Insights & Art

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Perfect Blue: Blurring the Worlds & Sexuality

“My father used to say that artists use lies to tell the truth, while politicians use them to cover the truth up.”
– Evey Hammond

I once heard one of my university lectures argue that a painting was infinitely better than a photograph, because the latter captures reality, whilst the former creates reality. In the hands of a master, a portrait can evoke, emphasis and whisper unspoken truths to an audience; painting is a medium where the artist can indulge and lavish in subjectivity; photography is always somewhat limited by the physical.

Satoshi Kon wholeheartedly embodies this principle and runs with it, Perfect Blue (1997) is a film to be experienced and not understood, because its priority isn’t to convey facts but rather to create a filter of insanity, loneliness and fear. Perfect Blue follows the protagonist Mima Kirigoe, a beautiful pop idol working as the lead singer in CHAM!, who after recognising the instability of the industry, attempts to become an actress, forcing her to actively ditch her ‘spotless virgin image’. Her decision angers a psychopathic fan known only by his online alias; ‘Me-Mania’, a man who has dedicated his life to punishing Mima for betraying his perceptions of her. Kon doesn’t attempt to craft a realistic villain, instead Me-Mania is hideously ugly, terrifying distorted. Just like Picasso’s postmodern works, Kon’s focus isn’t so much on an accurate depiction of life, but rather in creating a narrative through manipulating emotions.

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Kon’s works often features the concept of duality; and this is most evidently seen in the intertwining of the real and the ‘unreal’ worlds. The ‘real’ world contains all the physical matter around us, it is governed by logic, infrastructure and scientific facts. The ‘unreal’ world is one of chaos, ruled by emotion and built to metaphorically subvert the ‘real world’ through its contrast and intervention.

And the two worlds are set on a path of collision.

The one skill which separates Kon from his contemporaries is his complete mastery of editing. Kon is a film director who lets his edits dictate the tone of the film, instead of letting the plot guide the atmosphere of the film. As Mima starts losing track of reality, the editing mirrors this with the scenes bleeding into each other; where the linear progression of time is disrupted, reversed and dissected. The opening of Perfect Blue is so effective since it skilfully blends Mima’s idol dance routine into the ordinary task of purchasing goods; conveying that the two worlds she inhabits are inherently linked through her memory and consciousness. Kon’s art is one which thrives by discarding the generic restrictions imposed upon the directors and audience within the anime community.

Perfect Blue is terrifying because it refuses to follow the conventions of a linear narrative, the traditional labels of ‘good’ or ‘bad’ don’t exist when the very fabric of reality is uncertain. As Mima slowly becomes more consumed with the fear of leaving behind her her pop idol past and the creeping dangers of her stalker, her grip on reality completely vanishes as the last act of the film becomes a dizzying blend of life, alternate realities and fears. As Mima loses control of her public persona, she finds it increasingly difficult to differentiate between the two worlds and slowly begins to fall into a repetitive, monotonous pattern where time is subject to the passions of the heart and the terrors of the mind.

The truly terrifying aspect of this loss of reality is the inability to concretely understand what is happening around her as Mima’s mental fears and insecurities start to physically manifest. She get stabbed by a mirage of her pop idol past and later she kills Me-Mania only to find out that his body has disappeared; the audience is forced to ponder whether or not such actions actually occurred in reality. This overlapping of the two realities is also reflected in Me-Mania’s life as the pictures of Mima around his bedroom start physically interacting with him, whispering their support of his sexually preversed desire to kill Mima. What this creates is a sense of constant apprehension, where threats can materialise out of anywhere since they are not bounded to the same limitations found in the physical world. Mima’s only worse enemy is her mind, since it seems intent on conjuring up her own destruction.

Perfect Blue provides us a frightening insight into the chaotic world of Mima, a girl who has allowed the culivation of an external pop persona of sex appeal and charisma; wildly different to her calmer and more humble self she displays in the company of these she loves and trusts. Yet her public avatar has now become such an entity that it now thrives independently, riding the momentum of her fame.

Perfect Blue tackles the issue of technology and how easy it is to create, maintain and ultimately lose control of one’s public avatar. Mima stumbles onto an internet diary dedicated to recording her life and feelings through the lens of her idol persona, a website created by Me-Mania. Whilst initially finding it humourous, Mima’s naive appreciation soon turns to fear as she realises that she is being stalked and also that this website is now publishing statements which do not reflect her own feelings.

Throughout the entire film, Kon suspends the audience in a state of constant fear by alluding to the imminent sense of danger without revealing it. In the beginning, Mima’s home phone rings and she hears the slow breathing of Me-Mania, but naively hangs up, thinking it was an accidental call. Slowly this escalates to him poisoning the fishes, sending her a small explosive, killing those around her and finally even confronting her in person.

The audience is fully aware of the danger that now threatens her life but is completely unable to affect or warn her about it. The result is a nail biting ninety minutes, there were many moments where I genuinely considered pausing the film because my heart was stuck in my throat; I was terrified at what would happen to Mima.

Another one of the central themes of Perfect Blue is the objectification of a women’s body for profit, something which Kon strongly voices against. Kon portrays this relationship between Mima and the media companies who greedily consume and distribute her image as rape; the exploitation of the human body for financial benefits. The cameras (which are always held by male photographers) are phallic instruments, which pierce and unveil, ignorant to the consequences of their lust. This voyeurism peaks when Mima accepts a role where she pretends to be raped within a nightclub; we see her body through the lens of a camera and not her point of view; she is an object to be acted upon.

The power dynamic of sex is also reflected in Me-Mania’s final confrontation with Mima, where he confesses that he attempts to destroy this new ‘reincarnation’ of Mima through raping her and eventually killing her. Symbolically he attempts to commit this crime on the same film set previously mentioned, where Mima was ‘raped’ whilst acting; further blurring the lines between the two worlds. For a character who only has a few lines of dialogue throughout this film; Me-Mania’s shadow taints every interaction, every scene and location, he is truly terrifying, in an illogical manner which cannot be reasoned with.

Whilst, one certainly feels sorry that Mima gets type casted into these ‘traditionally’ female roles where are built upon her sexuality and youthful looks. Though one has to ask whether or not this depiction is ‘fair’ as Mima herself willingly enters into this relationship and she also ‘exploits’ the media to garner social capital and publicity: Regardless, Kon’s criticisms about female objectification is still a fresh breath of air in an industry universally famous for the disproportionate sizes and the overt sexualisation of their female characters.

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Me-Mania holding the public perception of Mima.

Whilst Me-Mania is unquestionably an evil, twisted rapist with little redeeming qualities, it is unsettling to be reminded that his vendetta against Mima arose out of his complete consumption and obsession with her idol persona. Financially, he was arguably everything that the media companies wanted; a fan who brought into the cultivation of this idol as a form of escapism.

At the core of Perfect Blue is the tension between a carefully crafted image and the noticeably less shiny exterior of reality and the dangers of intertwining the two. Fundamentally, all the troubles and negative consequences arise out of an inability to distinguish between these two realms; Mima cannot separate herself from her past as an idol and Me-Mania cannot see Mima as anything but a perfect little doll. Released in 1997, Kon’s work feels more relevant than ever as the internet and social media has become increasingly infused into the audience’s lives.

Perfect Blue features the traditional interpretation of fame; a person elevated to a profiting brand by the powerful media companies; reflective of stardom in the 1990s. Yet today, the internet has connected people in a way which has revolutionised our society; today, everyone has an avatar, everyone has an audience and everyone is a performer. And the concerns of Perfect Blue are more disturbing than ever.

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Ten Orchestral Pieces.

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Joe Hisaishi and Jeremy Zuckerman, my two favourite composer as of now.

I was and still am really hesitant to write this article, music is a universal language which communicates through emotions and memories, all tangible feelings but that also makes it incredibly hard to write about. How do you accurately describe a triumphant crescendo? There’s no doubt that my own personal experiences and emotions will affect how I interpret that piece, but how can I accurately communicate these thoughts to the wider audience? Though, regardless I think orchestral is one of the most undervalued genres of music and sadly there is a distinct lack of exposure since it doesn’t fit into ‘pop music.’

This is a key reason why I am writing this article, hopefully I will be able to intelligently and articulately explore how these pieces of music have touched me without allowing my writing to becomes overly personal and incomprehensible. I have written another article about the orchestral genre and unfortunately I decided to name it “Top Ten Orchestral” pieces, completely ignoring the fact that my knowledge in this field is still very shallow and that my top ten list would be constantly changing. Of course I will not be mentioning any of the songs I wrote about in my previous piece which you can find here.

Personally, I define orchestral as a more modern variation of classical music and whilst classical composers like Bach, Mozart and Verdi have all stamped their legacy upon the history of the world. My heart has been whisked away by composers like Akihiko Matsumoto, Jeremy Zuckerman and Yoko Shimomura.The most beautiful aspect of orchestral music is how the absence of words means that the audience can easily and freely substitute their emotions into the piece, orchestral music really is a blank canvas, allowing listeners to paint however they please.

“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” – Plato

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Title: Fantasia Alla Marcia
From: Kingdom Hearts II
Composer: Yoko Shimomura

What a musical journey, this is a song which incorporates many different emotions, from genuine warmth, to impending doom to glorious victory. This song starts off casually, a bouncy and bright melody that quickly transforms into a heart wrenching melody, softly whispering silent pains into the soul of the audiences. Then like a lion, it announces it’s return and it finishes upon a crescendo, the darkness is cast aside! The Keyblade remains undefeated and chaos has been imprisoned! One complaint I have of classical pieces is that too often the changes between their melodies seems forced, unnatural and inconsistent, the biggest strength of this piece is Shimomura’s ability to guide the listeners on a journey of highs and lows.

Now if only Square Enix could release Kingdom Hearts within the next century and on the PS3, that would be fantastic.


Title: The Village in May
From: My Neighbor Totoro
Composer: Joe Hisaishi

Joy to the world! Flirty without compromise, Hisaishi delivers one of his most memorable works for a Studio Ghibli classic. This song perfectly captures the innocent and curiosity of youth and in particular of Mei, the younger sister of the protagonist; Satsuki. It was clear that Hisaishi was trying to reflect the optimism and energy of youth, for myself this song triggers buried memories of picnics, sunflowers and spring; the simple events in life which give colour to our existence.


Title: Greatest Change
From: The Legend of Korra, Book One
Composer: Jeremy Zuckerman
Such power and strength, for anyone that has visited my blog they will know I am a huge fan of animation and The Last Airbender and Legend of Korra series both have a special place in my heart. Zuckerman has one of the most original sounds I’ve ever heard as both Michael DiMartino and Bryan Konietzko wanted Zuckerman to create music which deviated from traditional styles. Zuckerman has managed to combine eastern instruments with the spirit of western orchestra to produce some of the most mesmerising music I have ever heard. Jeremy Zuckerman’s music was the emotional heart beat of Avatar The Last Airbender and Legend of Korra, his impact on these works and my life can not be understated.

For me, this song represents growth and evolution, it starts off timid, shy and reserved but slowly the melody grows stronger, embolden by its success, until finally it creates a tidal of emotion to overwhelm the listener. The thunder of the drums further adds to the power flow of this piece, like a flash of stallions, galloping along a river.


Title: 150 Million Miracles
From: Summer Wars
Composer: Akihiko Matsumoto

“And if you remember nothing else, remember to find time to eat together as a family. Even when times are rough; especially when times are rough. There’s no lack of painful things in this world, but hunger and loneliness must surely be two of the worst.”

Having an angelic choir is one of the oldest tricks in the book, it adds a gorgeous sincere element to the music and the same could be said for 150 Million Miracles. Of course as someone who has watched and loved Summer Wars, I feel a much stronger connection to this piece of music than strangers to Hosada’s film, played during a very intense and emotional moment; for me this song speaks about family, loyalty and love.


Title: Omnis Lacrima
From: Final Fantasy XV
Composer: Yoko Shimomura

The goddess of Japanese orchestral strikes again, the flames of human adrenaline, the frenzy of battle and the fall of great empires. Omnis Lacrima taps into the darker elements of humanity, our desire for glory and our sub conscious thirst to vanquish our foes. Humans are a fickle species, being able to simultaneously shed tears for nameless victims of a tragedy whilst inflicting death in the name of love and loyalty. The crescendo of drums, trumpets and voices at the start of the song combined with the driving beat and the Latin choir produces a chilling piece of music, full of passion, courage and power.


Title: Ruby & Sapphire Ending Theme (I presume)
From: Pokemon Ruby, Sapphire & Emerald
Composer: Junichi Masuda

You could definitely make the case that I spent too much of my youth playing with my Pokemon Ruby and pretending my Blaziken was real. But did I regret spending over 300 hours training my Pokemon, capturing basically every Pokemon I could except that pesky Huntail and beating the Elite Four over and over again to the point where I could remember every single Pokemon the trainers had? NO. This song is so nostalgic for me, sending me down a roller coaster of memories from a close friend giving me a Camerupt EX trainer card, to switching Rayquaza to abuse the Air Lock ability to negate Solar Beam. I don’t expect my readers to be so emotionally charged when listening to this gorgeous piece, but one can still appreciate how lightly the keys echo, how the soft music seems to coat and soothe the soul. Sunflowers, seashells and a picnic with a beautiful girl in a grassy mellow.

Long live Hoenn, long live Swampert and long live Treecko.


Title: The Name of Life
From: Spirited Away
Composer: Joe Hisaishi

Joe Hisaishi at his very best, riveting and seductive. Like other Hisaishi pieces such as Journey to the West and Laputa: Castle in the Sky, he manages to intertwine bitter sadness, optimism and joy in a single piece. Whilst the echoing piano notes contain a sombre element, when stringed together, this piece of music delivers a powerful emotional punch. For the frequent listeners of Hisaishi, they may notice a distinct resemblance to One Summer’s Day which was featured in the critically acclaimed Spirited Away (arguably the 21st century’s version of Akira, in terms of influence and introducing Japanese animation to western nations). However One Summer’s Day lacks the haunting piano keys at the start of this piece, arguably my favourite section of this song (excuse the lack of musical terminology).


Title: Traffic Jam
From: Halo ODST
Composer: Martin O’Donnell

Martin O’Donnell’s music has the ability to transform the mundane into the spectacular, the ordinary into the chaotic and the predictable into a frenzy of movement. This piece starts with it’s head held high, every note reflecting its proud and militaristic origins, every thud of the dream saluting a distant victory. War is dangerous, filled with sorrow and suffering, but amongst such conditions, iron bonds of camaraderie are formed. This is a thunderous salute to the selflessness of sacrifice to the men and women who would die for their country and their peers.

Lock and load marines, time to flank some elites.


Title: Dearly Beloved
From: Kingdom Hearts I
Composer: Yoko Shimomura

I would often leave my PlayStation 2 on all day with my Kingdom Hearts disc inserted just to hear this song on repeat and repeat… And repeat. This is as bitter sweet as it comes, a tale of star crossed lovers, redemption and separation. Honestly, it’s hard to write about this song, it’s one of the defining soundtracks of my younger days. There’s something magical and soothing about Dearly Beloved’s soft and angelic start, like the final hug from a departing friend, or the warmth of twilight stars. Arthur Schopenhauer argued that music was the purest form of literature because of its ability to produce unfiltered emotions, unlike other mediums such as books or films which required the creation of situations, events and characters to move the audience. A tranquil song like Dearly Beloved is both haunting and beautiful and even cultural barriers can not hinder its message of loneliness. Music expresses emotions in its purest form, I truly believe that.

Press play and let the music sweep you away to a land of wonder and tranquility.


Title: Legend of Korra Ending Song (Has not been officially released, no official title)
From: Legend of Korra, Book Four
Composer: Jeremy Zuckerman

I had to. I had no choice.

Music has the ability to make or break films and television shows, adding a subtle splash of depth and emotion to accompany the visual. The finale of Legend of Korra impaled my heart, it was like losing a friend, a friend you never fully appreciated, but someone who was tenderly loving and supportive. Bryan Konietzko and Michael Di Martino told Jeremy Zuckerman to deliver an emotionally charged sound track, nostalgic and gentle and he delivered in spades. The ending notes in particular are what resonate with me the most, it’s so graceful and haunting leaving the audience satisfied but strangely wanting more.

I’ve stated this before, but I’ll state it again, Zuckerman has one of the most unique sounds I have ever heard, being able to masterfully combine the spirit of the east with the soul of the west. This was primarily achieved by playing the Erhu like a violin, allowing it to boldly produce its authentic high pitched sounds whilst being surrounded by the versatility of western instruments. That’s no easy feat and the end product is a heart breaking piece of music, which will strike you at your core. Maybe I’m a lot more invested in this piece because it featured in Legend of Korra, particularly at the ending which was just a tidal wave of feelings. Maybe it’s just a beautiful piece of music that needs no context for it to overwhelm.

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I have always struggled with articulating my thoughts on music and its impact. Unfortunately I am not musically literate and thus I often have to discuss the context of the musical piece or my personal experiences and thoughts attached to the melody instead of publishing a piece which breaks down the different approaches and methods used to produce said sounds.

There are still many other pieces of music I have yet to suggest and discuss about, as you can tell sadly there is a distinct lack of musical appearances from the Lord of the Rings franchise, a sin which I shall mend in my next musical article. Music is that splash of colour that everyone’s life needs and humanity’s ability to create art to entertain and heal, separates our species from every other living organism.

Hopefully these ten songs I have recommend and written about will resonate with you the same way it has affected me. We live in an age where war and death are more threatening then ever with technology proving to be both a curse and a blessing. We live in an age where the mobile phone may replace physical interactions.

Music is something which we can never forgo, not even for a second. It may be the bridge which unites us all.

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The Lovable Last Airbender: Sokka.

Avatar the Last Airbender (ATLA) is the best television series I’ve ever watched,whilst I haven’t seen every high quality soap operaor dramas such as The Wire and The Sopranos, I can recognise quality when I see quality. I’ve never seen character development quite as in depth as ATLA, every chacter has flaws and distinct traits with different personalities, in fact I can say I care a little too much for these cartoon fictional characters just because how well they were crafted. I’m going to be focusing upon my favourite ATLA character within this blog so it’s definitely going to contain spoilers. For those who have randomly stumbled upon this WordPress and need some motivation to go watch the series, all I can say is ATLA is universally praised for being one of the best television series of all time. The characters is particular are so lovable and realistic and they grow and mature a long with the audiences, always being challenged, always growing to overcome the difficulties.

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Basically the main protagonist; Aang, the last remainant of a once great culture; the air nomads, is the next reincarnation of the Avatar line. The Avatar is a chosen individual who is reborn into the cycles through out the four nations; fire, air, water and earth (Always in that order) and only the Avatar can wield all four elements, their job is to use this power to maintain balance and peace amongst the four nations. However unable to cope with the responsibility Aang runs away during a stormy night, and nearly drowns until he freezes himself in a sphere of ice, until he was discovered by Katara and Sokka 100 years later. This sets up the domination of the fire nation who wages a war of conquest without the Avatar to maintain prosperity. My final statement before diving into the funniest character of ATLA is… Just do yourself a favour and watch the first two episodes of ATLA, the characters only need one occasion to hook you in and they do just that, the material arts is amazing, the creativity is amazing, the story always has the audience engaged and the characters… The characters are so realistic, they are so engaging and just completely lovable.

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“It’s pretty much my whole identity, Sokka, the meat and sarcasm guy.”

Oh Sokka, how you under estimate yourself, the ATLA would of been completely different without you and 100% for the worst, though we could of said this for every main character in the series. From Katara’s motherly and warm love, to Aang’s innocence and transformation into a man who accepts his responsibility, to Toph’s toughness and strength to the tortured backstory of Zuko, a boy banished by his father and constantly reminded of his fall from grace. Why did I instantly feel attached towards Sokka? A brave water tribe boy who constantly seeks to protect his loved ones and fill in the hole left by his father. It’s because he’s the underdog of the story, the boy whose not very powerful, can not bend nor has much influence, he’s only filled with the love of his family and friends and seeking out justice.

The best thing about Sokka and Katara’s characters is how their strength and morality shines despite being put through such a tough and unstable childhood. Katara’s mother sacrifices herself to protect the identity of the tribe’s last waterbender; her daughter. Thus Katara became the emotional leader of the family, trying to fulfill the role of her mother through her gentle and compassionate warmth. Sokka’s father who left to fight in the war, gave him the burden of being the oldest male in the tribe, thus his feelings of inadequacy that seems to plague him with moments of self doubt. He’s a young confused teenager who attempts to protect his tribe and be the “man of the village” without any role models to lean upon, he’s in a position of strength yet he fears he will never live up to the leadership of his father.

Despite the trials and tribulations in both their lives, the two character’s gain their strength from their past, they accept the fact it meant they had a challenging and puzzling childhood, but they appreciate that their maturity gave them the ability to help Aang on his quest. Katara’s role of the motherly, loving character gets transferred into team avatar, she’s the emotional core of the group and clearly the most mature. She comforts Aang during times of stress, in fact she’s probably the only person on earth that can calm Aang from violently entering the avatar state. Sokka on the other hand developed his warrior mentality, his “never say die” attitude, it gave him the ability to persevere and survive despite being stacked against great odds. From being the only person to stand in front of Zuko’s ship when the fire nation attacks his tribe, to being the planner of the “Black Day invasion” Sokka’s mixture of heart, passion and comedic relief makes him totally human.

Sokka also struggles with his lack of power, he can’t bend, he can’t “glow it up” like Aang, he doesn’t inspire morale amongst men like his father and he wasn’t even deemed a man untilhe passes a water tribe ritual at the end of book 1. Apart from Zuko, the fallen prince, Sokka probably goes through the most character development, from being a sexist, immature teenager to a well established warrior who leads his group through intelligence. I just love how Sokka is willingly to charge into battle against fire benders, willing to support Aang’s mission to defeat the fire lord, but feels uneasy meeting his father and his water tribe soldiers because of his feelings of inferiorty to a father whom he completely worshipped and idolised. It’s perfect, he feels like an actual human being.

Loyal and quick to protect those whom he loves, Sokka’s brotherly attitude is shown when he tackles Aang for accidentally burning Katara. Whilst quickly joined Katara on her quest to save Aang after he sacrificed himself to preserve the sibling’s home from Zuko.  In fact one can easily seen the similarities between Zuko and Sokka, whilst Zuko’s life definitely shares the most parallels with Aang’s, it is clearly the role their fathers has on both boys. Both try to live their life in an attempt to please their father and both have been neglected by their idols, Sokka’s because of his father’s duty to the war and in Zuko’s case because of his father’s cruel banishment. Sokka aims to become a warrior and a leader of men like his father whilst Zuko tries to regain his honour through the completion of an almost impossible task;capturing the Avatar. This touches upon a major theme within ATLA, how humans are complex individuals who can never be categorised as black or white. Would Sokka develop into a strong, funny character if his father hated him and his sister was killed a long with his mother? Abolutely not. Would Zuko be a tortured anti-hero if he was born into another culture which didn’t stress military strength and honour? No, the past and history of the characters influences the outcome of their personalities and that’s very important for character development. It gives signifiance to their struggles, it means every plot or story line has the ability to influence a character either positively or negatively in ATLA and that’s what so strongly engages the audience.

Despite all these positives attributes, Sokka isn’t without his flaws. he’s quick to judge and hard headed. His past experiences meant a core element of his character was based upon his hatred of the fire nation, whilst previously it was a necessary attitude in driving the team to defeat the fire lord. The team’s experiences as a whole lead them to see fire citizens from all walks of life, in fact Sokka’s teacher who taught him the art of swordsmanship was from the fire nation. Slowly but surely fire nation citizens turn from “jerk benders” to human beings. More character growth? I love it!

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“Space sword.”

There’s so much more to say about Sokka and the gang from ATLA, I know I’m repeating myself but I’ve never seen characters so developed and it’s so detailed especially for a children’s show. Sokka stands to represent the every day underdog, funny, charming and loving. Sokka stands as my favourite character in the entire ATLA, he’s the comedic relief and the recipient of slapstick humour. Kudos to you Sokka of the water tribe, kudos to you Michael Dante DiMartino and Bryan Konietzko for creating such a rich rich universe and kudos to you Jack DeSena for bringing the man, the myth, the legend to life.

If this hasn’t made you fall in love with the funniest character in ATLA, then have no fear…
http://www.youtube.com/watch?v=_WupXyyAivs

Chingy out.

The First Avatar: Genesis.

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GOOD LORD HAVE MERCY. Those four words accurately summed up my interpretations of episode 7 and 8 in season 2 of The Legend of Korra, Nickelodeon hit a complete home run the one hour long episode Avatar special. Not only were the episodes visually pleasing with the Asian inspired water colours and water colour landscapes, but the voice acting was superb. (Love to Steven Yuen and April Stewart.) Watching the two episodes was like having a one hour long sexual explosion within my brain, so intense that it has disabled various of my bodily functions like my ability to urinate.

Firstly let’s just give Nickelodeon a round of applause, I thought season 2 was getting boring, the characters didn’t intrigue me like Aang’s cast of lovable and unique personalities. The story line was unquestionable with quite a lot of large plot holes left unfulfilled, bending the four elements lacked their distinctive styles and all fights looked like UFC matches. But this episode really set the bar high for this season and thank the good lord we didn’t have to endure another episode of the creepy serial rapist; Eska. In fact I don’t think I’m living in the moment but this might be my favourite Avatar episode of all time, yes it sits in front of Aang defeating Ozai, yes it sits in front of the invasion of the black sun and maybe even in front of Sokka meeting Foo Foo Cuddly Poops.

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“I’m Sokka the meat and sarcasm guy.”