To view the entire collection please visit: http://pondereplay.deviantart.com/gallery/12380436

In honor of Memorial Day, I want to share with you one of my greatest bodies of work: The American Soldier Collection. The collection is an on going continuation of an earlier art concentration that began in 2009. 

The American Soldier Collection was my portfolio concentration for my AP 2D Design class. I chose the United States Military to be my muse simply because they are the core of America. Soldiers will always hold a great part of my heart and I am proud to be an American because of them. All of the pieces hold a sense of patriotism that is rarely felt today, a sense of honor that is rarely earned, and a sense of sacrifice that so few give. Take a look into the life of the U.S. military and the reason why you still have your freedom. 

Growing up as daughter of Air Force has been the greatest experience I could have had. Living with and near soldiers taught me to be strong, brave, self-sacrificing, and open. Nonetheless, there is always that constant remainder that our country is still at war and wounds of these past fateful ten years have yet to fade. 

This is the American Soldier Collection, the greatest works I have created, in honor of the U.S. Marine Corps, U.S. Air Force, U.S. Army and U.S. Navy.

Ignore the calculus notes on Taylor series in the background, I have a calc II final on Wednesday. 


Preview of an upcoming wallpaper

Remember to reblog and like if you love Legend of Korra

Perceptual Bending

My extreme Avatar fanaticism used to shock me at times, but at this point I have embraced it. I’m currently a freshmen in college finishing up my Intro to Communication Theory course. For our final, we had to write a comprehensive essay that applied any communication or persuasion theory to our subject. And me being the crazy Avatar fan who is eagerly awaiting recognition wrote, and daresay turned in that essay that analyzed Amon’s persuasive tactics. I got an A on it.


Republic City’s external conflicts have internally enflamed a proletariat revolution between the haves and the haves-not that threatens to dismantle the social and government institutions of the city; however, this proletariat revolution is not a socioeconomic conflict between classes but an entirely different struggle for power between benders and non-benders. Amon is the leader of the Equalists, a political terrorist group, who believes that he and the non-bender community have been oppressed by benders and is determine to overthrow the bending establishments such as the council and police force. Amon’s tactics to revolutionize the cultural, economic, and socio-political institutions of Republic utilize terrorism, propaganda, and mass communication in order to persuade non-benders to follow his cause.

Situation Analysis

A social scientific approach is used to analyze Amon’s persuasive tactics to revolutionize the socio-political environment of Republic City. Amon’s schemes have widespread influences on different societal echelons and governmental institutions. An empirical collection of evidence is rationalized in order to apply the elaboration likelihood model to this case study.

Revolutionists vindicate their cause through manipulation and perceptual distortion of information and reality while instigating conflict. Amon’s means of propaganda and terrorism to persuade and terrify Republic civilians follows the principles of the elaboration likelihood model. According to Dainton and Kelly (2011), “the elaboration likelihood model (ELM) views persuasion primarily as a cognitive event, meaning that the targets of persuasive messages use mental processes of motivation and reasoning (or a lack thereof) to accept or reject persuasive messages” (p. 126). The elaboration likelihood model explains the purpose and perceptual process behind the revolution’s political propaganda and social doctrines. In the elaboration likelihood model there are two directions of persuasion, the central route or peripheral route. Centrally routed messages target individuals who are highly motivated and are able to cognitively process the message, and will often feature evidence to support a rational argument (Dainton & Kelly, 2011). On the other hand, peripheral messages rely on pathos to effectively persuade untargeted recipients who are incapable of relating to or understanding persuader’s cause. Amon’s tactics to persuade and instill fear apply the central and peripheral routes of persuasion depending on his target audience.

Amon uses central routed messages to create a positive cognitive response in the minds of the recipients that align their beliefs with his. Oppressed, jaded, and agitated members of the non-bending community are the targets Amon is determined to persuade since they are victims of the bending elites and are easy to appeal to. During the Equalists rallies, Amon constructs elaborate arguments that are not only filled with passion and anger, but logically place the blame on benders. In his most famous speech he states that

As you know, the Avatar has recently arrived in Republic City. And if she were here, she would tell you that bending brings balance to the world. But she is wrong. The only thing bending has brought to the world is suffering. It has been the cause of every war in every era. But that is about to change. I know you’ve been wondering, ‘what is the revelation?’ You are about to get your answer. Since the beginning of time, the spirits have acted as guardians of our world and they have spoken to me. They say the Avatar has failed humanity. That is why the spirits have chosen me to usher in a new era of balance. They have granted me a power that will make equality a reality, the power to take a person’s bending away, permanently” (DiMartino & Konietzko, 2012).

 

His speech uses strong arguments in order inoculate the audience against counterpersuasion (in this case, pro-bending arguments) and to recreate a long-term attitude change that leads to their devotion. He argues that bending “has been the cause of every war in every era.” During the communication process, his statement arouses memories of suffering from the imperialistic Fire Nation’s hundred year war, and his receivers rationally link these two indication, their suffering and his reason, together.  He repeatedly states that bending has been cause of all of the world’s suffering and that the Avatar has failed humanity. Generally, the Avatar is considered to be a savior of unquestionable physical power and unadulterated morality. However, Amon asserts a counter opinion that places the blame on the Avatar and uses her as an escape goat.  His listeners process the evidence rationally and ultimately realize that the Avatar has failed to protect them. She embodies everything they despise about the bending society; therefore they will no longer view her as a holy deity but as an enemy.  They logically realize that there are no powerful figures to represent them as sides from Amon. By stating himself as an act of providence, Amon develops a cult following. The non-bender’s hatred towards the Avatar aligns them closer to him because they view as him savior who will “usher in a new era of balance.” His repetition of the Avatar’s errors enhances the persuasive effect of his strong argument. His use of logos and pathos generates a committal cognitive response from the receivers of his message.

Amon’s peripherally routed messages rely on psychological warfare to sway non-benders into following his cause and to terrorize the benders. His psychological warfare tactics include propaganda and public displays of power. According to Taylor (1987), psychological warfare is defined as “ the planned use of propaganda and other psychological actions having the primary purpose of influencing the opinions, emotions, attitudes, and behavior of hostile foreign groups in such a way as to support the achievement of national objects”. In the elaboration likelihood model, peripheral routed messages rely mainly on aesthetics and cues to target participants who are unable to rationally process Amon’s arguments. The primary purpose of Amon’s propaganda is to portray himself as the liberator and benders as the enemies.  For example, on the Equalists’ recruitment posters, Amon is depicted as godlike figure raising his hand to sky beckoning for the sun to come through. The depiction of him stresses for reverence and makes him an adored figure non-benders should faithfully worship. The national objective of his organization is to bring equality to Republic City, thus the beaming sun symbolizes a new era of peace and equality. As for the public demonstrations, he brandishes his anger and power in order to shock benders into submission.  During his Revelation rally, Amon publically exhibits the strength of his power by fighting a captive criminal Firebender who was leader of the Triple Threat Triad, a gang notorious for exploiting non-benders. As the ultimate scare tactic, Amon conquers the Firebender by taking his firebending away with a blow to head. The demonstration portrays him as vigilante seeking divine retribution. The peripheral messages rely on the receivers’ emotional involvement, whether their emotions are adoration or trepidation. Depending on the content of Amon’s message, they recipient will either feel either protected or threatened.

Differing communication processes further divide Republic City’s societies. Amon’s propaganda and arguments utilize a rhetorical message design logic that benefits both him and non-benders but not benders. For example, Amon weaves a story in order to justify his cause and to appeal to his followers:

“My quest for equality began many years ago. When I was a boy, my family and I lived on a small farm. We weren’t rich and none of us were benders. This made us very easy targets for the Firebender who extorted my father. One day, my father confronted this man. But when he did, that Firebender took my family from me. Then, he took my face. I’ve been forced to hide behind a mask ever since” (DiMartino & Konietzko, 2012).

 

Amon is an enigmatic figure whose personal history is still a mystery. Nonetheless, his peripherally routed lies evoke sympathy from non-benders and allow them to superficially evaluate the content of Amon’s messages, and with hopeful feelings they align themselves with the opposition. On the other hand, benders perceive Amon’s story to be deceitful and his communication hostile and threatening. As the Equalists continue to grow in size, the number of conflicts between benders and non-benders grows, as well. Each group has developed their own distinct ideology and belief-system towards the issue. These in-groups serve as social affiliations to which an individual feels belonged. The anti-bending and pro-bending groups communicate their social identity by either supporting the Equalists or Republic City’s government. Amon’s persuasion has created a divide amongst society that will escalate into a civil war.

Conclusion

            The elaboration likelihood model provides an open-ended heuristic approach to analyzing the persuasive tactics of central and peripheral routed messages. Although the model is able to describe the process that results from an individual’s motivational state of, the elaboration likelihood is limited in the way it predicts the motivational state. Amon’s propaganda and public speeches might have been able to previously persuade non-benders, but those same tactics are not a guaranteed indicator that they will be effective in the future. The elaboration likelihood model does not acknowledge other external factors that might influence an individual’s decisions. Additionally, multiple peripheral cues may be considered to be a centrally routed message. When Amon publically displayed his ability to take a bender’s bending away, this can be viewed as a central routed message. Benders will logically perceive him to be threat since his demonstration revealed that he is powerful threat that cannot be stopped.  Despite its few limitations, the elaboration likelihood model provides a relatively straightforward process in analyzing persuasive content.


 

References

Dainton, M., & Zelley, E. D. (2010). Applying communication theory for professional life, a practical introduction. (2 ed.). Thousand Oaks, CA: Sage Publications, Inc.

DiMartino, Michael Dante (Writer), Konietzko, Bryan (Writer), Ryu, Ki Hyun (Director), & Santos, Joaquim Dos (Director). The Revelation. DiMartino, Michael Dante (Producer), Konietzko, Bryan (Producer), The Legend of Korra. Burbank, California: Nickelodeon Studios.

Taylor, Phil. (1987). Glossary of Relevant terms & Acronyms Propaganda and Psychological Warfare Studies. University of Leeds. http://icswww.leeds.ac.uk/papers/vp01.cfm?outfit

    =pmt&folder=64&paper=665

Legend of Korra wallpaper featuring Prince Zuko from “The Revelation”

I absolutely adored the art and had to turn it into a wallpaper

More sizes available here:http://firebender.breakthrough-designs.com/?p=3700

Remember to like & reblog if you life Legend of Korra

- Pon De Replay

http://firebender.breakthrough-designs.com

An Avatar: the Last Airbender & Legend of Korra Multimedia Fansite 

yes, we have Korra and Avatar videos (legal) for you to watch so be sure to visit us along with hundreds of Avatar graphics and resources

After much anticipation Mako is here to grace your desktop.

More sizes available here:

http://firebender.breakthrough-designs.com/?p=3652


The more reblogs and likes, the more graphics I will design. :]

- Adriana (Pon De Replay)

http://firebender.breakthrough-designs.com

Firebender - an Avatar: the Last Airbender & Legend of Korra Multimedia Fansite

Thanks everyone for the likes! I finished the wallpaper and hope you enjoy it!

For more sizes go here: http://firebender.breakthrough-designs.com/?p=3597

——————————————————————————

The more likes and reblogs, the more Avatar: the Last Airbender & Legend of Korra graphics to come!

If you’d like to see all of my A:TLA and TLOK graphics and designs then check out my awesome multimedia fansite:

http://firebender.breakthrough-designs.com

& Come on Bryan, Mike, and the Avatar crew let me know if you’ve seen my work! I’ve been designing A:TLA graphics and maintaining my fansite for six years! One reblog or like from them will make me happy until college finals lock me away for a short time. 

Hey, I just saw your recent post of a wallpaper, work in progress of the all the main characters in ATLA. I gotta say it looks SOOO GREAT!! You inspire me to work on my crummy Photoshop skills. Lastly, you mentioned that you're taking a break from your "data structures homework", lol are you a programming in the making?

Haha, thanks! Even though it took me a while to get to this skill level practice is key. My dual major is Electronic Media Arts & Communication and Information Technology & Web Science, it’s a mouthful. For IT, I’m following the computer science core.

» Asked by the-social-nerd

THIS WALLPAPER IS FINISHED AND CAN BE VIEWED HERE:

http://firebender.breakthrough-designs.com/?p=3597

Taking a quick break from my data structures homework…

Work in progress - Avatar: the Last Airbender and Legend of Korra wallpaper

The more reblogs and likes, the sooner this wallpaper will be finished

and the sooner I can quit procrastinating on my lovely binary search tree homework

Wall Street Journal/Speakeasy Interview

bryankonietzko:

Above is a link to a recent online article, and below is the companion piece that ran in the newspaper this weekend, both by Christopher John Farley. Chris is a cool guy who has given Korra some great coverage, starting with his Wall Street Journal piece last year. We did a really long, interesting interview with him while we were in New York last month. It looks like at the bottom of the Speakeasy piece that he’ll be following up with some more articles. Thanks, Chris!

Unfortunately, there was some minor confusion that led to us being misquoted a bit: Just to clarify, Mike and I originally intended for the title of the new series to be Avatar: The Legend of Korra, but the network wanted to drop “Avatar” in the wake of James Cameron’s movie for the sake of branding the franchise.

If we couldn’t have “Avatar,” Mike and I just wanted to call it The Legend of Korra, thinking it would stand on its own just fine and people would make the connection easy enough. But the network wanted to link it to the old series, so that’s where The Last Airbender: Legend of Korra came from. We expressed our distaste for the cumbersome title, and explained it was a misnomer, since there were four Airbenders and a fifth in training in the new series. It didn’t seem like the network was going to budge, and hey, at the end of the day, they are making it possible for us to produce the series, so we just tried to get over it and move on.

Luckily at the last minute, the network came around and agreed that a cleaner, simpler title was best. I’m sure it didn’t hurt that by that time the fervor for Korra was already strong and the need to link it to the old series wasn’t much of an issue anymore. Needless to say, we were relieved.

Anyway, no big deal. Mike and I just wanted to explain that in relation to the article below. Also, I think Mike and I are most excited at the prospect of one day making an original movie of our own creation, preferably animated, whether it is related to Avatar or Korra or not.

Here’s the newspaper piece:

The Next ‘Airbender’ Gets Older, Wiser and Adds a Feminine Touch

The Wall Street Journal /By CHRISTOPHER JOHN FARLEY/ April 8, 2012

The fantasy cartoon “Avatar: The Last Airbender” was one of the most popular and critically acclaimed shows onViacom Inc.’s VIAB +1.85%Nickelodeon network. Now the creators of the show are back with a sequel series called “The Legend of Korra” that they hope will expand the audience for the program despite a change in the title, a switch in the setting, and a new female protagonist.

“Avatar: The Last Airbender” was set in an imaginary world in which some individuals, called benders, have the supernatural ability to control water, earth, air or fire and one person—the Avatar—has the power to manipulate all the elements. The action-adventure series was inspired by “Star Wars,” the work of mythologist Joseph Campbell, and the animé movies of Oscar-winning Japanese animatorHayao Miyazaki. “Avatar” debuted on Nickelodeon in 2005, and the show’s finale in 2008 drew six million viewers ages 2 and up, according to the network. Typically, 1.2 million viewers watch the channel each week.

“Avatar” centered on a 12-year-old boy named Aang, but the new series, which launches on April 14, features a 17-year-old girl, Korra. While in the first series, characters wandered a countryside that often resembled ancient China, much of the action in the new series, which is set 70 years after the events of the first program, takes place in Republic City, a fictional urban center that is a kind of mash-up of Shanghai in the 1920s and American cities like Chicago and New York during the Prohibition era.

Michael Dante DiMartino and Bryan Konietzko, the co-creators of “Avatar” and the executive producers of “Korra,” said they decided to retool their franchise because they felt that the original series, which ran for three seasons, had told a complete saga. “We loved those original characters like Aang but we wanted something fresh,” Mr. Konietzko said. “It was a creative challenge for us.”

“Korra” has been in the works for years, but Mr. DiMartino said that with the success of “The Hunger Games” movie and the coming Pixar film “Brave,” which both feature strong female leads, “The time is right in the cultural zeitgeist for all these female heroes to come out.”

According to Nickelodeon, the median age of “Avatar” viewers is 12.8 years old, and the audience is roughly 65% male and 35% female. Mr. Konietzko said Nickelodeon tested the new series and young boys readily accepted the show’s female hero. “You can’t say it’s gonna fail when there aren’t that many things to point to in animation like this,” Mr. Konietzko said. “Luckily, Nick was brave enough to let us do it.”

Given its teenage heroine, “Korra” will explore story lines that are slightly more mature than in the previous series. “But it’s not ‘The Wire,’” Mr. Konietzko jokes. “We didn’t get that mature. But the show will deal less with good versus evil than with conflicting interests. We find that to be more interesting.”

The name of the show was changed, in part, to avoid brand confusion with directorJames Cameron’s 2009 blockbuster movie “Avatar,” which is completely unrelated to Nickelodeon’s cartoon series. Mr. Konietzko said he first heard about Mr. Cameron’s “Avatar” when he was working on the second season of the cartoon series.

“It certainly makes weddings and parties more tiresome,” Mr. Konietzko says. “It’s like ‘No, it’s not the blue people. We didn’t have anything do with that.’ “

Mr. DiMartino said that he and Mr. Konietzko pushed to change the name of their series because they felt the word “Avatar” was “not going to work for the branding of it.” Mr. DiMartino and Mr. Konietzko both contend that their fans will be able to find the show despite the name change. “The fans know it as ‘Avatar’ and they’ll probably keep calling it ‘Avatar,’ ” Mr. DiMartino said. “We’ll always call it ‘Avatar.’ “

In 2010, director M. Night Shyamalan (“The Sixth Sense”) made a live-action big-screen adaptation of the first season of the cartoon series but it was a disappointment at the box office. The film brought in $131.8 million domestically, according to the movie tracking website Box Office Mojo) and it was panned by most critics. “It was based on our series, but we weren’t in charge, we had no leverage at all,” Mr. Konietzko said. “We tried to help and be cooperative, but it had someone else’s name on top of it and it wasn’t ours. It’s very refreshing to be back executive producing something again where we have the reins of our creation.”

Messrs. DiMartino and Konietzko say that they’d like to get a shot at making another big-screen feature based on their cartoon series, though nothing is officially in the works. “Hopefully, when we’re done with the ‘Korra’ saga we can put our stamp on a movie,” Mr. Konietzko said. “I think we’ve been honing our skills towards that for a long time.”

For more on “Korra” and other entertainment news, go to WSJ.com/Speakeasy.

allthisandtea:

the fire nation brothers by ~freestarisis

Just found this, and it is a thing of beauty. <3  The artist has managed to capture the personalities of the characters so well, I think!

Question of the Day

The Triple Threat Triad swagger wagon (car)

korranation:

Korra Nation,

Now that you’ve all gotten a glimpse into the new Korra universe, we have a question we’d love to pick your brain on:

If you could have any single piece of Korra swag, what would it be? A Naga dog bowl? A Fire Ferrets t-shirt? A waterbending water bottle? Reblog, comment and let us know!

-Team Korra

4/8/2012