which she immediately abuses. Queen Bee doesn’t exist to do good, like the other four heroes at the time. No, Queen Bee exists to exalt Chloé. Becoming a hero doesn’t move her to toward redemption. If anything, it moves her away from it.

It all comes back to Chloé’s first act as Queen Bee. In an attempt to prove that she’s “exceptional“, she transforms and tries to find a problem to solve. But when she can’t find one, she chooses to create one. By paralysing a train conductor, which ends up creating a problem she can’t solve. If it weren’t for Ladybug and Chat Noir’s timely intervention, a lot of people would have been injured, or even killed. All because Chloé wanted to seem like a “hero”. It’s an act so callous that it should have marked the end of her career as Queen Bee. It’s instant, irrevocable proof that she can’t be trusted with a Miraculous, because she nearly murdered a bunch of people with it.

But even if you ignore the train incident, being Queen Bee clearly doesn’t make Chloé better. In both Stormy Weather 2 and Miracular, her cruelty is what triggers an akumatization. In Animaestro, she forms a truce with Marinette entirely for the purpose of harassing Kagami. These are not the actions of someone trying to be a better person. Indeed, they look very much like the actions of a person who doesn’t think they need to change, and is thus continuing as usual.

Yet in spite of the lack of actual progress, Queen Bee is perhaps the keystone of the Redemption Illusion. She wants to be a hero. So it is assumed that if she wants to be a hero, she must be good. I suppose this line of argument sounds convincing, if you only consider it on the surface level. The problem is that it falls apart when you actually examine Chloé’s actual behaviour after becoming Queen Bee. Which is mostly the same as her behaviour before, except sometimes she tries leveraging being Queen Bee for status or bullying. This is because her motivation for being a hero isn’t heroic - it’s selfish.

Malicious Queen

Of course, the Redemption Illusion eventually collided with reality in the form of Miracle Queen. When Hawk Moth offers her the Bee Miraculous, Chloé doesn’t hesitate to take it, and is then willingly akumatized. While I do think this could have had a little more setup, it’s an action that’s entirely in-character for Chloé. She’s selfish, she’s cruel, and she’s unwilling to change. But Ladybug couldn’t be bullied or blackmailed via Chloé’s normal methods. So when Hawk Moth offers her a way around Ladybug’s No, of course she takes it. She accepts akumatization because she believes that the best way to prove her superiority to Ladybug is by harming her. The same way she harmed many other characters up to this point. (Including Marinette, who is Ladybug.)

Some people attempt, in the usual poor manner, to deflect Chloé’s responsibility for her actions onto Ladybug. Gotta keep that victim blame train going, I guess. The logic is that because Ladybug chose Kagami to help fight Heart Hunter for selfish reasons, Chloé is magically absolved of her guilt. I can’t disagree that picking Kagami in order to break up her date with Adrien was a bad thing, but in the grand scheme of things, it’s not that bad. The fact of the matter is that Ladybug probably wasn’t going to bring back Queen Bee, no matter the situation. It’s not her job to make Chloé a better person, and it’s not her responsibility to stop Chloé from making bad decisions.

Marinette made a dodgy decision because of a teenage crush and suffered massively disproportionate consequences. Chloé decided to help a terrorist because she felt entitled to the Bee Miraculous, and could still go back to her incredibly privileged life afterwards. It’s Marinette who had to live with the consequences of both their actions, becoming Guardian far earlier than she should have. A consequence that only occured because Chloé decided to help Hawk Moth. Once again, Marinette is not the problem; Chloé is the problem.

Ultimately, Miracle Queen is entirely in-character for Chloé, because Chloé has never been a good person. The Redemption Illusion persists, however, because people seem to have blended her few sympathetic traits with her occational (and temporary) good actions to create a version of Chloé who doesn’t exist within the show. Along with one last act, that really isn’t as heroic as it might seem on the surface.

The One Where She Isn’t Akumatized

In Miracular, Hawk Moth tries to akumatize Chloé and fails. Up to that point, akumatization had been presented as 100% effective, with no attempts to resist being successful. This is occationally used to suggest that Chloé is becoming good, which ignores basically all information the show provides about akumatization.

Throughout Miraculous Ladybug, succumbing to akumatization is never considered to be an immoral act. Indeed, the reasons for akumatization vary, from completely unjustified selfish reasons, to justified selfish reasons and more community-minded reasons. But no matter what a victim’s starting intentions are, Hawk Moth twists them around until he can make them into a supervillain. People are even akumatized over stuff like “kids don’t respect panthers“ and “ice cream was wrong“, which aren’t really things you can appy a moral judgement to.

Since being akumatized is not a moral failure, it follows that resisting is not a moral success. While breaking the akumatization is impressive, with very few people achieving it, that doesn’t mean Chloé gets merit points for it. Indeed, Chloé resists akumatization on the basis that she believes she can still be Queen Bee. She rejects Hawk Moth’s offer not because it’s the right thing to do, but because she thinks she doesn’t need it. Which is why once it becomes clear that Ladybug won’t be giving her the Bee Miraculous, she willing accepts akumatization.

But the real killer problem is that Sabrina is able to be akumatized into Miracular because of Chloé’s actions. When Lila’s fake Ladybug dance fails, Chloé takes it out on Sabrina, in a way that’s just, look, here’s the exact quote:

PLAY? With you!? Who are YOU anyway? You don't have any powers! You're a nobody! I'm a superheroine, okay? I'm Queen Bee! You and I have NOTHING in common! Go away!

That’s a horrible thing to say to someone, especially a friend! She explicitly ties Sabrina’s worth (or lack thereof) to having powers. And the real kicker? This is the last thing she does before the failed akumatization. Out of context, Chloé resisting akumatization might seem heroic. With this context? It’s anything but.

The Overdue Conclusion

Ultimately, a Redemption Arc is a narrative process for developing a character. It’s a trope, a storytelling pattern. The key element of such an arc is change. A static character cannot undergo a redemption arc (or indeed any arc), because the arc is the process of transformation, of becoming a better person. Not just on the surface, but in a fundamental way. A post redemption character is, in some ways, a different person to who they were before.

During seasons two and three of Miraculous Ladybug, Chloé does not change in such a way. She’s just as cruel and spiteful after becoming Queen Bee as she is before. She does bad things for bad reasons. Her motivation for being Queen Bee is entirely selfish. Indeed, while there is some feeling of a divide between Marinette and Ladybug, Queen Bee is simply Chloé with superpowers. And while she may be a victim of abuse from Audrey, that doesn’t mean she is excused from abusing others herself.

Chloé’s tragic flaw is her desire to be exceptional, in a way that places her above other people. This is why she fails to change. In the narrative of Miraculous Ladybug, the exceptional that matters is to be exceptionally kind, exceptionally couragous, exceptionally selfless. Character traits which Chloé displays sparingly and insufficently, because she believes she is above them. But without humility, there can be no change. Without change, there can no redemption. And while others might provide a catalyst for such a change, ultimately it must come from within.

The concluding point is that I still don’t think there was a Chloé Bourgeois Redemption Arc, but I can sort of see how you’d fall into thinking one existed. But when you actually examine the character’s behaviour, the illusion quickly crumbles. At this point, the whole thing has clearly taken on a life of its own beyond the source material, and is perhaps unstoppable. Will my long, somewhat rambly Tumblr post make much of a difference? Perhaps not.

But there are harmful ideas attached to it. As long as people try to make Marinette responsible for Chloé’s actions, it adds, however slightly, to the notion that the abused are responsible for the actions of their abusers. In many respects, I don’t care that strongly about these particular fictional characters. Yet other people do, and in doing so I see how they distort the role of victim and victimizer, and I care about that. I understand that it’s not a big serious issue, but it matters to me. So I’ll say my piece, and move on to other thoughts.

#miraculous ladybug #ml meta #ml fandom salt

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