Katara: It’s not magic. It’s waterbending, and it’s- Sokka: Yeah, yeah, an ancient art unique to our culture, blah blah blah. Look, I’m just saying that if I had weird powers, I’d keep my weirdness to myself.
So I wanted to talk a little about Katara, because I think we often focus on her grief for her mother, and forget her relationship to her culture, and her experience of the Southern Water Tribe genocide (unlike the Air Nomads genocide, which was for the greater partover after four big terrifyingly effective simultaneous strikes, this one took place over a long length of time - more than 40 years? 50? - and it wasn’t total, but it definitely was one. genocide = the deliberate and systematic extermination of a national, racial, political, or cultural group, fwiw)
(Kanna’s village - before and after)
All of the Southern water benders were exterminated or taken away to rot in prison (where they all died eventually except for Hama). Katara was born the only bender left in the whole South Pole. Then when she was eight years old, she survived a raid that was meant to kill her, but took her mother instead (she probably was too young to realize that, to her it must have been a question mark up until she met Yon Rha - gratuitous cruelty? Why her mother in particular? They took nothing else!).
So Katara from a young age had a double burden to bear: that of her mother, and the legacy of her bending (and she was shown as painfully aware of her situation and what it meant on both front). But here’s the thing: Katara could be a mother, she was naturally good at it, and her grandmother could teach her what she didn’t already knew. Her family and tribe demanded that of her, they needed her to be that for them (especially after her father and the rest of the men basically abandoned them). However, there was no one left to teach her how to waterbend - she had almost no hope of ever becoming a master without formal training, her brother thought it was silly and weird and let her know, her grandmother thought it was a waste of time. But she kept practicing, because she knew how important it was, to her and to her tribe, that she kept trying (as the only one left who could).
(…an ancient art unique to our culture, blah blah blah…)
(Of course she would obsess over that waterbending scroll)
When she gets to the North Pole, she meets Pakku, and with him the opportunity of finally becoming a true master. But because she is a girl, he judges her unworthy. He judges her, the only remaining southern waterbender, unworthy of carrying on their culture. The Fire Nation didn’t care about the gender of their prisoners, men and women - they all fought side by side for their freedom in the South, and they were all taken away to the last one, and killed to the last one. In the South, the women had the choice to learn how to fight, or be defenseless. And privileged master Pakku couldn’t possible realize the extend of what he was denying her in that moment.
Katara had to prove herself, she had to earn her right to these teachings. And if she had been less good or less stubborn or not Kanna’s granddaughter - well the North would have refused their sister-tribe the power to use their common cultural heritage to fight back against the nation that destroyed them.
(It’s sexist and terrible.)
Meh, thankfully, she was that good, stubborn, and Kanna’s granddaughter, and she did get to become a master.
But, of course, her story doesn’t end here, and wrt her culture, the next chapter is a much more traumatizing experience. In the Fire Nation, she meets another master. This time it’s an old woman from the South like her (“You’re a waterbender! I’ve never met another waterbender from our tribe!”), and she is, ah, more than willing to help her.
Look how happy Katara looks at the idea to learn from her in particular:
Katara: I can’t tell you what it means to meet you. It’s an honor! You’re a hero. Hama: I never thought I’d meet another southern waterbender. I‘d like to teach you what I know so that you can carry on the southern tradition when I’m gone. Katara: Yes! Yes, of course! To learn about my heritage… it would mean everything to me.
But when Hama starts her lesson, the techniques she teaches have been obviously developed with one goal in mind: survival in enemy territory. They can’t possibly have been invented in the South Pole, where water is abundant everywhere. They are deadly and cruel, and the damage they do to the environment leaves Katara sad and uncomfortable, but Hama waves that off as unimportant. It doesn’t matter, she doesn’t have the time to worry about flowers or beauty or nature. To her that peace and beauty is probably just an illusion anyway, a lie: years after her escape she is still living the war, and war is ugly and rotten and messy (her world is ugly and rotten and messy - this is her comfort zone).
The last technique she teaches Katara is bloodbending. She forces Katara to learn something she finds disgusting, repulsive (just like Hama was forced to learn?) by torturing her (Hama was tortured), by overpowering her, invading her, making her lose control over her own body, bending her blood (Hama herself is clinging to the last remain of control she managed to get back after rotting in prison for years), and finally by threatening to have the two people she cares most about in the world kill each other right under her eyes (Hama lost everyone too, she had to say goodbye).
(Katara: But, to reach inside someone and control them? I don’t know if I want that kind of power. Hama: The choice is not yours. The power exists…and it’s your duty to use the gifts you’ve been given to win this war. Katara, they tried to wipe us out, our entire culture… your mother! Katara: I know. Hama: Then you should understand what I’m talking about. We’re the last Waterbenders of the Southern Tribe. We have to fight these people whenever we can. Wherever they are, with any means necessary! Katara: It’s you. You’re the one who’s making people disappear during the full moons. Hama: They threw me in prison to rot, along with my brothers and sisters. They deserve the same. You must carry on my work.)
And this, this, is the only truly southern waterbending Katara is ever going to learn. This is her tribe’s bending heritage, what’s left of it: blood, grief, suffering, hatred, loss of control over both your body and mind (because it’s terrible, but I think that’s what’s implied by the show: bloodbending makes you lose your mind. Hama’s only mean of regaining physical freedom ended up trapping her in another nightmare). Hama gifts her with a power she despises (but will use anyway in her darkest hour when she loses control) and a philosophy of violence and revenge.
Katara chose peace and forgiveness. As an adult, she will have bloodbending outlawed, she will become the greatest healer in the world, and she’ll teach her daughter, the next avatar, probably many others. These choices matter, and we should talk about them with that background in mind. Katara redefined her heritage - or rather she created a new one for herself: she refused the condition that was forced upon her (bloodbender) and ensured nobody could legally do to someone else what Hama did to her (and it’s implied this law is valid anywhere in the world). She transmitted Pakku’s warrior teachings, the ones she fought for, to the next generations (and did a great job of it!), but she also taught them how to heal, refusing to separate the arts as in Northern Water Tribe tradition - and healing was something she discovered by herself, that she felt was always a part of her. At that, she became the universally acknowledged best. Her legacy, despite everything that happened to her, will never be one of violence.
tl;dr: Katara is one of the strongest fictional characters ever created bye
Were Mila and Danny a thing??? I mean I had ~a feeling~ that they may have been at some point but...what's the tea 👀
They weren’t, as said by them plenty of times and the facts one can add.
I’m not much of a RPF fan, so I’m going to try and make this response as clear and informative as I can. But,
She was underage for most part of the show. He being 7 years older than her would had been a little bit crazy and honest to god disgusting if they were a thing. Which I don’t believe they were because
Both were on relationships by the time the rumor of them being a thing was spread. He has always present as a very monogamous man, liking and having serious and long-term relationships, which he had during the show and after, before marrying Bijou Philips. While Mila was also in a long-term serious relationship with actor Macaulay Culkin.
Another thing to add is the fact that both had refer to the other as their brother/sister, which makes sense since he seemed to have bonded with her pretty early during filming.
After the show ended, and their relationships too, they didn’t had a reason to hide if they had been together, but to this day they keep saying the same: they never dated, they see each other as brother/sister, it was only a rumor.
IMPORTANT, 24/06/2017: This post is constantly updated. It has gotten to long, so the rest is now under the cut. You can ask me whatever you want about it.
I liked the cuddling headcannons, can you do one for russia please!!!
My big, sweet teddy bear. I love him.
He absolutely loves cuddling. It is at the very top of his list of “things I love to do with my love.”
Ivan is huge standing at almost 6 feet and he’s big-boned as well with some chub to survive the Russian Winters, so he is perfect cuddle material.
He’ll want to cuddle you anywhere, really. He’s just a really affectionate guy!
Like if you’re doing something while standing, he’ll sneak up behind you and wrap his arms around your body then pull you up against his own. He’ll let out a soft hum of content while slowly rocking on his feet, just enjoying the feeling of being so close to you.
Or if you’re sitting on the couch watching TV, he’ll sit really close to you then quietly squirm in his seat until you get the hint and crawl into his lap.
Ivan is a singer as well. He has a really cutesy voice and the purest giggle (just listen to his character songs. You’ll fall deep in love) so really, why would you say no? He’ll sing anything you request and! if it’s a duet, then it’s even more fun because the cuddly bear squeezes you when he giggles.
He also really enjoys petting you when you cuddle because “your hair is so soft~” and he can bring your face closer for some smooches or nose kisses.
Staring is also a thing for him. At first, it might be a bit creepy but he’s looking at with with so much love in his eyes. You’re the world to him and he just wants to make sure he memorizes everything about you so even in his dreams, you are there.
seeing more pointless ship hate in my bakudeku / katsudeku tags just makes me want to draw them together even more. To keep writing fics about them and to go through my manga again and take their relationship apart even more.
Because when people say they hate each other my brain just goes “where does it say that?”
Izuku and Katsuki havenever stated that they hate the other in the manga - not even once.
Shoutout to the people who can respect other people’s ships because they’re just fictional characters.
On the subject of the one way I’d say internet fandoms have changed…
I mentioned in my previous post that one major difference I’ve seen from the fandoms of the 90s and the fandoms of today is that you get people using fandom to scream about social issues.
But after talking with it with some folks over Discord I remembered… that’s not entirely new.
A lot of folks here are too young to remember what happened with things like Pokemon and Harry Potter back in the 90s. (Or even further back, the old rallies against things like Dungeons and Dragons.)
People burned books. People tried to ban TV shows. People screamed that you shouldn’t read these books, play these games, watch these shows, because if you did, you would be possessed by demons, you would try to use psychic powers, you would start to abuse animals.
But the thing was… the vast majority of kids knew the stuff they were reading/playing/watching was fictional. Yes, there was that one kid who jumped out a window thinking he could fly like a Pidgeotto, but that’s one kid out of millions. Does an entire show need to be cancelled because one person did not understand that humans do not have the ability to fly like birds? Folks in the fandoms knew that the Pokemon they were catching and trading were purely fictional, that you couldn’t actually wave a stick around and whisper some bad latin to make something float into the air.
You’ll still hear bits of that here and there–people totally detached from fandom screaming about how a show or book will make you do bad things–but for the most part that’s quieted down quite a bit.
After thinking about it… that sort of stuff really hasn’t gone away. It’s resurfaced, not outside of fandom, but inside fandom, in the form of fandom policing.
“DON’T SHIP THIS PAIRING, OR YOU’LL THINK THIS KIND OF RELATIONSHIP IS OKAY IN REAL LIFE!”
“YOU’RE NOT ALLOWED TO LIKE THIS CHARACTER! HE DID BAD THINGS AND YOU’RE SUPPORTING THOSE BAD THINGS!”
“IF YOU CRITICIZE THIS CHARACTER’S ACTIONS, YOU’LL WIND UP ATTACKING REAL-LIFE VICTIMS!”
To me, this doesn’t sound much different from the old cry of “DON’T PLAY POKEMON, OR YOU’LL BECOME GREEDY AND EVIL AND TRY TO INTERACT WITH DEMONS!” and “IF YOU READ HARRY POTTER, YOU’LL SELL YOUR SOUL TO THE DEVIL!”
Yes, you will get the occasional idiot who thinks that because they saw a character they like do something bad, that means it’s okay for them to do that bad thing, too. But that’s not most of the fandom. Not that that will stop the fandom police from trying to censor every single fandom member due to the actions of one or two.
So in short… I guess fandom has changed a little, but only in that the censorship is now coming from the inside rather than the outside.
So I was wondering, I have imaginary like... Lovers and I do find myself like, self inserting sometimes as I'm having a super rough time in life atm and it helps me cope. How did you like... Start talking about it and kinda get over the stigma?
finding people who were ok with it and supported me helped a ton, and also knowing there were other selfinsert positive blogs out there helped too !!
kylee henke personally helped me a lot aswell, she was so open about posting all her selfinsert stuff on the internet, even going so far as making comics and animations of herself with fictional characters and i was like,,, damn i want that, i wanna do that too
there was also the fact that 95% of my art is just selfinsert, and i really wanted to share it all with people but i just felt like i couldnt bc of what it was. until i said Fuckit and just made the decision to actually use this URL and make it about selfinserts
i sorta just , did all of this on impulse. it took a lot of years and thinking about it but 1 day i jst sorta got up and. made a post here and went from there like. there was no turning back lmao. AND I’VE BEEN HAVING A GREAT EXPERIENCE EVER SINCE!!!!!!!!
i think the thing to keep in mind is always that as long as you’re not hurting anybody, why should it be bad ?? if it makes you happy and helps you cope you should do it; selfinserts are like that, theyre pretty harmless and fun !! ! so just go ahead and do it !!!!!! life’s too short to be worrying about this !! !!! ! smoOCH YOUR FAVS !!!!!!!!!!!! >:0
I promise I'm not asking you this to try and get you in trouble or anything, I'm just genuinely curious: if you ever animate a non-white person, will you keep the white or will you change the skin tone? I'm just curious. :)
Well.. I have, already.. For example, Kevin and Mark are darker than the rest, having asian roots, Marzia is more of a “tan” shade because Italy, and I had a colored police officer in my latest animation (also featured in Pun Fiction though that was in all monochrome).
They just range from white to brown, instead of “peach” to brown (and I originally based that off Oney’s “naked” outline-characters, because they stand out well against any background and the facial expressions read easily).
a tv show about an alien with a magical time travel box who turns into a different person instead of dying
has timelines where people don't meet in the right order so you have to figure out where a given story takes place from the perspective of multiple characters, not just where it fits in the main story. Also sometimes two versions of the same character are present in the same place at the same time at different points in their personal timeline
we understand this
has storylines involving characters altering history so that things that have happened in the past no longer happened but some characters still remember the version of events where they did happen, sometimes involving whole alternate timelines where things happen like stars ceasing to exist
it's simple really....
has a companion who split herself into every point in another characters timeline and exists now as multiple independent identical entities throughout time and space. has a companion who turned into a plastic roman but got retconned out of it but still remembers being a plastic roman. has a character who turns out to be the daughter of two much younger characters and also their childhood best friend and also the main character's wife who also kills the main character.
well of course
invents hundreds of alien races and fictional planets with names like raxacoricofallapatorius for you to learn
I'm fine with this
casts a woman
I can't wrap my head around this. unbelievable.
[top 10 female characters: alexandra udinov] My father was gunned down in front of me when I was thirteen years old. I was sold into slavery, but I lived. I came out a drug addict, but I got clean. I’ve killed dangerous men and I’ve watched people I love die in my arms. You want to know what I am? I’m a survivor.
I keep wanting to read ‘Adult’ books, but Young Adult lit is constantly stepping up their game, with diverse characters, lush world building, intriguing and complex plots and genre experiments, and adult lit is all ‘Feeling unfulfilled with nice job better go back home and get to the bottom of a small town scandal from 20 years ago and maybe get in a love triangle?’ Also we’re all white and attractive and don’t listen to music.
I read a post about compulsory heterosexuality and it really confused me. Like, some of the things I relate to, but I still don't think it makes me a lesbian. I imagine my future with a man and I feel comforted. I have never imagined myself with a woman but I'm also not opposed to that. I do like a lot of fictional men and actors, but it's just because I like the characters they play and don't really develop a "crush" on them. When I think about it I don't think I've ever had crush on ANYONE.
If you don’t think you’re a lesbian, that’s okay, and you’re still welcome here. Being a lesbian is great, but so’s being a bi woman! There will always be overlaps in feelings and experiences between us, because there’s more that bi women and lesbians have in common than there is that separate us.
Something that may get glossed over sometimes is that bi women experience compulsory heterosexuality as well. Here at Closeted Lesbian Opionions we tend to address it through the context of lesbian experiences because, well… that’s largely the context people come to us about, for obvious reasons!
Past that, I want to talk a little more about compulsory heterosexuality and how it works, because it’s something that isn’t very well understood. To hopefully clarify: Compulsory heterosexuality is a force of structural homophobia and heterosexism that acts on everyone, teaching that women should be with men and only men, and teaching that men should be with women and only women.
Heterosexuality being compulsory, to break it down even further, means that for women, no other option is obviously available. Society teaches that heterosexuality is the default, to the point where being attracted to women is absurd! Not being attracted to men is absurd!
That women are solely attracted to men is taught like it’s just an unquestionable fact of life, like gravity.
The impact on the individual is that it’s hard to recognize our attraction to other women, and even harder to discern whether we are or aren’t truly attracted to men. That’s partly why so many of these experiences are so common–after we’ve broken through the surface of the water to realize that we’re bi, to realize that we’re lesbians, it’s often only then that we look back and realize that there were signs prior.
[I do feel like I need to note for honesty’s sake that a lot of women who love other women (wlw) do feel comforted by the idea of being in a long term relationship with a man, even lesbians. It is, after all, what society teaches us we’re meant to do. It’s safe in that regard. For wlw, the idea of being in a long term relationship with another woman may feel like something comfortable, or exciting, or safe. But it can also feel absolutley terrifying. Going against what you’ve been taught is right and normal can make you feel sick to your stomach with anxiety. And that’s just as true and real and honest an experience as the other.]
So I get what you mean about being tired of people ragging on romances that have a happy ending to imply that it's somehow cliche or lazy, but there is an argument to be made for subverting genre tropes. Otherwise we don't get any new stories? Yes, conventions are great for a reason, but they also suck sometimes. Otherwise all chosen ones would be whiny white dudes. I'm here for not denigrating people for enjoying romances with happy endings, but sometimes stories demand alternative resolutions.
This isn’t about subverting tropes. If you want to talk about subverting tropes in romance fiction, let’s talk about sexually dominant female partners, or letting male characters be the more emotional partner. Let’s talk about having romances between two non-binary people. Let’s talk about having the big alien barbarian be a total softie sweetheart, or the bookish heroine be the one who knows how to wield a sword. Let’s talk about setting up a marriage of convenience, but making the romantic hero be the guy who lives next door, not the husband. There are a million tropes that can be - and have been, in a wide variety of books - subverted. My point is that, for the actual marketing-type genre of romance, the happy ending is not a trope, it’s an integral part of the package.
You can write a romantic story without a happy ending. You can write a damned good romantic story without a happy ending. But that’s not subverting a romance trope, that’s just writing a romantic story without a happy ending. Any more than writing a story in which the mystery is solved in the first chapter, and then goes on to be a character study would be something you would market as a mystery. Or writing a story about two characters being friendly coworkers would be marketed as a romance - that’s not “subverting a trope,” that’s just writing in a different genre.
Genres are entirely meant to be marketing tools - to tell a reader very basic ideas about what they can expect in a book. Science Fiction/Fantasy tells a person that they can expect some kind of world-building element that doesn’t currently exist in our real world. Mystery tells a person that some mysterious event will happen that the protagonist must figure out by the end of the book. Horror tells a person that a monster/monstrous person or personification thereof will cause terror to the protagonists. And romance tells a person that two (or more) people will interact in a romantic way and be in love by the end of the story.
You can write a romantic story that demands one of your “alternative resolutions.” It may be wonderful, incredibly romantic, an incredibly powerful and moving story! But for marketing purposes, for genre purposes, it is not a romance.