enough to want to change the world, to make a future where they can stand as equals, where they can love truly, where everyone has a chance to live the life they choose.

tin loves phob. more than the life he was born into.

enough to leave his family behind, to hide himself away, to make a fragile home for the only happiness he's ever known, where he can be who he truly is.

phob loves tin, and phob betrayed tin. because of him and in spite of him. for him and against him.

tin can understand phob's hope, but he cannot see phob's vision. he can only see the chaos in its wake.

they meet here, at the new dawn, at the making of the new day. who can see what their new day will bring? not the revolutionaries, with their zeal and caution. not the nobility, with their anger and blindness. not phob, with all his fierce hope. not tin, with all his self-condemnation and despair.

it will only be all of them, all their fears and hopes and choices, all of them together, that will bring the new day to life.

phob and tin's future is the nation's future, the most precarious, uncertain thing. if the world can truly change - if they can make the day they fought for through the long night - if phob can build for tin a world wide enough to make a real home, not just a new place to hide - tin will forgive him.

chat is so desperate for the approval tin has that he is willing to gamble with money and power he doesn't even have just to chase the love his dad will never give him

and tin is so desperate for the freedom chat enjoys that he is begging his father to disown him just so he can be allowed the only happiness he has ever found

so both of them are on a collision course with personal ruin. it's a symphony of tragic parallels, just in opposite directions.

i don’t wish to be defending starlin, but i do have to argue in his favor that he, himself, did not singularly hate jason todd. he believed child sidekicks as a whole to be a ridiculous form of normalized child endangerment in the narrative. i firmly believe that his writing bruce as saying jason was reckless and took too many risks was an intentional choice on starlin’s part to invite the audience to question why jason was in a position to take so many risks in the first place.

the writers that succeeded starlin, however, had a different intent in saying jason brought his death upon himself. they needed to justify why this new robin, so careful and intelligent, is fit to be robin when jason was not. the point starlin wanted to make with jason’s recklessness was warped by later writers. it became a tool to build tim. as tim’s popularity grew, it became fact to the narrative, instead of a piece of subtle irony to support starlin’s meta-argument against child sidekicks.

Rayla being unable to conceive of a world where people would make blatantly false promises because she did the same thing (for similar reasons) to Callum once and it was accordingly her biggest regret is like honey, you got a Big arc 3 storm coming. (It is also very funny because despite Rayla being a pretty consistent liar with Callum likewise continuing on in that direction, Rayla still always generally believes people are being like 100% honest unless she literally Knows 100% that they're lying with S3 Nyx as like, her exception.)

Then we get a few interesting things back to back in a pretty short time span.

The theme of food and illusions coinciding again, for whatever reason

We get two falsehoods or false perceptions revealed one after the other

The first falsehood is the pearl in the Starscraper being fake, whereas the real one was left in Katolis

Neither Callum nor Rayla realized this, and Callum realizes he didn't do what he thought he did, realizing his perception of events and memory was just flat out wrong

not only is aang the first guy she meets in her age range that’s not her brother, but he’s a genuine breath of fresh air for a girl that had to grow up too fast in a patriarchal society.

Hello, and thank you!!!

As for your question, ahhh... honestly I don't really have a lot to say lol

From a completely geological perspective, we're told that the Sun World is the only level that gets sunlight.

Meanwhile, we know that the Underworld is frozen and cold - likely because it doesn't get any sunlight whatsoever. And it seems like the Astral World is just constantly submerged in cloud cover.

However, from what we can see, the Astral World is still, at least... visible.

And what I mean by that is -

The top of the Red Line is so far above the clouds that it can't even be seen from below, and rain water can't reach it. It's to the point that Celestial Dragons have a fear of rain because they never have to deal with it.

With the Astral World, we can still see the top of the tree. It's just kinda washed out by the clouds surrounding it.

Until we learn more, I feel like it's just... a place that's constantly covered in fog. Like some sort of celestial swampland.

It's possible that the very top can poke through the clouds and offer a clear view of the sky, but we just don't have enough information to say anything rn

But again, that's from a purely geological perspective of the island based on the information we've been told

There's a very high likelihood that Oda is gonna play around with its design by using Norse mythology - much like the rest of the island. But I'm not well versed in it, and I don't personally know enough about it to suggest what he might try to do