#anti LA atla | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

The total number of visits Tumblr.com received during January 2021 is 327 million.

k8lynjoy · 2 months

Text

I'm so tired of people telling those of us who are upset about the LA atla remake that we are "being too dramatic" or are just "finding things to be upset about". We are allowed to be upset that something that we love so dearly has been butchered, AGAIN. If you liked it, then that's your personal opinion, but don't sit here and tell those of us who didn't that we're the problem.

I personally think the CGI, costumes, and sets all look terrible. None of it is immersive. Sure, it LOOKS like atla, but it doesn't FEEL like atla. The heart of the og is gone, and people are allowed to be upset about this. They've altered characters to the point that they aren't the character anymore (looking at you Aang and Katara), which is a huge upset for me personally because Katara is one of my favorite characters ever. So watching her be turned into someone meek and docile is more than a slap to the face. Not to mention them removing her as the narrator as if Bryke themselves didn't state that Katara is the person the story is being told through. And before you start telling me that Aang is the same. No, he isn't. Major parts of his development through season 1 (him coming to terms with the fact that he's the avatar and embracing that role, and him also accepting the fact that he RAN AWAY and how he is never going to do that again, which is also pivotal to his character later on) are completely removed. And don't even get me started on what they did to Kataang. Regardless of whether you ship them or not, those 2 are deeply connected to one another from the start, and their relationship is a big part of the show, so to see that butchered is heartbreaking for me.

This isn't just about them "making some changes" or it not being a 1:1 adaptation. I'm fine with adaptations that aren't 1:1. What I'm upset about is that the changes they are making are VITAL changes to characters and dynamics between characters. They're rushing through the plot and condensing the story (and I will scream if I hear one more person say that it's because they couldn't fit it all in with their runtime. The runtime is an HOUR LONGER than the og, so yes, they did have the time). The changes they are making make it evident that they do not understand the og show, and if you don't feel like that, fine, once again, that's YOUR opinion, just as this is MY opinion. So stop telling us we have no right to be upset and that we just want to hate everything. That's not true. What is true is that we are expressing valid complaints about another bad adaptation of something dear to us.

Edit: If you also come at people who are upset bc they were expecting a faithful adaptation and didn't get it bc "its not supposed to be the cartoon," you're missing the whole point. An adaptation is ADAPTING SOMETHING from one medium to the other, not rewriting it. "Yall expected it to be just like the cartoon." No, I expected a FAITHFUL ADAPTATION and was met with poorly written fanfiction.

#atla #avatar the last airbender #natla #netflix avatar #katara #aang #kataang #never made a post before but it had to be said bc it was starting to make me mad #atla is my favorite show of all time #stop trying to dictate how i feel about the remake #there is no live action in ba sing se #anti natla #anti LA atla

2K notes · View notes

lilith-91 · 17 days

Text

Love how the yin-yang couple we actually see in the series are the moon and ocean spirits, and not the conflicting opposites of Western clichés <3

#avatar the last airbender #atla #aang #katara #kataang #anti zutara #tui and la #beautiful episode #parallels

116 notes · View notes

sapphic-agent · 1 month

Text

The ATLA fandom is interesting. There's been uproar about Katara's personality changing in the live-action... Besties, don't you think there's a reason why they did that? Maybe due to a certain influx of people bashing Katara every time she breathed in 2020? She was shamed repeatedly for being angry, outspoken, and confrontational. Not to mention how many of you defended her being a docile healer instead of a fighter in LOK (hell, some of you preferred Katara in LOK over Katara in ATLA, don't think I forgot). Why are we backtracking now?

(Yes the live-action could have done better with her. But they were probably trying to appease the people who whined in 2020, which they shouldn't have since this fandom would find something to rage about no matter what)

Istg, Renaissance fans and their performative activism. Again I say, the ATLA Renaissance sucked

#pro katara #katara defense squad #the live action isn't perfect #but some of what you boneheads are bitching about makes no sense #like complaining about aang flying #HE WASN'T FLYING HE WAS MANIPULATING THE AIR AROUND HIM WHICH HE'S DONE MULTIPLE TIMES IN THE SHOW #anti kataang #anti kataang shippers #tagging just in case #i don't need kataang fans here they give me a headache #anti atla renaissance #anti atla fandom #atla live action #anti bryke #they don't really have anything to do with this #but they piss me off too #and they're the ones who screwed katara over in lok in the first place #i'll take la katara over lok katara

84 notes · View notes

jacobelgordi · 22 hours

Text

creo que te das cuenta en atla cuando estas muy metida en los ships cuando tiran que la relación de katara y zuko es central y la mas importante en toda la serie porque ni siquiera la relación de katara y aang (que es significativa porque son dos sobrevivientes de un genocidio y un intento de otro) es eso. la relación mas importante de toda la serie es la de aang y zuko al punto de que estoy segurisima de que si tenian la misma edad las gordas fujoshi hasta hoy en dia iban a vivir forradas en guita de la cantidad de arte y cosas que habrían vendido de ese ship. sin aang zuko no llega a nada si arco es dependiente de la existencia del enano pelado tanto como la influencia de iroh esasi

16 notes · View notes

ultfreakme · 1 month

Note

I hope the natla writers don't go down the same route as the og atla by giving Zutara so many scenes and importance (atleast that's what it looks like). They have already made many changes interaction-wise with the characters that ended up being really good (like the Aang and Iroh conversations), I don't see why they can't do the same with the Book 2 and Book 3 content.

I don't have anything against the pairing, people can ship whoever they want, but it is kinda frustrating to see how much they seem to get in comparison to other Zuko friendships etc. I would like to see more emphasis put on the eventual friendship between Aang/Zuko and Sokka/Zuko, and fxf and mxm friendships in general, something I feel like the og quite lacked. Like, give me more bonding scenes between Katara and Toph please?!

Enemies to lovers is boring and overdone. I want enemies to best friends.

I think the NATLA team is, for the most part, reluctant to do anything with Zutara, but especially the actors and promotion team (the scarf scene wasn't even anything, Zuko's focus IMMEDIATELY goes to Aang right after and he basically leaves her to DIE under the NWT rubble. Also obviously the time he tried to burn her. He's far more vicious in NATLA than he ever was in the OG). They removed all the s1 Zuko-Katara scenes and I'm expecting pretty much the same for S2 & S3 too. One because the actors GENUINELY seem uncomfortable when its brought up as a ship, and two, they seem to be focusing more on expanding the Aang-Zuko interactions.

I would really enjoy more friendships and closer bonds too. I think the OG did very little with Zuko-Katara tbh, they have had like, three positive interactions that didn't end badly but shippers who are convinced that the universe has conspired against making Zuko/Katara are a thing exaggerate their interactions a LOT (personal opinion that will get me killed, I think every Zuko-Katara significant interaction has a parallel Zuko-Azula interaction and Azula & Katara's individual relationships to Zuko being juxtaposed to show family isn't about blood, this even carries through to the comics by paralleling Zuko-Sokka as big brothers). Zuko-Toph would be EPIC. Real missed opportunity there. Toph-Suki and Katara-Suki would be welcomed too, it's a bummer that Toph really didn't get to mingle in-depth with the extended gaang.

Yeah, I like enemies-to-best friends to, and I'd like to see those two's interactions being treated platonically (I hope randos in the writing room DO NOT push their ships onto characters, like, stop and be professional).

#riki asks #natla #anti zutara #atla la #atla live action

14 notes · View notes

ididgettomeetyou · 10 months

Text

the atla costumes are too bright/cosplay.

Me: Well Im tired of these LA looking boring and dull so I'll take it over this lighting

#anti disney #why does disny hate color #atla #atla netflix #fandom is too picky #i want the cartoon la to look clsoe to the cartoon not dull and boring

27 notes · View notes

thesiltverses · 7 months

Note

I don’t know who types up the ask answers on this blog but to whoever’s reading this: how do you all feel about being alive and sentient? What keeps you going, what purpose propels you through this chaotic void? What do you think (or hope) waits for you after your inevitable end? What do you think constitutes a life well lived?

I'm going to answer this in the most wayward and stupidly overlong manner possible, because the previous ask had me thinking about puppets, and I was already mid-way through writing up a book recommendation that's semi-relevant to your questions.

Everyone (but especially people who've enjoyed The Silt Verses and all the folks on Tumblr who loved Piranesi by Susanna Clarke) ought to seek out Riddley Walker by Russell Hoban.

Riddley Walker is a wild and woolly story set in post-apocalyptic Kent, where human society has (d)evolved into a Bronze Age collective of hunter-gatherer settlements. Dogs, apparently blaming us for our crimes against the world, have become our predators, hunting us through the trees. Labourers kill themselves unearthing ancient machinery that they cannot possibly understand.

A travelling crowd of thugs led by a Pry Mincer collect taxes and attempt to impose themselves upon those around them with a puppet-show - the closest possible approximation of a TV show - that tells a mangled story of the world's destruction, featuring a Prometheus-esque hero called Eusa who is tempted by the Clevver One into creating the atomic bomb.

Riddley himself, a twelve-year-old folk hero in-the-making surrounded by strange portents, ends up sowing the seeds of rebellion and change by becoming a conduit for the anti-tutelary anarchic madness (one apparently buried in our collective unconscious) of Punch 'n' Judy.

It's a book in love with twisted reinterpretation, the subjectivity of interpretation, buried or forbidden truths coming back to light (the opening quote is a curious allegory about reinvention and cyclical change from the extra-canonical Gospel of Thomas, which is a good joke and mission statement on a couple levels at once) and human beings somehow stumbling into forms of wisdom or insight through clumsy and nonsensical attempts to make sense of a world that is simply beyond them.

It rocks.

The book starts like this:

On my naming day when I come 12 I gone front spear and kilt a wyld boar he parbly the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen. He dint make the groun shake nor nothing like that when he come on to my spear he wernt all that big plus he lookit poorly. He done the reqwyrt he ternt and stood and clattert his teef and made his rush and there we wer then. Him on 1 end of the spear kicking his life out and me on the other end watching him dy. I said, 'Your tern now my tern later.'

Riddley's devolved language - a trick which has been nicked/homaged by many other works, most notably Cloud Atlas and Mad Max: Beyond Thunderdome - is a masterwork choice which may seem offputting or overwhelming at first, but which has its own brutal poetry and cadence to it, and ultimately which makes us slow down as readers and unpick the wit, puns, double-meanings and playful themes buried in line after line.

(Even those first five sentences get us thinking about cyclical change, ritual and myth in opposition to the dissatisfactions of reality, and 'tern' to paradoxically indicate a rebellious change in direction but also an obedient acceptance of inevitable death.)

In one of my favourite passages in literature and a statement of thought that means a lot to me, Riddley has been smoking post-coital weed with Lorna, a 'tel-woman', who unexpectedly declares her belief in a kind of irrational, monstrous Logos that lives in us, wears us like clothes, and drives us onwards for its own purpose:

'You know Riddley theres some thing in us it dont have no name.' I said, 'What thing is that?' She said, 'Its some kynd of thing it aint us but yet its in us. Its lookin out thru our eye hoals...it aint you nor it dont even know your name. Its in us lorn and loan and shelterin how it can.' 'Tremmering it is and feart. It puts us on like we put on our cloes. Some times we dont fit. Some times it cant fynd the arm hoals and it tears us a part. I dont think I took all that much noatis of it when I ben yung. Now Im old I noatise it mor. It dont realy like to put me on no mor. Every morning I can feal how its tiret of me and readying to throw me a way. Iwl tel you some thing Riddley and keap this in memberment. What ever it is we dont come naturel to it.' I said, 'Lorna I dont know what you mean.' She said, 'We aint a naturel part of it. We dint begin when it begun we dint begin where it begun. It ben here befor us nor I dont know what we are to it. May be weare jus only sickness and a feaver to it or boyls on the arse of it I dont know. Now lissen what Im going to tel you Riddley. It thinks us but it dont think like us. It dont think the way we think. Plus like I said befor its afeart.' I said, 'Whats it afeart of?' She said, 'Its afeart of being beartht.'

While Hoban is, I think, deeply humanistic to his bones and even something of a wayward optimist, the notion of human beings as helpless and ignorant vessels, individual carriers - puppets, if you like - for an unknowable and awful inhuman power-in-potentia and life-drive that lacks a true shape or intent beyond its own continued survival (even when that means destroying us or visiting us with agonising atrophy in the process) conjures up the pessimism of Thomas Ligotti, another big influence on our work and a dude who was really into his marionettes-as-metaphor.

Let's go to him now for his opinion on the thing that lives beneath our skin. Thomas?

Through the prophylactic of self-deception, we keep hidden what we do not want to let into our heads, as if we will betray to ourselves a secret too terrible to know… …(that the universe is) a play with no plot and no players that were anything more than portions of a master drive of purposeless self-mutilation. Everything tears away at everything else forever. Nothing knows of its embroilment in a festival of massacres… Nothing can know what is going on.

Curiously, both Ligotti and Riddley Walker have appeared in the music of dark folk band Current 93, whose track In The Heart Of The Wood And What I Found There directly homages the novel and ends with the repeated words,

"All shall be well," she said But not for me

These words, in turn, hearken back to Kafka's* famous reported conversation with Max Brod:

'We are,' he said, 'nihilistic thoughts, suicidal thoughts that rise in God's head.' This reminded me of the worldview of the gnostic: God as an evil demiurge, the world as his original sin. 'Oh no', he said, 'our world is only a bad, fretful whim of God, a bad day.' 'So was there - outside of this world that we know - hope?' He smiled: 'Oh, hope - there is plenty. Infinite hope, just not for us."

So, we walk on.

We carry this thing that's riding on our backs, endlessly bonded to it, feeling its weight more and more with every passing day, unable to turn to look at it. Buried truths come briefly to life, and are hidden from us again. Perhaps they weren't truths at all. We couldn't stand to look the truth directly in the eyes in any case.

If there is hope, it's for the thing that looks out from our eyeholes, which thinks us but cannot think like us. We'll never get to where we're going, and the thing will never be born. There's no hope for it. Perhaps we don't want it to win anyway. It's nothing, and the key to everything.

The Jesus from the Gospel of Thomas says:

'When you see your own likeness, you rejoice. But when you see the visions that formed you and existed before you, which do not perish and which do not become visible - how much then will you be able to bear?'

Kafka, writing to his father, begins by expressing the inexpressibility of his own divine terror:

You asked me why I am afraid of you. I did not know how to answer - partly because of my fear, partly because an explanation would require more than I could make coherent in speech…even in writing, the magnitude of the causes exceeds my memory and my understanding.

Kafka concludes that while he cannot ever truly explain himself, and that the accusations in his letter are neat subjectivities that fail to account for the messiness of reality, perhaps 'something that in my opinion so closely resembles the truth…might comfort us both a little and make it easier for us to live and die.'**

It doesn't bring comfort to Kafka, whose diarised remarks both before and after the 1919 letter make it clear that he views his relationship with the things (people) that birthed him as an endless entrapment that prevents him from attaining any kind of self-actualisation or even comfort, since he cannot escape their influence or remember a time before them:

I was defeated by Father as a small boy and have been prevented since by pride from leaving the battleground, despite enduring defeat over and over again.

It's as if I wasn't fully born yet...as if I was dissolubly bound to these repulsive things (my parents).*** The bond is still attached to my feet, preventing them from walking, from escaping the original formless mush. That's how it is sometimes.

Samuel Beckett returns again and again (aptly) to this pursuit of a state of true humanity and final understanding that is at once fled and unrecoverable, yet to be born, never to be born, never-existed, endlessly to be pursued, pointless to pursue. From the astonishing end sequence of The Unnameable:

alone alone, the others are gone, they have been stilled, their voices stilled, their listening stilled, one by one, at each new-com- ing, another will come, I won’t be the last. I’ll be with the others. I’ll be as gone, in the silence, it won’t be I, it’s not I, I’m not there yet. I’ll go there now. I’ll try and go there now, no use trying, I wait for my turn, my turn to go there, my turn to talk there, my turn to listen there, my turn to wait there for my turn to go, to be as gone, it’s unending, it will be unending, gone where,where do you go from there, you must go somewhere else, wait somewhere else, for your turn to go again

I’m not the first, I won’t be the first, it will best me in the end, it has bested better than me, it will tell me what to do, in order to rise, move, act like a body endowed with despair, that’s how I reason, that’s how I hear myself reasoning, all lies, it’s not me they’re calling, not me they’re talking about, it’s not yet my turn, it’s someone else’s turn, that’s why I can’t stir, that’s why I don’t feel a body on me, I’m not suffering enough yet, it’s not yet my turn, not suffering enough to be able to stir, to have a body, complete with head, to be able to understand, to have eyes to light the way

From Thomas' Jesus:

When you make the two one, and you make the inside as the outside and the outside as the inside and the above as the below, and if male and female become a single unity which lacks 'masculine' and 'feminine' action, when you grow eyes where eyes should be and hands where hands should be and feet where feet should stand and the true image in its proper place, then shall you enter heaven.

Tom's Jesus makes a particularly Gnostic habit of both insisting that the hidden will be revealed and demonstrating the impossibility of attaining a state where the hidden ever can be revealed. Contrary to C.S. Lewis, we will never have faces with which to gaze upon the lost divine and the mysteries that shaped us, and crucially, as Christ puts it, we would not be able to bear the sight of ourselves if we did.

We will never become the thing that's riding on our backs.

Jesus again:

The disciples ask Jesus, 'Tell us how our end shall be.' Jesus says, 'Have you found the beginning yet, you who ask after the end? For at the place where the beginning is, there shall be the end.'

The Unnameable:

I’ll recognise it, in the end I’ll recognise it, the story of the silence that he never left, that I should never have left, that I may never find again, that I may find again, then it will be he, it will be I, it will be the place, the silence, the end, the beginning, the beginning again, how can I say it, that’s all words, they’re all I have, and not many of them, the words fail, the voice fails, so be it

The final passage of The Unnameable, which often is hilariously shorn and misinterpreted as an inspirational quote about how if you don't succeed, try again:

all words, there’s nothing else, you must go on, that’s all I know, they’re going to stop, I know that well, I can feel it, they’re going to abandon me, it will be the silence, for a moment, a good few moments, or it will be mine, the lasting one, that didn’t last, that still lasts, it will be I, you must go on, I can't go on, you must go on. I’ll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know. I’ll never know, in the silence you don’t know, you must go on, I can’t go on. I’ll go on. †

We bear this thing that's riding on our backs. We'll never get to where we're going, and the thing will never be born. If it was born, it'd be too terrible for us to bear. There's nothing riding on our backs.

It will never speak us into being.

We keep on calling out into the silence, we keep trying to explain or understand the thing that's riding on our backs, searching for a way to birth it before we die. Our words about the thing are crucial, and they're meaningless, and they're all we have, and they're nothing at all. We cannot name it and we cannot express it, but we cannot stop trying, and we will keep turning back to our words about the thing, obsessing over them, tearing them to pieces, putting them back together.

I'm fumbling at something I can't think or say, but fumbling is all we're capable of. There could be beauty and meaning and comfort in the fumbling, but it's also vain, and foolish, and pointless, and we're lying to ourselves about the beauty and the meaning and the comfort, and we're indulging ourselves pointlessly by going on and on about the pointlessness of it. Nothing can know what's going on. We will never get close enough to understand without being destroyed.

Thomas' Jesus again, warning those who seek to reveal what's hidden:

He who is near me is near the fire.

Riddley Walker, reflecting on the Punch puppet's inexplicable desire to cook and eat his own child:

Whyis Punch crookit? Why wil he al ways kill the baby if he can? Parbly I wont ever know its jus on me to think on it.

If you got to the end of this, congratulations: but the above is honestly the most appropriate patchwork of what I believe, what propels me, what I feel.

As for what comes after life, I think it's fairly straightforwardly a nothingness we are tragically incapable of fully knowing or accepting - it's Beckett's unimaginable and unattainable silence, a silence that his characters' voices keep on shattering even as they cry out for it.

-Jon‡

*I can't remember if Kafka makes prominent reference to Czech puppets in his work, which is interesting in its own right given the thematic relevance (the protagonist in The Hunger Artist is perhaps a kind of self-directing puppet show?).

However, Gustav Meyrink - who some unsourced Google quotes suggest was pals with Czech puppeteer Richard Teschner - did write a strange little story, The Man On The Bottle, about an audience watching a 'marionette show' who are too wrapped up in performances and masks to interpret the reality that they're actually watching a human being suffocate to death.

**Thomas Ligotti: "Something had happened. They did not know what it was, but they did know it as that which should not be.

Something would have to be done if they were to live with that which should not be.

This would not (be enough); it would only be the best they could do."

***Beckett's Malone Dies actually kicks off with a related sentiment:" I am in my mother’s room. It’s I who live there now. I don’t know how I got there...In any case I have her room. I sleep in her bed. I piss and shit in her pot. I have taken her place. I must resemble her more and more."

† I don't necessarily align myself in humour with Ligotti on a lot of this stuff but I imagine he would recognise both Beckett's writing and Kafka's frustrations re explaining the causes of his hatred for his father as sublimation: finding artistic and philosophical ways of sketching the inexpressible horror and uncertainty of our existence in order to reckon with it at a remove without destroying ourselves. A higher form of self-deception, but self-deception nevertheless.

‡Muna's more of an anarcho-nihilist, I think.

#long fucking post just to say 'i don't know'

151 notes · View notes

smallsinger5901 · 7 months

Text

Songs I would give each ATLA character!

Aang: Me gustas Tu (by Manu Chao). Got both the good vibes and love for everything, but also sort of melancholy and unresolved.

Katara: My Sister's Crown (by Vesna). I love Eurovision and do know the meaning behind this song, but it also bangs so hard as a female empowerment ballad. Can imagine Katara rocking someone's shit while this plays in the background.

Suki: W.I.T.C.H (by Devon Cole). Same as Katara's in that I can imagine her absolutely kicking some guy's ass while this plays in the background, plus Sokka at the start- 'Why you scared of a woman in charge?'

Sokka: Puppy Princess (by The Hot Freaks). C'mon, 'you know me as your boyfriend's goofy friend, I seem to have this effect on women'? This is my man.

Toph: Wrecking ball (by Mother Mother). I think the name is pretty self explanatory- she IS a rock on top of the sand in s2X9 :)

Zuko: Ain't no crying (by Derivakat). There is no other song I could possibly have put for Zuko. Every. Single. Lyric. Is perfect for him. I can't even cite just one here because I'd end up putting the whole song.

Iroh: Just A Man (by Jorge Rivera-Herrans). Perfect mix of sad and powerful, with just the right amount of love for the boy who's 'as old as [his son] was when he left for war.'

Ursa: Labour (by Paris Paloma). All of the second verse is brilliant for this, and the whole mood of the song encapsulates that stuck feeling that's crucial to Ursa's character.

Ozai: Digital Silence (by Peter mcPoland). Okay, this one was really different because Ozai can't just have a good song, he doesn't deserve to take one of those! But in the end I did choose this song- which i love- because of its sinister vibes and anti-progressive lyrics.

Azula: Crazy Girls (by TOOPOOR). Personally I listen to it sped up a la tiktok edits, but it's the lyricism that sells this one. Like most of the other songs, it's the second verse that sells it, but the pre-chorus fits her so well too. And, after all, she is a 'crazy' girl at the end.

Jet: Preacher (by Roe Kapara). He's a bit of a random one, but the essence of Jet's character lives in this song I think. The second verse (who'd've guessed) feels like his life and death in Ba Sing Se, and even reaches being slightly meta: 'They'll sell you your forgiveness if you pay them with your life'.

I can't think of many other characters that need songs, but lmk your ideas!

#avatar the last airbender #atla zuko #katara #ozai #ursa #azula #iroh #atla suki #atla #avatar aang #sokka #atla jet #toph beifong

26 notes · View notes

novankenn · 4 months

Text

Perfection - A Homecoming (Ch7)

For the most part the remainder of the trip to the compound was uneventful and fairly smooth. After on final thump, the "truck" was brought to a top. Joan slid out of the turret and hit the release for the back ramp.

Joan: Welcome to la maison d'Arc. Watch your step.

Pyrrha waited for Jaune to exit the driver compartment, and followed him out of the "truck". Pyrrha didn't know what she was expecting when Jaune said they would be going back to his home, but a fortified compound was not anything close to what she had envisioned. On the outside of a barbwire topped chain-link fence, was a entirely cement walk way edged with a two foot concrete wall, which had at equal intervals the same type of automated sentry guns. The place would give Atlas a run for security.

Pyrrha: You grew up here?

Jaune: Only when I was older. I spent most of my time prior to age twelve in Ansel, going to school.

Pyrrha: Can I ask why... the fortifications?

Jaune: Preventative measures. Mom will explain everything to you, but let's just say there are things out in this valley that can't be let to escape. Things worse than grimm.

Pyrrha: Like those... what did you call them? Screamers?

Jaune: Shriekers., and something else.

Joan had vanished into the low plain looking concrete, bunker like house as Jaune and Pyrrha took their time walking and talking. Pyrrha did notice how the entire yard of the expansive space was filled with gravel. It crunched under their feet as they closed on the main building.

Joan had reappeared carrying a couple large rifles. she tossed one to Jaune without pause, followed by a bandoleer of some very large rounds.

Pyrrha: Jaune?

Jaune: Joan and I have to go out and check the last spot Dad was in. Mom will go over everything with you, and when I get back I'll answer any questions you have.

Joan: Sorry red. We're sort in a time crunch.

Pyrrha might not have been as geeky about weapons as Ruby, but she was very familiar with various firearms, and still not understanding what Jaune was referring to made her think that using anti-material rifles seemed like a little bit of over kill.

Pyrrha: Is that type of firepower needed?

Jaune: Yes. We taking the "truck"?

Joan: The jeep. Get out an back a lot faster.

Jaune: Sounds go. You drive.

Joan nodded and headed towards a line of various all-terrain vehicles, sliding into the driver's seat of a rather plain looking jeep.

Pyrrha: Are you going to be okay? I would like to come with you.

Jaune: We'll be fine, Pyr, and I would like that but you need the crash course on what we're doing out here.

Pyrrha: And after this "crash course"?

Jaune: You'll be good to be out there with Joan and me.

Jaune reached out and gave Pyrrha's hand a squeeze.

Jaune: Thank you for coming Pyrrha. I mean it.

Pyrrha: No problem Jaune... you're important to me.

Jaune nodded, before moving off and climbing into back of the jeep. He set his rifle aside, and took hold of the grips for a machine-gun mounted on a post in the back bed... rather it looked more like a mini-gun than a regular machine gun.

As the jeep backed out and took off into the valley, Pyrrha entered the main building.

(==[Table of Contents]==)

#rwby #tremors #jaune arc #pyrrha nikos #graboids #shriekers

14 notes · View notes

atjsgf · 2 months

Text

Finished the live action ATLA. Honestly? I actually really liked it, more than I thought I would, and I wasn't even particularly skeptical about it.

I liked Katara and Sokka's dynamic here actually better than I did in the cartoon. Maybe I would be more attached to Katara being parentified in the cartoon if it was ever resolved in that show, but it wasn't, so I'm fine with it being discarded and taking a different angle with her characterization and relationship with her brother.

I have no complaints about the performances given by the actors (though I do agree with the criticisms of casting light-skinned actors for Katara and Sokka, I still enjoyed the performances, though I know I'm coming from a place of being, like. White. With that--like, people with darker skin might have a harder time enjoying the performances despite that and that's valid).

However, Dallas Liu as Zuko was a highlight for me, he absolutely killed it in every single scene. Easily my favorite casting choice in the whole show.

I also really liked bringing in Azula earlier and not making her just like a demon child who enjoys being evil. The golden child-scapegoat dynamic between Azula and Zuko even as they've been separated for years is interesting and I liked it. (In particular I never liked how Azula in the audience of Zuko being scarred just smirks, so I like how in the LA she clearly has more mixed emotions about it. To me she looks morbidly fascinated and afraid at the same time, which feels right to me.)

I thought the show did a good job of covering the most iconic s1 episodes within their limited time frame by tying them into a connected plotline with each other within Omashu. Also I know the secret tunnel ep was s2 not s1 but I think it worked for this plotline, and I liked that it centered on Katara and Sokka's sibling bond instead of a forced k/ataang moment. (I don't care for that ship but Aang antis do not think I am one of you!)

As for the Sokka no longer being sexist thing: I don't know why we're pretending "Sokka being sexist in episode one, meeting a woman who fights good three episodes later and immediately changing him mind and being normal for the rest of the series" is like some huge plot point that Sokka's character falls apart without. The live action is only eight episodes long, it can't cover everything and I'm fine with it looking at that non-arc and going "yeah, that's not fundamentally necessary." He still felt recognizably like Sokka to me.

(Also others have pointed out that misogyny is cultural and we don't really see much if any sexism in the SWT aside from Sokka, certainly not to the level that Sokka exhibits in ep1, so it's kind of an odd trait for him to have to begin with. Like he just decided independently that women aren't as capable as men? Bruh.)

But yeah, I actually really enjoyed it and I hope we get a second and hopefully third season.

#good post op #atla la shitposting #whitewashing cw

3 notes · View notes

joseopher · 1 year

Text

HELLO, LADIES, WORMS, HOMOSEXUALS

As we know I check the novacaine tags daily.

AND THE ATLAS SIX VACATION SERIES HAS BEEN UPDATED!

I LITERALLY SCREAMED

when the dust has set!!!!!!!!!

WHY YOU SHOULD READ THIS FIC:

Nico continues to wish he drowned instead of witnessing novacaine

LOVE CONFESSIONS

Sibling dynamics

Found family dynamics

Friendship dynamics

Sleepovers!!!

THE BEST ENDING EVER

Spoilers! Spoilers! Spoilers! Spoilers! Spoilers! Spoilers! Spoilers!

"They had gone upstairs together earlier today, probably to fuck. When they finally were downstairs again, Tristan had talked to him like nothing happened. Like the relationship between them was completely normal. Eventually, the two of them disappeared again, probably to fuck. Again."

Nico is so done. He is so done. He will commit murder if he has to deal with novacaine again.

"He didn’t want to think about them having sex, although it felt like that was all they ever did."

I mean...he's not wrong.

Then Nico sees Callum smile and is like what the actual fuck. He just stares at Tristan like "explain yourself". And Tristan is just like "la la la".

Nico is suffering.

"Wanted them to be the type of friends that could share those things. "

Awww Nico wants to be friends with Tristan <3

“It’s just that we were just there not too long ago. Before we went to my room. I just thought that Tristan doesn’t even go to his room that often. Only to sleep. Or with me,”

“And you wanted to rub that in our face again because….?”

HAHA Callum being jealous and petty and Nico just wanting to murder him.

Nico @ Callum constantly: You are a bitch.

"'Well, I don’t know. Why on earth would anyone want him dead?' Nico nodded toward Callum.

Callum put his hand on his heart and cooed at him.

'That’s exactly what I’ve been wondering for years now, Varona,' he said. Nico flipped him off. Tristan rubbed a hand over his face with a sigh."

I love these people so much. Callum is sooo petty and Nico is just pissed off and Tristan is like "I can't believe these are the people I want to hang out with".

"'So someone tried to blow me up. That’s nice.'

'Tried to blow you and Callum up,' Reina corrected.

'That I can understand,' Nico said. This time Tristan flipped him off.

Nico is #1 novacaine anti

"Nico had always suspected that was just a sex thing. Maybe Callum had just such a big dick that Tristan couldn’t resist. It simply couldn’t be because of his personality, because it was shit."

Correction Nico is just a Callum anti.

(Parisa listening to Nico's thoughts as he tries to understand novacaine is so funny.)

"'As long as we have pillow fights,' Callum added. Parisa snorted.

'Prepare to die again old man,' she threatened."

The friendship dynamics in this fix>>>>>

“If you even try to kiss each other below the belt while we’re in the same room I will cut off both of your dicks,”

LOLOLOL YESS GO OFF NICO!!

"Libby sighed. Callum sat down next to Tristan. He let himself fall back, held up by his elbows, and pushed his feet on Tristan’s lap. Tristan just let him. It was disgusting. "

Nico has "novacaine supporters" in his DNI on twitter.com

“We’re in love, for starters.”

OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

"Maybe he quite liked the rest of them too. Some more than others, but there was fondness in him somewhere."

AW NICO IS MAKING FRIENDS <3 <3 <3

“Are you in love with him?”

“Yes,”

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

"so

i did dreamfuck you?"

HAAAAAAAAAAAAAA

"'Got it after a few hours on the first day. Same handwriting as the invite. Suppose it was from Atlas. He’s been planning to kill me since then, I guess. Think he was hoping for you all to do it but no one did. Stayed here to spite him.'

'And to sleep with his favorite the whole time. To rub it in,' Parisa added. Callum smirked.

'Perhaps.'"

Aww Atlas's plan was that them being stuck here 'on vacation' would make them try to kill Callum again. But they didn't and instead made friends <3 <3 <3

Also, Callum got laaaaaid.

Bet you didn't expect that Atlas!

OH MY FUCKING GOD THIS WAS AN AMAZING ENDING. PHENOMENAL! PERFECTION! I LOVED IT!

I AM SO HAPPY RIGHT NOW!

SO HAPPY!

I LOVE THIS AUTHOR'S WRITING SO MUCH!

GO READ THE ATLAS SIX VACATION SERIES OR I KILL YOU!

#novacaine #tristan x callum #callum nova #tristan caine #the atlas six

14 notes · View notes

Last Seen Blogs