throw these children on the pyre (they will light your funeral fire)
read it on ao3 | masterlist
Fandom: Avatar: the Last Airbender
TW: canon-typical references to zuko & ozai's agni kai, the whole situation with the 41st division is also heavily discussed, but overall there's nothing super graphic, and no actual character death. please let me know if there are any other warnings that should be added.
Wordcount: 1,030
Originally published: June 9th, 2023
Summary: maybe, if things weren't the way they were, it's something the rich fuckers in charge might've actually seen coming.
but then, if things weren't the way they were, the agni kai wouldn't have happened. if things weren't the way they were, the whole plan wouldn't have been introduced in the first place, and it certainly wouldn't have fallen solely to a thirteen year old boy to decry it.
so maybe, really, this was always going to happen.
(or: that first agni kai has far reaching consequences.)
Notes: n/a
Transfer Notes: this was initially written in my phone notes, and wasn’t really meant to turn into anything, which is why it’s in lapslock. this work is also the first one i’ve locked on ao3, and i will likely be locking all others in the future to avoid ai scraping. don’t quite have the same qualms about posting it here bc for some reason i feel like it would be a bad idea for anyone trying to train writing or chat ais by scraping fucking tumblr.
maybe, if things weren't the way they were, it's something the rich fuckers in charge might've actually seen coming.
but then, if things weren't the way they were, the agni kai wouldn't have happened. if things weren't the way they were, the whole plan wouldn't have been introduced in the first place, and it certainly wouldn't have fallen solely to a thirteen year old boy to decry it.
so maybe, really, this was always going to happen.
you see, here is something that is expected: news takes time to travel.
here is what is not: official orders mean half a dozen extra layers of bureaucracy for every new pair of eyes that pass over them, mean waiting on desks in piles for hours or days.
and rumors? well, rumors take far less time to spread than troop movements.
it goes like this: one soldier gets a letter.
she thinks that her siblings have a real sick sense of humor that's only rotted further since her leaving.
but then two more soldiers get letters.
funny, that the same silly, horrid rumor reached them as her, when their families are all so far apart. but hey, rumors travel fast, and the war is many-legged.
except it's not just one, or two. then it's three, five, a dozen, forty-two, the nephew of a serving maid in the imperial palace, the daughter of a guard in the heart of a caldera, too much, too many, and suddenly—suddenly, thinking this is just a baseless rumor is getting harder and harder. suddenly, people are talking. messages from family members are being compared, from friends, from old co-workers and classmates they thought didn't give half a damn about them, from every far corner of their nation and then some—the mainland, the outer islands, the colonies, the front, even.
because suddenly, half the squadron is getting more letters in the span of a single week than they have in their entire lives, nonetheless their three and a half months since joining up or being conscripted.
and with every letter the tension grows thicker, the silence heavier, morale lower.
every piece of parchment, every shaky character in dark ink pleads the same thing in so many shades, dripping like molasses in their throats, blood down their chins, latching into their very bones no matter how hard they try to shake them, listen. listen. please, dear agni, listen. fight. run. anything. goodbye. i love you. please live. you're not meant to leave alive. he burned for you. it wasn't enough. you need to go. stay alive stay alive stay alive please stay alive.
the orders that will put their division into the jaws of death with no remorse are still buried in a pile of parchment somewhere with others just like it, weighted down with a cup of tea spiked with something sharper, prospective deaths paid no mind in exchange for more important things.
what else is not expected, then?
well, that young soldiers will not take their own kill orders laying down so lightly.
that half of them didn't choose to be here in the first place. that being a fresh face might mean bright-eyed idealism, but it also means that they haven't made solid connections here yet, haven't fully settled into this routine like they'll live it for years, haven't grown numb to what they'll eventually be asked to do, or started thinking about things like military career paths.
that, perhaps, loyalty isn't so much bought with three squares a day, a hard cot, and a barely-livable pay every two weeks to send home to people they might never see again, as it is earned, through things like actions, like sacrifice, like trying to put a stopper on the blood before it's spilled.
that people are far less stupid than those in charge often account for, and even with minimal training, a newbie division of hundreds and thousands outweighs the two dozen officers trying to keep them in line thrice over with far more room to spare. that, when motivated, people are willing to push back. sometimes, they're even willing to do so together.
their marching orders are only twelve days away by courier and three by hawk when the entire 41st division makes a very, very vocal decision to resign.
maybe jeong jeong made a name for himself, being the first to desert.
but there's power in numbers. and suddenly, there's a whole lot of kids who are very, very motivated to make sure a bunch of greenlings just like them (and their friends and their families) don't get put on the pyre next.
this is war, of course. sacrifices have to be made. after nine decades and counting, every one of them knows that. but—nine decades and counting is an awful lot of time, to learn the difference between going to battle with even the faintest hope of survival and going in with your death warrant already signed; between dying for a broader, greater purpose, and dying for something that could've been achieved any number of other ways; between what's necessary and wasteful.
(they'll fight a war, sure. just not the one their nation had really been counting on.)
and, well, if the rookies aren't safe—who is, really?
the 41st is far from the last to leave their posts. in the span of only a single month, ozai accomplishes what no other firelord has for the past six hundred and forty nine years: he begins turning his own army against himself, en masse.
half a world away, a spirit and those of one thousand and one people it's inhabited lay perpetually active as they have been for the past several decades, inside the body of a little boy, inside the warm embrace of his animal guide, inside the freezing prison of the glacier they're entombed in, inside the dark, lethal waters of the south pole, and together, they wait, for the spark that will light the fire that will split the glacier that will bring balance. it will be waiting for years yet.
on the shores of the earth kingdom, on the creeping slopes of the fire nation, a revolution starts now.
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hi! i have a dumb question but was film school scary? i majored in lit for undergrad and now i’m going to a film program for screenwriting for my masters BUT IM SO SCARED LMAO….like ahhh idk idk!! i have one friend that majored in film for undergrad and she was always studying, working on projects, etc. and now she has so much experience on her resume (w internships, projects etc.) n i don’t have any but got in to the same uni as her (both w screenwriting as our major) so i’m just scared i’m not prepared…
eeeee anon that is so exciting!!!!!! congrats!!!
ah i may not be the best person to ask as i didn’t technically go to film school in the literal sense (aka a program where you are constantly making films & getting hands-on experience), i got a degree in cinema studies (which, in my program, has a program within the cinema studies program for screenwriting that u have to submit a whole application and portfolio for etc). i chose not to go to traditional/hands-on film school because i was privileged enough to have film classes offered at my high school, which i took throughout my entire high school career. i felt like, after four years of practice, i had a pretty good grasp on the practical side of film + editing + all the elements of production n post production, and didn’t want to spend $$$$$ on something i already knew.
but!!! if your masters program is focused on screenwriting, then i don’t think you’ll be doing much hands-on pro / post production stuff??? unless they talk about like on-set rewrites and script doctors, but even then i’d assume that would only be a very small portion of your program. if you can look at the syllabi for a few of your classes you might be able to get a good idea of what to expect!
my point is, if your program is heavily focused on screenwriting (which i assume it would be???) then practical experience on-set + with post production wouldn’t really serve you all that much. if your friend studied film from an academic standpoint & studied film narrative and writing etc or had an internship with a screenwriter (not sure those exist???) or a writers room, then they’d probably have a bit of an upper hand.
either way, i wouldn’t worry too much anon bb <3 you got into the program because the faculty deemed you worthy and capable of being there! they most likely won’t just jump into the material and should offer some sort of refresh/review on the basics before they get started. better yet, they might even fully teach you the basics right off the bat! i can’t say for sure because i don’t know the program u got into obv, but there’s a chance they accepted other lit students too that have a writing background but not a screenwriting background. you probably won’t be alone! and worse case scenario and you feel like you’ve totally been thrown to the sharks, there are tons of incredible screenwriting resources online & in textbooks that you can check out, too!
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