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About the ECPSA
List of Members
BA/MA-Programmes in Europe
Civic Education in Europe
Professional Careers
About the ECPSA
About the ECPSA
In November 2007 the European Confederation of Political Science Associations (ECPSA) was founded in Berlin, Germany. It is currently a union of twenty-three national and international associations of political science in Europe.
ECPSA was established to promote the disciplines interests and pursue its professional goals. It seeks to make political science more meaningful in public debate and policy-making.
Among other things, the union of national associations is a reaction to the increasing harmonisation of the European higher education landscape. ECPSA creates a framework for the cooperation and exchange in Europe related to all aspects of political science as an academic discipline and its professional organisation.
ECPSA has adopted a mission statement which can be found on this website.
In June 2008 the first elections of the Executive Committee were held in Valencia, Spain. The second elections were held in October 2010 in Budapest, Hungary. The latest were held in Berlin, Germany, in February 2013.
The EC consists of representatives of the French Political Science Association (Prof. Dr. Didier Georgakakis), the Norwegian Political Science Association (Prof. Dr. Oddbjørn Knutsen), the Slovenian Political Science Association (Prof. Dr. Cirila Toplak), the German Political Science Association (Prof. Dr. Suzanne S. Schüttemeyer), the Romanian Political Science Association (Prof. Dr. Luciana Ghica), the Swedish Political Science Association (Prof. Michele Micheletti) and the Political Studies Association of the United Kingdom (Prof. Dr. Terrel Calver). Prof. Dr. Pablo Oñate (from the Spanish Political Science Association) was elected as new president of the ECPSA.
Further information can be obtained from:
Beatriz Camacho
Department of Constitutional Law and Political Science
University of Valencia
Facultad de Derecho/Law School
Avda. Los Naranjos, s.n.
Valencia, 46022 (Spain)
Mission Statement
no news in this list.


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Director Sri Praveen, who has also produced forthcoming Telugu political drama Kaalicharan slated to release on Friday, says that producers are not always keen to back unusual films.
"I pitched my film to several producers but nobody was interested because it was different from the usual type of Telugu films. They felt it wouldn't suit Telugu audiences but I decided to produce it on my own with great difficulty," Sri told reporters.It was reported that the film is loosely based on the life of late MLA Erra Satyam but Praveen has denied it.
"It's a political drama with strong revenge element as backdrop and is not based on anybody's life. Since it is set in Mahabubnagar, which happens to be Erra Satyam's constituency, it is being speculated the film is based on his life," said Praveen, former assistant of filmmaker Ram Gopal Varma. The first trailer of Kaalicharan, starring Krishna Chaitanya, Kavita Srinivasan and Chandini was received very well when it was released a few months back. Even Bollywood filmmaker Anurag Kashyap had appreciated it on his Twitter page.
Kaalicharan is releasing after fighting a legal battle for nearly six months. "Some people had problems with the names of some characters that we had used in the film. They objected to the same when the trailer was released. I also had to cut down the violence after the censor board suggested that I make these changes for theatrical release," he added.

subset: commoncrawl


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Description: Plaid FolkArt Ultra Dye is a polymer based brush-on dye that easily brushes onto most porous, unfinished surfaces creating bright, bold, vibrant color statements with long-lasting results. Self-sealing dye won't peel or rub off and is great for indoor or outdoor application. This water-based, non-toxic dye works well with stencils, and it can be paired with Ultra Dye Varnish for added protection. 8 oz. Solar Power.
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this wiki
(written from a Production point of view)
A teaser (also known as a cold open) is essentially the portion of an episode shown before the opening credits. As described by Michael and Denise Okuda, it is "a brief scene at the beginning of an episode, designed to make the viewer want to stay tuned." (ENT Season 3 DVD "Impulse" text commentary) Almost all episodes of The Original Series, The Next Generation, Deep Space Nine, Voyager, and Enterprise begin with a teaser (an exception is TNG: "Encounter at Farpoint") while Star Trek: The Animated Series does not. The teaser is usually one to two minutes long (or less), though can sometimes exceed five minutes. Examples of these longer teasers include TNG: "Booby Trap", TNG: "The Quality of Life", TNG: "Ship in a Bottle" and DS9: "A Time to Stand". Perhaps three of the longest teasers are TNG: "The Nth Degree", DS9: "If Wishes Were Horses" and VOY: "Deadlock", all clocking in at about seven minutes. The episode's title and production credits (guest stars, producers, writers and director) are typically held until the first segment after the opening titles (the lone exception is TNG: "Descent" in which the title and credits occur after a scene change within the teaser).
The following memorandum was written on 2 May 1966, as a supplement to the Writer-Director Information Guide for the original series, and was authored by Gene Roddenberry, describing the format of a typical episode:
a. Teaser, preferably three pages or less. Captain Kirk's Voice Over opens the show, briefly setting where we are and what's going on. This is usually followed by a short playing scene which ends with the Teaser "hook."[1]
The "hook" of the teaser was some unexplained plot element that was alluded to in the teaser, which was intended to keep audiences interested enough in the show to dissuade them from changing stations while the titles roll. Star Trek writer David Gerrold, to tweak William Shatner on set, once told Shatner that he was writing a Star Trek episode in which Kirk lost his voice in the teaser (the hook), and didn't get it back until the tag.[2]
Possibly the shortest teaser to appear in a Star Trek episode was from the Star Trek: Enterprise episode "Impulse". This scene, in which a deranged, screaming T'Pol is carried into sickbay and restrained by Archer and Phlox, clocks in at just over 18 seconds. The second shortest teaser may be the one from Star Trek: Voyager's "Scorpion". This teaser, which has the Borg saying their trademark "greeting" just prior to their destruction by Species 8472, lasts just under 20 seconds.


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Local banks are joining together to fight hunger with a friendly competition called "Banks Battle Against Hunger."
Donations large or small are needed. They may be made to any local bank in Carrollton from Nov. 1-18.
If you currently subscribe or have subscribed in the past to the Carrollton Democrat, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
If you are new to the award winning Carrollton Democrat and wish to get a subscription or simply gain access to our online content then please enter your ZIP code below and continue to setup your account.
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I'm back this week on WeTalkNerdy.tv with my take on the tech news of the week, a review of the HMDX Jam and an introduction to the Raspberry Pi. What can you do with a Pi? Well, Matt Richardson turned his into the world's smartest bike light. Check it ou
Your browser doesn't support frames, here's the link http://wetalknerdy.tv/wetalknerdy-tv-episode-004/


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A study by the Center for Studying Health System Change, in Washington has said fewer than 25 percent of doctors use e-mail to communicate with patients.
The study by the nonprofit healthcare think tank said doctors fear they won't be properly reimbursed for their time if they communicate by e-mail and they fear becoming overloaded with correspondence sent via the Internet, the Rocky Mountain News reported Wednesday.
Researcher Allison Liebhaber said some health plans have begun testing payment plans for e-mail interactions but "reimbursement remains limited and that's likely a major barrier to physician adoption."
"From a physician's perspective, we are taught that in order to get a proper gauge of the problem you have to take a history, and you can't do that over e-mail," said Dr. Jay Krakovitz, heath insurer Anthem's Colorado medical director. "Physicians also feel that the time it takes to do this doesn't get reimbursed enough."
Copyright 2006 by United Press International
Explore further: Will the doctor see your child now?


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Welcome Philadelphia Bar Association Members
USI Affinity has been the ENDORSED INSURANCE BROKER & PARTNER for the Philadelphia Bar Association for 60 years.
Through your membership with the Philadelphia Bar Association, you have access to the Philadelphia Bar Association Insurance Program, advised and administered by USI Affinity, providing exclusive insurance and benefit solutions not available to the general public. This includes an exclusive lawyers' professional liability offering to protect Pennsylvania attorneys against legal malpractice claims, and other business coverages, healthcare benefits and personal coverages.
The Philadelphia Bar Insurance Program with USI Affinity offers the following enhancements to the Lawyers Professional Liability program:
As one of the leading administrators of Bar Association insurance programs across the country, with six decades of experience in lawyers' professional liability insurance and more than 50,000 attorneys insured, USI Affinity has the expertise and market leverage to design comprehensive and innovative insurance and benefits packages for Pennsylvania law firms. We offer unique advantages in coverage, price and service as a member benefit to Philadelphia Bar Association Members.
USI Affinity takes our role as the Philadelphia Bar's insurance program administrator very seriously, and we will work with you to understand your needs and those of your employees.
Available products include:
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With Instructables you can share what you make with the world, and tap into an ever-growing community of creative experts.
The best way to move people into friends is a bike ride together. The most safety way to ride in the streets is to be noticed by every ...
Create this engineering masterpiece it's not so different from build your own bike, you have just to multiply for six the work. Handlebars, saddles, pedals, chains and cranksets ...
In the end with this prototype we had great fun, some not professional experiences, worked a lot together and met new friends. I think it's the best I ...
How to make the Bus Bike, a 9 person, 6 wheeled bicycle.by Cleveland Motley
How to request bike racks anywhere and everywhereby abkeil
Buying used bikes for beginnersby JacobAziza


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Incase continues to produce Andy Warhol themed collections, featuring the artwork of the iconic pop artist on some of their most popular styles. The Spring 2012 Collection introduces the Marilyn Monroe, Butterflies, Sunset and Skull artworks.
""One of Warhol's most recognized celebrity portraits is his silkscreen of Marilyn Monroe, an international celebrity that encapsulated the popular culture of her time. Warhol began work on his Marilyn series after her untimely death in 1962, working from a publicity photo for her 1953 film, Niagara. The resulting series perfectly preserved Monroe's larger than life personality, glamour and charisma, itself becoming as iconic as its subject matter. The selected designs for the Tote, Campus Pack, Protective Sleeve and Snap Case are from the artist's retrospective series called Marilyn Reversals (late 1970s to early 1980s), in which Warhol reversed the negative of the star's image and used different color variations in both dark and light hues.
Warhol's Butterflies (1955) stands out as a precursor to his later artistic perspective and process. While much of his most recognizable artwork was silkscreened, the majority of Warhol's early works, including Butterflies, were hand drawn. In Butterflies, there is a hint of serial repetition that would eventually become his signature style. The Warhol Snap Case in Butterflies encapsulates the beauty and variation present in nature, two themes that Warhol continually explored in his art.
The 1972 Sunset prints convey the simple elegance of a natural event that occurs every day. The striking series, which consists of 632 unique prints, also showcases Warhol's brilliance as a colorist. The Sunset print appearing on the Warhol Snap Case captures the moment the sun just begins to disappear below the horizon, using brilliant hues in warm tones to add contrast and enhance the focus.
For his 1976 Skull series, Warhol took photographs of a human skull he purchased while antique shopping. He then transferred the photos into drawings with the use of an overhead projector. In this particular rendering chosen for the Warhol Snap Case, the impact of the stark black and white skull is partially balanced by the playful colors, indicating hope or even humor in spite of the inevitability of death.""
The Incase Andy Warhol Spring 2012 Collection consists of backpacks, tote bags, laptop sleeves and of course also iPad and iPhone cases. You can shop the collection now in the Incase online store.


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Today in The Journal News
Chemistry, bonding or whatever else you want to call it, the Yankees just like being around each other and that's one thing that's helped them as they get set to begin the chase for 27. Kudos to talented artist Chris Brown for the killer illustration that went along with the story.
In the biggest news to come out of yesterday's workout, Joe Girardi announced that Jose Molina – and not Jorge Posada – will catch A.J. Burnett in Game 2 against the Twins. Josh Thomson has that story.
Mark Teixeira isn't feeling any pressure as he enters his first postseason with the Yankees, Chad Jennings writes. And CC Sabathia says the comfort he feels in the Yankees hitters may help him get over his previous struggles in the postseason.
Derek Jeter is glad to be back in the postseason after a one-year drought. Josh and Chad also have news in their notebook on Brian Bruney joining the Yankees taxi squad in Tampa and Girardi's thoughts – including a reference to carrying two lefthanders – on playing the Twins instead of the Tigers.
Here's a quick position-by-position breakdown of Twins vs. Yankees – needless to say, the Yankees have the edge in nearly every category and my prediction was a Yankees sweep.
Don't forget, live chat with me and Chad Jennings at noon. Go here to get involved.


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Written by Daniel Hazard
Churches get creative with property to make their ministries come alive
By Joanne Griffith Domingue
Apr - May 07
The church's facility is in bad shape, concedes the Rev. John Mack, pastor of First Congregational UCC in Washington, D.C. Members use duct tape on the windows to keep out winter drafts. Worse, there's a lot of asbestos and there's the whole question of inadequate handicap accessibility.
The heat has two settings: on or off. "It fries you or freezes you," says member Meg Maguire. Unfortunately, it would take $100,000 just to get it working properly.
The list goes on.
"It would take $1 million to patch up the church," Maguire says. "And we didn't have this $1 million to bring it to a patched-up state." Then, in 2004, a developer came knocking.
The developer's question: Had First Congregational UCC in Washington, D.C., considered the possibility of developing their site anew? They had not.
But after two years of study, with guidance from several consultants, church members decided a dream was in the making.
Last year, the church sold its "air rights" — the valuable big-city space above them — to a prominent developer for $17.4 million. The sale meant the congregation still owns the land — and soon a new church building — but the finished structure will have a "church on the bottom, a condo tower on top," Mack explains.
"The condo building is absolutely spectacular — something Washington has not seen," he said.
Thankfully, the church's vision has moved beyond merely having a furnace that works and windows that don't leak. Now, they will have new facilities for their social services and meal programs for the homeless. "That's very important," Maguire says.
The building's new energy-efficient, nature-friendly design is certified by the U.S. Green Building Council.
Plus, the congregation will receive money from a profit-sharing agreement on the sale of the condos, which the church will use to create an endowment for funding low-income, off-site housing.
Creative land deals
With land an increasingly valuable asset, churches throughout the UCC are finding creative, inspiring ways to expand their ministries by tapping into land assets.
Spirit of the Lakes UCC in Minneapolis, Minn., is planning a new building that will include low-income housing for lesbian, gay, bisexual and transgender (LGBT) seniors.
And, Spirit of Peace UCC in Sioux Falls, S.D., a thriving congregation that is growing rapidly, is building a large facility in a new neighborhood.
Together, these three innovative approaches are a witness that the UCC's presence in these communities is alive and well, says the Rev. David Ragan, the UCC's minister of evangelism for church building development in Cleveland.
"The physical church should be a defining mark of presence and ministry, explicitly and implicitly a sign to the community that ministry is taking place," he says.
All three churches are taking risks, Ragan acknowledges. But these new church buildings will be much more than new space. Each — with its housing, its welcome, its meals — will signal that ministry is happening here.
"A church has to be used by the larger community," Ragan teaches. "Otherwise it is a walled-off prison. These churches are breaking down walls… with different concepts of being the church."
Housing LGBT seniors
Spirit of the Lakes UCC, an LGBT-focused congregation founded in 1988, is taking advantage of its increasing property value in Minneapolis to make real its dream.
"We decided to develop our site in housing — senior age-restricted housing — and market it to LGBT seniors," says church member Barbara Satin, a former national moderator of the UCC Coalition for LGBT Concerns and a member of the UCC's Executive Council.
When Spirit of the Lakes joined the UCC, it was the first predominately LGBT church in the denomination.
In the early 1990s the church bought property — a corner, three-fourths-of-an-acre lot with a small, one-story, cinder-block, auto-repair garage at the far end of a large parking lot.
The church met in the auto-repair garage. "A warehouse of God," Satin joked.
However, in time, the neighborhood around the cinder-block church began to blossom. Small businesses moved in. Families fixed up houses. And the renaissance soon meant that Spirit of the Lakes UCC's little corner had grown increasingly valuable.
"Developers began to drool over the property," Satin said. "They offered a lot of money, and [hoped] we'd move to the suburbs." But the neighborhood didn't want the church to leave.
Residents told church members, "'We don't need more businesses,'" Satin says. They liked having a church on the corner, not a strip mall, not a Starbucks.
So Spirit of the Lakes UCC began to consider what they could do with their property that would strengthen the neighborhood as well as the church's ministry.
Satin, a transgender woman in her 70s, joined Spirit of the Lakes UCC in 1997 and her concern about issues affecting LGBT seniors was underscored by the experience of a friend and church member, Gayle, a transgender woman who suffered a stroke.
In order to receive the medical care she needed, Gayle was forced to go back to being "Glen."
For the church, this raised the issue of what LGBT members might face as they grow older, so a church group formed — LGBT Generations — in order to educate on aging issues, Satin says.
From the beginning, the group desired a residential component to their program. "But we didn't have the where-withal or the expertise to take this on," she says.
Then, a Minneapolis-based developer, the Powderhorn Residents Group (PRG), met with members of the church to discuss their specialty — affordable, mixed-use housing.
Spirit of the Lakes UCC soon sold their property to PRG and is using the proceeds to build space on the new development's ground floor. In addition to underground parking, the four stories above the church will include 41 "limited-equity co-ops," selling for $100,000 to $250,000 depending upon size and amenities, for LGBT seniors.
In a "co-op," members jointly own the real estate, not their individual units, explains Kathy Wetzel-Mastel, a project manager with PRG. "Limited equity" means there is a cap on appreciation so units will remain affordable.
Residents are not required to be members of the church, and while the project is designed for the LGBT community, it is open to anyone 55 or older.
The housing and the church will be separately owned, and the church's new multi-use facility will be made available to building residents and community groups.
The $9.7 million project includes the 5,700-square-foot church, which is being built for $850,000. The city of Minneapolis is contributing $370,000 in housing subsidy for the low-income portion of the project, and developers are also hoping the county and state will become financing partners.
The congregation used its land proceeds to pay for its new church. "But it's not enough to decorate," says Stuart Holland, a former church moderator. "We might end up standing, as we're not sure if we have money for seats."
After six months without a minister, Spirit of the Lakes UCC called the Rev. James Pennington in January 2007. He calls the church's housing plan, "Fantastic! Brilliant! A way of meeting a need in the community and of providing new church space."
The church could have taken the money and run. "But they are staying and becoming a bigger asset to the community," says Wetzel-Mastel. The Rev. Dr. Karen Smith Sellers, Minnesota Conference Minister, calls Spirit of the Lakes' redevelopment "enormously exciting."
'Reinventing ourselves'
In Sioux Falls, S.D., Spirit of Peace UCC is planning to move into its new 18,230-square-foot building this month, just before Easter. The sanctuary has room for 500 and sits on a 7 ½-acre site at the southern edge of town.
"The structure is gorgeous," says the Rev. Gene Miller, South Dakota Conference Minister. When the Conference's task force on new church starts toured the building in February, "everyone was awestruck. It's a beautiful building."
To go with its new building, the congregation has a new name and a new mission. "We're not just an old church moved to a new spot," said the Rev. Marcia Sietstra, a pastor of Spirit of Peace UCC (formerly Crestwood UCC).
The word "peace" was important, Sietstra says. "As a UCC church we are uniquely qualified to be leaders with interfaith dialogue, especially among the Jewish and Muslim communities."
The church also sees itself as "a progressive Christian voice," says Tom Hoy, chairman of the building committee.
The changes have helped the church to "think of ourselves as a new church start," Sietstra said. If people saw the old church name, they might think "old church, old ideas." But that's not what Spirit of Peace is about. "We felt strongly we needed to reinvent ourselves." And they have.
When Sietstra came to Crestwood in 1999, the church "wasn't dying, but it was in the intensive care ward," she says. Numbers were shrinking. They began advertising, despite the absence of an advertising budget. "Instead of fresh flowers each week," Sietstra says, "we asked people to sponsor a newspaper ad. It didn't cost the church anything, and we had publicity."
There was no person for nursery care. "So we put someone in," she says. "No one will use it unless someone was there." They also started a youth group.
Every time they served communion, Sietstra explained the process, so visitors would feel comfortable, even if the information was repetitive for members.
The church added 39 new members during Sietstra's first year.
Then, the South Dakota Conference came to the church in 2000 with an offer: You work with us as a new church with your existing congregation, and we'll give you the land once purchased and set aside for a new church start.
Sietstra says the church's original building, built in 1958, was a good starter church with a tiny bit of parking. "[But] if we continued this revitalization, we'd outgrow this space," she says. "If we stayed and built on, we would have still had a parking problem."
Some members resisted. They didn't want to move and start over.
So the church spent two years in a discernment process. By 2002, they accepted the Conference's offer and began a capital campaign for their new building.
In 2004, the church added a second minister, the Rev. Jean Morrow. She was drawn to the church's transforming work and wanted to be part of the "creative process" the church was experiencing, she says.
Between 2003 and 2006, the church school grew 41 percent. Mission giving jumped 55 percent, and the budget leaped ahead by 59 percent.
Meanwhile the area around the Conference's site was also growing and developed into a commercial neighborhood rather than residential. So, instead of locating a new church building there, the Conference sold their 5-acre site for $570,000 in 2005, for which they had paid just $150,000 in 1997. With some of the proceeds, the church then bought another 7 ½-acre site further out of town for their new building.
"We want to get there before the houses," Sietstra says. "It's important to time our move — be there first so the new homes find you."
With the sale of the church's former site to a developer, along with gifts to the capital campaign and about $1 million from the Conference, Spirit of Peace UCC is funding construction of its $2.58 million facility.
Sioux Falls is one of the fastest growing areas in the Midwest, Miller says. Experts forecast that Sioux Falls will soon grow from its current population of 130,000 to 500,000.
Feeding the homeless
Members of Washington D.C.'s First Congregational UCC, one of the city's oldest congregations, feel deeply connected to their community. Founded by abolitionists in 1865 at the end of the Civil War, the current facility, built in 1961, sits on the same half-acre site as the original church. In spite of tempting offers from developers, the church is staying put.
"The city needs our presence in a vibrant way, as a place of hope and healing in downtown," Maguire said.
The church portion of the new building, on the first and second floors, will have 35,000 square feet. The sanctuary, chapel, offices, education classrooms, social hall and catering kitchen will occupy about two-thirds of the church's space.
The remaining one-third will house the Dinner Program for Homeless Women, a jewel in the crown of First Congregational UCC's ministry. Founded by the church in 1979, the Dinner Program has operated, since 1986, as a separate, church-housed non-profit organization with a paid staff. In 2006 the Dinner Program served more than 100,000 meals to homeless men, women and children.
In the evenings, 75 to 100 women and children come to the church for a hot, nutritious meal and social services. In the mornings, between 150 and 450 men and women come for breakfast. All food and services are provided for free. In 2004, the Dinner Program was named the city's outstanding agency.
Ironically, above this justice-oriented UCC church and its housed social programs will sit a dramatic tower with upscale condos. The developer, PN Hoffman, specializes in residential and mixed-use properties. "They are comfortable with having our social services on site," Maguire says.
Some have wondered if buyers for $500,000 to $1 million condos might have second thoughts about living above a food program for the homeless. "People accept the diversity of downtown," Maguire says. "Some people won't buy these [condos]. But others will come right downstairs and help out and give back."
Maguire acknowledges that the condo market has collapsed in Washington, D.C., where once-roaring sales slowed to a trickle last year. But "we're barreling ahead," she says. "Ours is the last remaining unspoken for land in the downtown capital. Over time it is a no-lose proposition."
The process is exciting, but also stressful. The Rev. Barbara Brown Zikmund, a church member and retired president of Hartford [Conn.] Seminary, cheers members on.
"As a church historian I know that the finest hours of the church have been when stress is high and risk is real," Zikmund says. "So I keep telling people it's like exercise — it will keep us healthy."
Zikmund resists the idea that her church is a resurrection story.
"We weren't dead. We didn't die," she insists. Instead she calls it "a renewal, revitalization." "It's risky," Zikmund says. "But risk is important."
Joanne Griffith Domingue, a freelance journalist and United Church News contributor, is a member of First Congregational UCC in San Jose, Calif.
For more about how UCC churches have made architectural statements throughout history, read Barbara Brown Zikmund's "Past as Prologue" column for April at news.ucc.org.
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"He was hurt for about a month in April and May," said Bell, Soto's manager at Double-A Carolina in 2011. "But when he came back, it didn't take long until he got really hot."
Soto played in only 20 games the first two months of last year due to a broken bone in his wrist. He was hitting .243 in mid-June before a spurt of five homers in six games jump-started his season.
After hitting three homers the first two months of 2011, Soto belted seven in June, then had 10 in both July and August to tie for the Southern League lead with 30 while adding 76 RBIs in 102 games.
So it's understandable that Reds officials aren't overly concerned about the start of this season, Soto's first with Louisville. The 23-year-old has batted .238 in his first 62 games, although he leads the Bats with eight homers and 31 RBIs.
While Soto may not be worried, he is far from satisfied with his first full season at the Triple-A level.
"It's been tough," he told the Louisville Courier-Journal. "This is not what I was expecting. I thought it would be better.
"I feel like guys in Double-A are nasty, throwing harder. But here, they work more around you. They know how to pitch here."
That experience shows in the 65 times Soto has struck out to go with only 17 walks that contribute to a .289 on-base percentage.
"He's getting at-bats and, at this point in his career, that's the key," Bell said. "He's making adjustments day-to-day, and that's something that will happen for the rest of his career."
It helps that the Reds seem to have settled on first base as Soto's position. Originally drafted as a shortstop, the native of Puerto Rico moved to third base, then spent part of 2010 as a catcher before switching to first base full-time last year.
Bell said Soto seems to be following a track similar to the one he experienced last season in Carolina.
"He's a young player and young players just play better as they gain experience," Bell said. "Once he got some at-bats last year, he gained experience and played better. The more you play, the better you get."
Bell added that Soto, who has missed time recently due to mild back spasms, added to his value because of his fast finish in 2011.
"Players who are good over the second half of the season are more valuable," Bell said. "If a guy plays well down the stretch, when his team is fighting for a pennant, people tend to notice that."
Night and day: It has been an up-and-down season for Gwinnett RHP Jair Jurrjens. He was 2-0 with a 2.05 ERA after his first three starts but has gone 1-4 with a 7.34 ERA since. Things have gone especially bad in night games: In six starts under the lights, Jurrjens is 1-4 with a 8.10 ERA, while his three starts in matinees have produced a 2-0 record and 1.17 ERA. For the season, he's 3-4 with a 5.27 ERA.
Pitching in: Indianapolis has ridden the best pitching staff in the IL to first place in the West Division. The Indians were 19-11 in May, thanks in large part to a 2.52 team ERA for the month. The Tribe has only one pitcher among the IL leaders in ERA -- LHP Rudy Owens, who's second with a 2.34 mark -- but leads the league with nine shutouts. For the season, Indianapolis has a 3.02 ERA.
He said it: "You just never know what's going to happen. When you think you're in, you're out; when you think you're out, you're in. Baseball has a way to work itself out eventually." -- Columbus OF Trevor Crowe to the Columbus Dispatch. Crowe, who missed more than a month with a strained right oblique, is batting .307 in 21 games.
He said, Part II: "I've been struggling at the plate a little bit. So I was just trying to make good contact and got a fastball up and hit it out." -- Syracuse RHP Mitch Atkins to the Syracuse Post-Standard on June 10. In a win over Louisville, he hit the first homer by a Chiefs pitcher since Ed Ricks on June 15, 1975 at Pawtucket.
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OVERVIEW: Genre: Fighting Platform: PlayStation 2 Projected Ship Date: Summer Target Audience: Action/Fighting Fans Players: 1-2 SRP: $49.99 Developer: Anchor Website: www.thq.com
Pride FC pits the top fighters in the world from several different combative sports including wrestling, karate, judo, kick-boxing, and others into one ring under the same rules. The philosophy of Pride, known as ValeTudo, is the acceptance of any technique of any school of combat. Pride is the survival of the strongest. Not the strongest in a specific genre, but the strongest of all combative sports, period.
Pride FC is the most realistic "No Holds Barred" fighting videogame for the PlayStation 2 computer entertainment system. Fighters are accurately recreated in amazing detail with appearance, likeness, fighting style, movements and signature ring entrances. Various combat elements including multiple fighting positions, unique fighting styles, hundreds of moves, counters and reversals capture the intensity and authenticity of a Pride contest. With a TV-style presentation, each match-up comes to life in fully scaled arenas complete with ring announcers, lighting, pyrotechnics and realistic camera angles.


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Here's the sketch:
and here's my take on the sketch:
I just had to break out my brand new Papertrey Ink Autumn Acorn stamps for this one!! As I was going through my felt to cut out the sweet little leaves, I realized that I need to buy more! I am so glad I had a little Simply Chartreuse felt leftover or I would have been very disappointed! You can be sure I have already loaded my cart full of felt, especially with the holidays on the horizon!!
I cut the leaves out of Simply Chartreuse felt and added a little stitching. I die cut the acorns and then stamped the acorn twice, once on cardstock and once on patterned paper. I just love the different patterns available in the stamp set. They are just tooooo cute!!
Papertrey Ink Supplies Used:
Rustic Cream Cardstock
Fall Prints and Patterns Patterned Paper
Autumn Acorn Stamps and Dies
Simply Chartreuse Felt
Fine Linen Twill Ribbon and Buttons
Other Supplies: Prima Lace; Memento Rich Cocoa Ink; Tim Holtz Tea Dye Distress Ink
Thanks for stopping by!! I'm off to get more rest!!
Have a wonderful Wednesday,


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Southern Nevada > Black Mountain > Climber's Log
Black Mountain Climber's Log
[ Sign the Climber's Log ]
redsplashman23 | Trail Date Climbed: Apr 7, 2007 | |
Great hike with Jim, Madilyne, and Karen from Hiking Meetup. Great fun with great people and awesome views. | ||
Posted Apr 7, 2007 11:24 pm |
sierragator | Suburbia to summit Date Climbed: Apr 7, 2007 | |
Nice dayhike with Sacha, Madeline, and Karen via the trail from the northwest. This peak has a fine panorama of the surrounding area. Warm spring day, partly cloudy, breezy at times. Glad it was not warmer. | ||
Posted Apr 7, 2007 10:18 pm |
Anya Jingle | Standard Trail route Date Climbed: Feb 23, 2005 | |
I've done it during the stormy weather. Lots of awesome puffy clouds around and soil was still moist after recent rains. Tiny wildflowers and other greens were present and the area wasn't as arid as I expected it might be. The slideshow from this day is here: Black Mountain hike | ||
Posted Feb 4, 2007 11:58 pm |
LV Hiker | Nice view Date Climbed: Jan 25, 2007 | |
There is so much building going on in the area it's hard to find a way to get close to the base of the mountain. We spent nearly an hour driving around the neighborhood before I got frusterated and decided to put it off until the following week. I figured I could contact some of my fellow hikers and perhaps one of them would be able to give me some directions. Which is exactly what happened. So this week we again went after this mountain with current directions that would take us to the base of the mountain. I went with a couple friends of mine Sherry and Marc. We arrived at the base of the mountain and started our hike at about 10:05 AM. It was a beautiful day for a hike up this mountain. There wasn't a cloud in the sky and the temperatures were just right. It took us about 25 minutes of wandering around to find the actual trailhead. Once we found it though it was easy to follow and takes you right to the summit. The actual hike from the trailhead took us about 2 1/2 hours. The trail is pretty easy until you get to the last third of a mile or so. From there it get's pretty steep. We arrived at the summit at 1:05 PM. As usual the views from the top we're spectacular. I love the views from mountain peaks. | ||
Posted Jan 28, 2007 7:47 am |
cp0915 | trail | |
Easy hike in Jan 05. A tranquil summit. Lots of other nice, easy desert peaks worth exploring in this area. Sutor Mountain, as well as a bunch of unnamed ones, are close and worthy. | ||
Posted Sep 13, 2006 5:07 pm |
Tracy | Drove to Radio Antenna Towers and hiked down and up from the north Date Climbed: May 23, 1985 | |
This was a fairly quick hike I did with my brother Harold. We saw a small herd of desert bighorns, saw what appeared to be a BLM helicopter chasing them, and I got startled by a rattlesnake on the way down. This was years before there was any development within at least 7 or 8 miles of the peak. | ||
Posted Sep 13, 2006 5:42 am |


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In General
- Hell, Aang's back story in general. He's the Avatar. The monks tell him before he's sixteen, unlike the traditional customs, because of war. He makes friends with Monk Gyatso, and then Aang runs away. He gets frozen and wakes up a hundred years later, with no idea what happened to his culture until he actually sees his best friend, dead, a skeleton. Then he flips his shit.
- Before his HeelFace Turn Zuko's desperate attempts to gain the approval of his father and restore his honor in his eyes becomes ever more tragic considering the huge emphasis most Asian cultures place on filial piety. According to Confucious, "In serving his parents, a filial son reveres them in daily life; he makes them happy while he nourishes them; he takes anxious care of them in sickness; he shows great sorrow over their death; and he sacrifices to them with solemnity." Zuko sincerely believed that it was entirely his fault for being banished because he tried to defy his father by opposing the general's decision to use Fire Nation soldiers as sacrifices in the war against the Earth Kingdom. And considering how devotion to one's parents was often associated with one's devotion to the state, Zuko wasn't just defying his father, he was defying the Fire Nation itself. Is it any wonder why he had so many issues to deal with!?
- The entirety of Zuko and Azula's relationships with their parents. Zuko's is very much implicit. He was barely tolerated by his father, and when he dared to speak out against him, he was forced into a life or death duel with him. Rather than kill his own son, he simply opted to mutilate his face, and send him off to exile on a Snipe Hunt. When the object of his hunt became apparent, Ozai immediately wrested the responsibility of capturing Aang, and gave it to another officer. Both Azula and Ozai spent the better part of the series playing on his insecurities and fears, and treating him as nothing more than a tool to be used and discarded. The more implied one is Azula, though. Ozai is a piece of work, no one will dispute that. He used Azula as much as he did Zuko. A major contributing factor with her Villainous Breakdown was her realization that her father, who she thought loved and treasured her, saw her as a tool just as he did Zuko. Just a stronger and more useful one. He foisted his new-useless title on her, and headed off on his world conquering rampage with little more than a pat on her head. However, while Zuko had Ursa and Iroh to help him build a foundation, Azula had no one. Her mocking comments of how her own mother saw her as a monster rang hollow at the height of her breaking point, and one has to wonder how much of her behavior could have been altered if Mom would have just given her a few more hugs. Azula felt as much of a sting of parental abandonment, and in its own way, that's almost sadder because she had no one there to pull her back.
- Judging by some brief flashbacks into Zuko's early youth, like in "The Storm" or even from Ozai's story in "The Promise", it seems that Ozai wasn't just a sick psychopath. It implies that Zuko actually had fun with him and that once they were a happy family, that Ozai was an alright father. Going along with the lesson Roku taught that "nobody is born evil" it makes it all the more sad that a family that could have grown to be so much more was torn apart so savagely and completely. It really is sad to see the family that was apparently so happy and content get savaged to the point that only two of them ended up doing the right thing. And as of now, of the two good ones, only one of them is confirmed to have survived.
- The Zuko redemption story is completely heartbreaking, especially considering that Aang saves Zuko's life multiple times, he constantly forgives him for his past misdeeds and treats him like a friend, yet it takes three seasons for Zuko to accept that hunting him down simply for being the Avatar is the wrong thing to do.
- Zuko's unfailing loyalty to his family despite everything they've done to him. It took him so long to break, and frankly, the Gaang is lucky that he ever switched. But at least they don't have to worry about him betraying them.
- The song Tsungi horn.
- And this one: Ocean Spirit.
- Peace Excerpt all the way. Listening to it makes you feel like a huge weight has been lifted off of your shoulders. No more fighting, no one's chasing the Gaang anymore. They can finally rest now.
Season One
- After rewatching the series and finding out the rest of Katara's backstory, her exchange in the first episode is like a punch in the heart.
Katara: [while penguin sledding] I haven't done this since I was a kid!Aang: You still are a kid!
- Her people are the victims of systematic genocide and she grew up in a decimated village just scraping by. She's fourteen, but Katara has been an adult with adult responsibilities since her mother's death when she was eight made even worse by the fact that Kya sacrificed herself to prevent the Fire Nation from discovering her Waterbender daughter and killing her. No chance to learn waterbending, fall in love (the only person within five years of her age in their tribe is her brother), or do anything but survive and hope that the war would end someday.
- Sokka's failed attempt at attacking Zuko in the second episode suddenly seems a lot less funny in the wider context. Like Katara, he had to take on a lot at a young age. By the start of the series, he's wound up in the raid that killed his mother, seen all the adult males leave to fight in the war (which must have been done as a last-ditch effort), and he's trying to live up to the expectations of a 'man' of the tribe and be the warrior his father is.
- He's not just trying to live up to the expectations of 'a man' in the tribe - as of the start of the series, he's the only "man" left in the village. It's his responsibility to protect the ones who can't protect themselves (which is everyone). The last time a Fire Nation ship came to the village, people - his mother - died. Sokka's not desperate because he's trying to prove his manliness, he's desperate because he's the village's only line of defense.
- The whole series manages to put a war into perspective, but what's really tearjerking is any moment involving Hakoda and his children. As much of a warrior he is, he is still a father. He left his children to defend a village, knowing that if anything serious did come their way, his own son and daughter, the last things he has in this world, would be at the forefront of the fighting. Anytime with them together, like in the Awakening and Day of Black Sun, you can visibly tell that while he's proud of Sokka becoming a capable warrior and commander, a part of him is slowly dying seeing his son on the front lines, and he's not able to be there to help Sokka.
- And this fanart, really drives it home. Be glad you've never had to hunt your dinner.
- In addition to being a CMOA for Sokka, the attack on the village in the beginning of the series is utterly heartbreaking. Sokka knows that he hasn't got a chance, but he's all the village has left. He decided in cold blood to sacrifice his own life in order to maybe give what's left of his family another few minutes to try to run.
- One of the single greatest tearjerking moments in the first season was in "The Southern Air Temple," the series' first Wham Episode. When Aang chases after Momo, he follows the lemur into a tent and discovers Monk Gyatso's skeleton, surrounded by a dozen dead firebenders. Considering that the episode had been very lighthearted up to this point, with Sokka and Katara doing their best to indulge Aang and hide the awful truth from him, the moment where he finally understood what happened was enough to bring on tears. Then he went into the Avatar State, prompting this line from Katara:
Katara: Aang, I know you're upset... and I know how hard it is to lose the people you love. I went through the same thing when I lost my mom. Monk Gyatso and the other airbenders may be gone, but you still have a family! Sokka and I, we're your family now!
- The end of the episode as well. Appa flying away from the temple with Aang and Momo in the saddle looking back as it slowly shrinks into the distance and is obscured by clouds. He's literally leaving what was once his entire world behind again, but this time with the knowledge that it's pretty much gone and that he, Appa, and Momo are the only things left of it. The music doesn't help.
- Also, you have to remember that, while Gyatso died a hundred years ago, to Aang, that was a few days ago. He was playing pai sho with Gyatso very recently. He must have already known that everyone he knew was likely dead, but this is the moment that he was really forced to grips with it.
- Gyatso: "Aang, I'm not going to let them take you away from me." But Aang was already gone. Aang and Gyatso never got to say goodbye to each other, to make it worse.
- A small one. Bumi, for all of about 5 seconds, was actually sane when Aang finally figured out who he was. At this point it's a pretty good tearjerker, since he's the only person left from Aang's childhood.
- It's the long lasting friendships, particularly when you see Aang and Bumi sliding down the mail chute. Also goes for when it's revealed that Aang's friendship with Gyatso transcends lifetimes, as Roku was also his friend.
- Becomes Harsher in Hindsight when the Gaang shares a moment like that. Toph wonders if friendships can transcend lifetimes, then the rest of the Gaang hold her hands to reassure her that yes, they can. It's really cute and heartwarming, but then The Legend of Korra shows that unlike Gyatso, who lived long enough to befriend Aang, Toph didn't live long enough to befriend Korra. It gets better in Season 3 of Korra, where we learn that Toph apparently is very much alive and wandering the world.
- This exchange from "Imprisoned":
Haru: Katara, thank you for bringing my father back to me. I only wish there were some way—Katara: (Turns away) I know.
- In the episode where Katara steals the Waterbending Scroll, she is trying to learn some moves. Aang performs the waterbending moves with ease, and politely tries to show a frustrated Katara how it's done. Katara totally blows up at the poor kid about bragging and being "so incredibly gifted." Aang's lower lip trembles, and he looks like he's going to cry. Katara immediately apologizes for the outburst, but it was sad to see young Aang so hurt, like a real kid his age.
- When the other airbender children wouldn't let Aang play with them, because he's the avatar, seeing him as an unfair advantage to either team.
- Pictured here, we see a 13 year old Zuko get his scar. When he proclaims he won't fight his father, he bows before the Fire Lord and looks up, shaking and sobbing in fear as Ozai stands in front of him. The look in his eyes and the scream that follows is haunting.
- To say nothing of the look of betrayal, pain, and absolute despair on Iroh's face as he turns away to avoid seeing his brother do such a horrible thing.
- And next to him Azula is grinning like a maniac. If it's your first run through the series, you don't even know who that girl is, and probably didn't notice her at all, but when you go back and see it again, the fact that Azula is enjoying this shit just makes it all worse.
- Sokka's flashback in "Bato of the Water Tribe" of him begging Hakoda to let him fight with the men, then crying when they embraced. "I'm really going to miss you".
- When Sokka and Katara left Aang? No matter how stupid it was for Aang to hide the map to their father, his expression when Katara says she's leaving is heartbreaking.
- And don't forget when Sokka yells at Aang for hiding the map.
- If you think about it, just a few episodes ago, Katara told Aang that she and Sokka were his family now. Then news of their father comes up and they seem to completely forget that fact. Aang was afraid that they were going to leave him now that they could find out where their father was (even though they did say they had to stay with Aang, but he had left already). This is shortly after Aang had discovered that everyone he knew and loved (except Bumi) were gone. He would have been completely alone, with no one to help him pull through. This itself is a tearjerker as well.
- In "The Deserter", when Aang accidentally burns Katara. Sokka shouting, "You burned my sister!" can bring the tears.
- Jeong Jeong talking to Katara after telling her that she has healing powers. He laments that his own ability is firebending as he sees fire as destructive if not controlled, and the struggle to control yourself while using it as destructive to the bender.
- The Mechanist: When Aang gets angry at him for disrespecting the temple, he very somberly explains that he is there as a refugee trying to help his people, especially his son. When the Gaang finds out that he is making weapons for the Fire Nation, he looks so broken. He did all of this to protect the people at the temple, and to ensure a good future for Teo, whom he clearly loves very dearly.
- The scene where Iroh finds the ship bombed by pirates. His face when he believes that Zuko was murdered was one of the strongest examples of his love for Zuko in the first season. It's the way he frantically yells Zuko's name, sees the wreckage, and then repeats his name in a grief-stricken voice that really drives it home.
- The scene between Iroh and Zuko in "The Siege of the North, part 1" before Zuko leaves to infiltrate the city and capture Aang really brings home how Iroh's love for Zuko is really no less genuine than, say, Katara and Sokka's mom's love for them.
Iroh: "I'm sorry, I just nag you because, well, ever since I lost my son..."Zuko: "Uncle, you don't have to say it."Iroh: "... I think of you as my own."
- In Part 2 when Zuko has an unconscious Aang in that cave and is talking to him about how much his life sucks and all the issues he has. He's really vulnerable at that moment, even though he insists that he's strong and that he doesn't care that he's "unlucky."
- To add to it, Zuko says that his father considers Azula was born lucky, while Zuko was lucky to be born.
- Yue's Heroic Sacrifice in the first season finale.
Sokka (softly): She's gone. (He hugs her body tightly) She's gone.
- And then what happens after she gives herself up. She appears as a ghost, an angelic, beautiful ghost that whispers "Goodbye, Sokka... I'll always be with you..." before kissing him one last time, and disappearing.
Season Two
- "The Avatar State"
- When Azula attempts to lure Iroh and Zuko onto her ship by saying that Ozai regretted banishing Zuko and wanted him back. The utter happiness in Zuko's demeanor at being accepted and loved again is shattered when Azula's guard reveals Zuko was meant to be a prisoner the whole time. The look on his face is heartbreaking.
- This bit of dialogue between Iroh and Zuko the night before, which is yet another reminder that Zuko has thrown away three years of his life chasing after his father's love, and never once realized that what he wanted was right in front of him the whole time:
Zuko: Did you listen to Azula? Father's realized how important family really is to him. He cares about me.
Iroh: I care about you! - Katara trying to explain to Aang why she's afraid of him continuing to try to induce the state,
Katara: I'm not saying that the Avatar State doesn't have incredible - and helpful - power. But you have to understand; for the people that love you? Seeing you in that much rage and pain is really scary.
Aang: I'm really glad you told me this. But I still need to do this.
Katara: I don't understand...
Aang: No, you don't. Every day, more and more people die. I'm already a hundred years late. Defeating the Fire Lord is the only way to stop the war. I have to try.
Katara: I can't watch you do this to yourself. I'm not coming tomorrow.
- "The Swamp":
- Katara sees what she thinks is her mother thanks to the Swamp's mysterious powers of illusion. Despite knowing her mother is gone, she clings to this Hope Spot, believing that her mother didn't really die... only to find a tree stump. Having this faint sliver of hope dashed, Katara breaks down sobbing.
- Sokka seeing Yue's "spirit". Even though he believes that the swamp isn't magical, he was wondering if he really was seeing Yue. To make it worse, "Yue" claims that he didn't protect her. Before he had a chance to counter her statement, she disappeared and you can tell that Sokka is very crestfallen. Even if Yue was a hallucination, it's pretty clear that Sokka blames himself for letting Yue die.
- Toph's confrontation with her parents at the end of her debut episode. As the creators themselves put it, despite Toph's arrogance and toughness, it's kind of sad how she just grew up so lonely. And it's made more tearjerking if you realize that this confrontation is the only time in the entire episode that either of Toph's parents have even spoken to her directly. The glance that Aang, Sokka, and Katara trade with each other just sells it.
Aang: I'm sorry, Toph.Toph: I'm sorry too. Goodbye, Aang.
- "Zuko Alone". Pretty much all of it. Especially the Flashback, when you see a young Zuko, worried and panicked, asking where his mother is—to which his father doesn't make any on-screen reply. Just the look on Zuko's heartbroken face. And going back to the present day and seeing Zuko being driven out of town thanklessly after taking care of the thug problem, even by the kid he saved, is a true tearjerker.
- The scene with the death of Zuko's cousin, Lu Ten. When Zuko has a flashback to when his mother got the news and we see the look on Ursa's face... that quiet sorrow for a soldier lost in battle is heart breaking. Then Ursa has to tell her kids that their cousin has been killed. Poor Zuko looks shocked, and even Azula looks sad and stands with respect.
- It's a small thing, but when he uses his firebending to defeat the earthbending thug, the music playing is reminiscent of the Fire Nation army's theme, often played to indicate danger. Even if he tries to hide it, Zuko can't get away from his darker side.
- Zuko yelling at the Gaang to leave after Iroh is shot in the chest by Azula. It should be narm, it should be over the top, but it isn't.
- Just the look on Zuko's face when Iroh first gets hit. The only family member he has left who still loves and supports him, and for all he knew at that moment Iroh could have died, this right after Zuko had insisted on separating and traveling alone. Had Iroh died, he would never have even gotten to say goodbye.
- In "Bitter Work", there's a short flashback with a younger Iroh playing with his son, only for a quick Mood Whiplash to Iroh mourning before his son's grave, in the rain. "My beloved Lu Ten. I'll see you soon."
- Zuko's Rage Against the Heavens at the end of "Bitter Work", flying right by what would be narm and into something genuinely heartbreaking. Even the heavens deny him.
Zuko: You've always thrown everything you could at me! Well I can take it! And now I can give it back!
- "I'm sorry, Appa". Toph is forced to let Appa be kidnapped in order to hold up the Library. She was genuinely trying to save Appa while keeping the library up, but not even Toph, the self-proclaimed Greatest Earthbender in the World, could do both, and that about crushes her. It doesn't help that she's inexperienced as a sandbender and can barely see.
- It's even worse when the others escape from the library, which they were only able to do because of her efforts. Aang absolutely rips into her for not saving Appa, even accusing her of wanting Appa to be kidnapped. Toph - the one character who, canonically, doesn't take crap from ANYONE - just stands there looking hurt.
- This leads to some Fridge Brilliance: Toph revealed in the finale that she's been working on her sandbending. Why? Probably because she never wants to be helpless in the sand and let anything happen to her friends again.
- The last scene in "The Desert", when, after all the suffering he felt after Appa is kidnapped, Aang finds the kidnapper, freaks out and goes into the Avatar State. He seems ready to unleash hell on earth, until Katara calms him down by pulling him out of the air and putting him in a tight embrace. They both start crying.
- The look on Katara's face◊, behind Aang. She was so resigned, that she just instinctively reached out and hugged him. She kept the Gaang together through the desert, wild creatures, Aang's depression, Appa's disappearance, Toph's blindness in sand, Sokka's hallucinations, and they made it out alive, thanks to Katara. And now... this. She's so tired.
- Looking closely at the hug between Katara and Aang shows Aang crying while still being in the avatar state. The pain of losing Appa is so great it moves not only Aang but the 10,000 year old spirit inside him.
- What makes this especially powerful is that this is the first time in the series Aang has any control over the Avatar State. "TELL ME WHERE APPA IS!" is him keeping control, and the only time he speaks in the Avatar State with his own voice before totally losing it.
- And in combination of "Appa's Lost Days" and "The Desert," Appa is being captured by the Sandbenders, and over his shoulder he sees a giant mushroom cloud of sand. He knows that that's Aang flipping his shit trying to find him, but Appa can't get to him.
- Iroh's story in the episode "Tales of Ba Sing Se", period. It starts off as lighthearted (he plays with some children and gets a mugger to turn his life around), then hits you with Mood Whiplash when he makes a memorial to his deceased son's birthday, and bursts into tears while singing, ending with a dedication to Iroh's voice actor Mako, who died shortly before the episode aired.
- It's even more tearjerking because Iroh, the one who's usually able to stay cheerful no matter what, starts singing "Little Soldier Boy", the same song that he used to comfort the boy earlier in the episode, and starts sobbing about halfway through, and you realize that the song was for Iroh's son, who died in the very war Iroh's trying to stop (and in the same place, no less). And then the dedication to Mako... *sniff* It's overwhelming.
- The writing on the top of Lu-ten's picture can be roughly translated as: "To General Iroh, see you after we win the war. Your loyal son Lu-ten."
- Iroh's been through a lot by this point: his ship was destroyed twice at the end of season one, and then he ran away from Azula at the beginning of season 2 with literally nothing but the clothes on his back. He's carried that picture with him through all of that, and he finally felt comfortable enough in Ba Sing Se to stick it in a frame. And then, it's probably destroyed or lost when he's imprisoned by Azula and Zuko at the end of Season 2.
- It's even more saddening since most of the other Tales of Ba Sing Se shorts (bar Momo's, mentioned below) are rather funny and/or cute, and then they hit us with Iroh's...
- "Leaves from the Vine". Listen to that song once and you will be bawling at the end.
- Also The Tale of Momo in Tales of Ba Sing Se, his absolute forlorn expression as he tries to search for Appa is just heartbreaking. Momo, the cute little comic relief pet is shown having dreams, flashbacks, and compassion for other creatures, all within a few heartbreaking minutes.
- "Appa's Lost Days" and seeing what poor Appa had to go through.
- Especially the dream sequence, when we get to see how Aang and Appa met. "I guess we'll always be together. Always..."
- Or the fact that when he sees Suki again, he is so scared of her that he won't let her approach him for some time.
- The part where Appa, tired, hungry, still searching for Aang, battered and worn out from all the traveling, lands outside the little cave...and then a raging porcupine-boar comes running out of nowhere and attacks him. The look on Appa's face and the way he's snarling and roaring as he fights this enemy makes it quite clear that he is enraged and exhausted beyond belief. So much so that he spends several days just laying in the den, as though he had finally lost his will to find Aang and was just waiting for the next bad thing to come.
- The whole scene of Appa in the circus. It actually won a Genesis award for its disturbingly accurate portrayal of animal abuse in the circus. And while he's there, Appa sees a boy who reminds him of Aang who helps inspire him to escape. It's either cute, extra heartbreaking, or both.
- Jet's death was sad enough, but the way Toph says "he's lying" pushes it straight into tearjerker territory.
Toph: (whispers) He's lying.
- Just before the death itself, the line that snaps him out of it: "You're a FREEDOM-fighter, Jet!" It's not the trauma of losing his village that pulls out of his brainwashing, but the memories of his friends and what they all believed in together.
- Smeller-Bee and Longshot staying behind to watch over Jet before he dies can also bring out a few tears. This is also the only time we hear Longshot speak when he tells the Gaang to go and adds that "He's our leader". You know something is truly dire when Longshot speaks. Once the Gaang does leave, Smeller-Bee cries over Jet's body as Longshot prepares an arrow in case the Dai Li return. Even until the very end, they were loyal to Jet.
- When Aang was finally reunited with Appa. All the pain that Aang had shown throughout Appa's absence made it so much more meaningful.
- The Guru episode when Aang opens his air chakra, and is then seen facing all the Air Nomads, who then vanish into smoke and ascend up, while Aang reaches out to them, all the while Guru Pathik is narrating. In the same episode, when he reaches the seventh, final, chakra: he is asked to give up his "worldly attachments" - that is, his love for Katara. He refuses to give up his love, even for the control he's been looking for the entire season. In the next episode, he goes back on his decision, temporarily leaving Katara to fight off Azula and Zuko alone in order to enter the Avatar State, which fails.
- Aang being backshot with lightning, falling to the ground below and Katara cradling his dead body in her arms in the second season finale. Remains the single most shocking and sadistically cruel moment in the entire series.
- Zuko betraying Iroh during that same episode.
- The last few scenes of that episode are heartbreaking: Katara holding Aang's limp body◊. The look of utter hopelessness and sense of failure on Sokka, Toph, and the Earth King's faces◊.
The Earth King: The Earth Kingdom... has fallen.- When Katara uses the spirit water on Aang, and nothing happens for a couple of seconds. Then he wakes up for just a moment, and she gasps and holds him close.
- Even after betraying his uncle, Zuko still manages to retain a level of sympathy, seeming almost in complete shock at what he has just done.
Season Three
- Katara's encounter with Hakoda, where she tells her father that she knew and understood why he left the village, yet even then she couldn't help being angry... and they embrace.
Hakoda: I would lie awake missing you so much it would ache.
- "The Boiling Rock". We see how alike Sokka and Hakoda are, how Sokka really wants - and gets, already had - his father's approval and pride. Plus Hakoda has tears in his eyes when he realises the guard was Sokka.
- The moment in "The Headband" where Zuko goes to visit Iroh. Whatever resentment you may have felt toward him from his failed HeelFace Turn in the second season finale just melts as you realize just how conflicted he is over it. One of the most heartwrenching cases of Conflicting Loyalty ever depicted in Western Animation. Iroh says nothing and faces away from him for the entire scene. When Zuko angrily leaves after he doesn't say anything, slamming the door behind him, Iroh sheds a single tear, completely heartbroken that the nephew he's given everything for is so lost.
Zuko: Please, I'm so confused.
- A two-fer in "The Runaway", one sad and one super-sweet. Sokka confesses that after all these years, he can't even remember what his mother's face looks like (sad). In the next breath he explains that, now, every time he thinks of his mother, he sees Katara's face (sweet). Still though, to not be able to recall the face of the one who raised you (or any close family member) is a really heartbreaking thought.
- And a third one. When Toph started crying and confessed that she actually did miss her parents and was sad that they were hurt. Until then, we mostly got the impression that she felt imprisoned by her parents and possibly didn't even like them a lot for those reasons.
- Not to mention in the same conversation with Sokka's confession about forgetting his mother's face, Toph admits that Katara cares about her - the real her - more than even Toph's own mother did. Similarly to the above tear jerker with Sokka, this is both heartwarming and sad.
- Even though "The Beach" was a mostly funny episode, the scene with Zuko walking to their old vacation house and remembering all the happy times he and his family had there when he was younger was really heartbreaking. Maybe it's the music.
- Maybe it's the flashbacks. Especially one with Uncle Iroh holding a happy baby Zuko as his son Lu Ten builds a sandcastle laughing.
- And look at the family portrait of Zuko's family. Zuko sits below his father and Azula sits below her mother in stark contrast to the parental favoritism we usually see. They all had some sort of emotional connection at some point.
- When the girls are probing Zuko about who he is angry with, it honestly does sound like they are concerned and trying to get him to open up (even Azula). The struggle with trying to explain why he's angry is very reminiscent of people with anger and abandonment issues, and his final reaction is utterly heartwrenching.
- And then we have Mai. As if listening to how her mother rejected and shut down her opinions to the point that Mai became The Stoic isn't horrifying enough, you notice how she keeps asking her friends "what they want from her". And you realize that, even now, she still believes that she needs to behave according to other peoples expectations.
Mai: You want me to express myself? LEAVE ME ALONE!
- After watching the finale, rewatching "The Beach".
Azula: I could complain about how Mom always liked Zuko more than me, but I don't really care. (She then looks into the dying fire, looking like she would cry if there weren't people around) ... My own mother thought I was a monster... She was right, of course, but it still hurt!
- Roku's death. The guy was left to die by his former best friend, and then to top it all off, his dragon curls up around him just before the ash covers them so that they can die together... and then it cuts to baby Aang, and Roku fading away. And then Aang turns around and starts looking for Roku in the void.
- Fang choosing to die beside Roku is especially heartbreaking. Imagine in the same scene, instead of Roku and Fang, it's Aang and Appa instead. Fang wasn't just a mount, he was a friend and animal companion for life, just like Appa is for Aang. The pain of those two being separated is almost too much to bear.
- The fact that Sozin and Roku were such good friends, the fact that the viewer knows it will all end horribly... the first thing Sozin narrates:
Sozin: As I feel my own life dimming, I can't help but think of a time when everything was so much brighter.
- All of Hama's flashbacks in "The Puppetmaster" about how the Fire Nation systematically captured all the Waterbenders in the Southern Water Tribe though hit and run raids are tearjerkers. At the start of the flashback, we see Kanna (Katara and Sokka's grandmother) and Hama having a cute friendship moment and then the black smoke appears along with the Fire Navy ships. Hama is the last Waterbender to be taken away in chains while Kanna is looking on and crying. Hama later reveals that she spent decades in a small cage in a Fire Nation prison and that the reason why she went Ax-Crazy was because of the horrible way she was treated. The Fire Nation basically committed genocide against the Southern Water Tribe. When Hama was a young woman, the Southern Water Tribe was much bigger with fancy ice buildings everywhere. Now it's basically a bunch of tents and a couple of igloos. What was particularly poignant about that episode is how the capture of all the Waterbenders was illustrated: no dramatic fight scenes or anything, just a group of warriors holding their ground, but fading out little by little, until only one is left. That, and the way Hama walks when she finally escapes. It's sort of off-kilter, and illustrates not just her broken mental state, but is also probably a result of the physical damage she took in her years as a captive.
- Zuko's defiance of his father when tells him how monstrous he is, how horrible of a father he's been and he announces that he's going to free his uncle who's been his true father and that he's going to join Aang to help him defeat his father. It's this, a Crowning Moment of Heartwarming and a Crowning Moment of Awesome. And then swings into a heartbreaker when Zuko arrives to find that Iroh is gone and that he can't beg for his forgiveness. Being unable to apologise and beg for his uncle to forgive him eats at him until they finally meet again.
- Sokka's line: " WHERE... IS... SUKI??" If not a Moment of Awesome for Sokka, than at least it was heartbreakingly badass. When Azula began talking about Suki - the guy looked like his heart had been torn out. And then, he goes up to Azula, slams her against the wall, and his expression. He looks like he'd duel Ozai himself for her.
- The ending to the Day of Black Sun. The adults give up the children and willingly surrender when it becomes apparent that there is no escape. Haru and Teo's moments are especially tearjerking, since Haru's father just got out of prison, while the Mechanist is giving up his disabled son to live alone, with the very possible result that he will never see his son again. Sokka's reaction to him having botched the invasion plan, and the sad flight out made it especially unbearable. It's only Katara's reassuring smile that saved it from being a total downer ending.
- Well, that and Zuko's successful HeelFace Turn, which gives the episode - as he's determinedly following Appa's flight path in a hot air balloon - that final shred of hope.
- Special attention has to be given to Aang's reaction. He's the Avatar. This is what he'd been preparing for, what he felt so insecure about, and he failed to even confront the Fire Lord. You can feel his shame and incredible guilt as he has to face the army of people who believed in him to communicate this failure - and among the people he's let down and whom are going to be left behind is Katara and Sokka's own father. And just before that, there's the private moment where he visibly breaks up into tears, another reminder that this is a little boy forced to carry so much weight, and Katara's trying what she can to comfort him. His address to the army is fittingly simple and heartbreaking: "Thank you all for being so brave and so strong. I'm going to make it up to you."
- During "Boiling Rock - Pt.1" , when Zuko tells Sokka that his dad might not be there.
Zuko: Listen, I asked around, there are no water tribe prisoners.
Sokka: [panicked] WHAT? Are you sure, did you double check?!
Zuko: Yeah. I'm afraid your dad's not here.
Sokka: NO! [slamming his fists into the side of the building] NO!
Zuko: I'm really sorry, Sokka.
Sokka: [despondently, nothing like his usual self] So we came all this way for nothing?! I failed, again. - "The Western Air Temple". Zuko has followed the Gaang in order to teach Aang firebending and help him stop Ozai. He walks up to them and begs them to accept him, knowing that he'd be hopelessly outmatched if they, with good reason, chose to attack him. He actually kneels, head bowed, arms forward, and asks them to take him as a prisoner if they can't accept him as a friend. He's not hoping to find friendship, or support, or forgiveness. He's just looking to do some good at last. It highlights how different he's become to the haughty, proud, self-centred, angry jerk he was at the start of the series. And while he's kneeling like that, face down and completely vulnerable, Katara water-whips him in the face, leaving him backing away like a wet, whipped dog. Fortunately, Zuko's able to bond with each of member of the team as time goes on- but Katara's grudge against the Fire Nation as a whole keeps her from trusting him, which forces Zuko to do the one thing that will gain her friendship - bring her mother's killer to justice.
- When Zuko was teaching Aang how to redirect lightning, it was completely wrenching just how casually he could talk about the fact that his own father tried to kill him. And as if that isn't bad enough, The Promise really drives it home, when Zuko gets to join a mixed-nationality family for dinner and later marvels at the fact that they "didn't challenge each other to Agni Kais" - while talking to his uncle's portrait. Normal family life is completely foreign to him.
- Katara's dark night of the soul in "The Southern Raiders," especially the end:
Katara: But I didn't forgive him. I'll never forgive him... But I am ready to forgive you. (runs to Zuko and hugs him hard)
- In the same episode, Kya (Katara and Sokka's mother) performs a Heroic Sacrifice by claiming to the Southern Raiders' commanding officer Yon Rha that she is the last of the waterbenders, in order to save her daughter Katara. Yon Rha immediately executes her.
- Sokka tries to get Katara to reconsider her quest for revenge, reminding her that Kya was his mother too. Katara snaps back, saying "Then you didn't love her the way I did!" What's worse is that Katara's words are actually justified; in "The Runaway," she heard him confess to Toph that he barely remembers what his mother looked like. That, or Sokka barely remembering his mother is a defense mechanism of sorts, to help him move on; compare that to Katara, whose anger kept building up and festering inside of her, leading to, among other things, the harsh snap back mentioned above.
- Katara's rage when she confronts the man who she suspects killed her mother and then confronting the real man. She's usually a calm character who while she can get angry, is generally reasonable. Seeing her pushed to the point where she'll use even the blood-bending technique that she despises is very unsettling.
- The entirety of that episode is powerful. You realize Katara is trying to avoid thinking about what happened to her mother and takes it out on Zuko from the get-go, and when she does find out who the culprit is, Yon Rha, she's ready to end his life. Yon Rha is terrified out of his gourd the moment he realizes the impact of his murder. Instead of acting snide and arrogant, he's on his knees, pleading for his life, even offering up his crabby old mother's life so Katara can get even. But, that only lets Katara discover how pitiful the man's lot in life became after retirement, and that keeps her from killing him- barely. She bitterly spares him because she knows she won't get satisfaction out of his death, but with the promise she will NEVER forgive him for his actions- which leaves the poor guy reduced to a sobbing wreck in a rainstorm. You can tell the man feels remorse, but because of what Katara said and did, the guilt will always haunt him.
- A small clip at the end of the episode really takes the cake. Viewers see Katara sitting at the edge of the dock, splashing her feet through the water, wondering when this all stopped being a fun trip to the North Pole to learn Waterbending. It's at that moment that viewers really see just how broken she's become, and they perhaps can relate. Her growth mirrored that of viewers who grew up with her throughout the course of the show. While they may not have had life-threatening experiences and dead mothers to mourn and take revenge on, middle and high school undoubtedly brought upon them some ugly realities such as bullying, depression, suicide, and other fears that only older people tend to have. These issues would eventually put viewers in Katara's place, kicking their feet and wondering when their innocence died. It's a small, easily missable moment, especially compared to the Zuko forgiveness scene that tends to immediately dwarf it, but it's a nice touch nevertheless.
- While not a really huge tearjerker that can hit you hard as some of the other examples on this page, Zuko in "Ember Island Players" when he sees the scene in the play of actor-Zuko betraying Iroh. The scene on stage is humorous but it's the these lines that him and Katara exchange after they see it that really hit hard.
Katara: You didn't really say that, did you?Zuko: I might as well have.
- At the end of "The Ember Island Players", as the Gaang were leaving the area and were visibly disturbed by the play. How they're all unable to bring up the fact that the play's ending has a high probability of actually occurring, because they've just faced the fact that they're just kids all alone on a quest that could very easily get them killed.
- Also from the episode, Sokka silently weeping as he watches the scene of Yue descending to the heavens. It shows that he's still hurting about what happened to her. Also sad that Suki doesn't appear very sympathetic.
- On the other hand, Sokka seems more upset that he's seeing something dramatic rather than actually thinking about Yue. Perhaps the fact that Sokka seems more concerned about the play than Yue is a Tear Jerker in itself, though.
- Zuko and Iroh's reunion in the Grand Finale. Their prolonged embrace, the tears streaming down both their faces, and their voices... All building up to one heartstring-yanking moment.
- That scene is so awesomely emotional, it really needs to be spelled out. It starts with Zuko outside the tent, paralyzed with shame at his betrayal of his Uncle. He only goes in once Katara gives him assurance (a tearjerker in itself, given that Katara used to hate him). When he goes in, he finds Uncle asleep, so Zuko kneels and waits the entire night for Iroh to wake up, all the while stewing in his own shame. When Iroh wakes, he turns away from Zuko as Zuko makes his apology, giving the impression that he's actually ashamed of Zuko and angry at the betrayal. It's only when he turns around and fiercely embraces Zuko that you realize that Iroh was just trying to keep it together because he was filled with such joy and pride in his adopted son for finding his way back to the light. He actually turns around, grabs Zuko by his tunic, and PULLS him in to an embrace so fierce, it looks like it might break ribs. It is one of the most moving scenes in TV and animation history.
- Just think of all Iroh has done for Zuko, and it's all so much worse. He left his comfortable palace to sail around the world with a moody, biting, selfish, ungrateful teenager, who pretty much tells him off and then betrays him, sending Iroh to prison. And Iroh was so kind and so patient and so loving the whole time.
Zuko: [after Iroh hugs him, about to cry] How can you forgive me so easily? I thought you would be furious with me!
Iroh: [while tears stream down his face] I was never angry, Zuko. - Then there's the fact that Zuko honestly did not expect to be forgiven - not just in this instance, but when he first joined the Gaang as well. His own father treated him so badly that he had no idea what healthy relationships were like.
- Especially emotional given Zuko and Iroh have been separated for a season. We've seen just about everything they've went through, and this is pretty much the end of their character arcs, at least in relation to one another.
- Iroh talking about how, a long time ago, he had a dream or vision of conquering Ba Sing Se and tried to make that come true, only to realise that his destiny was to conquer it to take it back from the Fire Nation. Sweet, until the Fridge Horror sets in and you realise how conscious he must be of all the people who died attempting to conquer Ba Sing Se - and that his own son died for the wrong dream.
- Princess Azula's gradual mental breakdown throughout the Grand Finale, starting with a bit of minor paranoia during the second half-hour, then going to a full sobbing breakdown in front of the mirror in the third half-hour following a hallucination in which Azula sees her mother Ursa telling her that she loves her, but she refuses to believe it. The last we see of Azula in the series is a scene of her lying chained on the ground in hysterical rage, tears streaming down her face. As hideously evil as she had been throughout the series, those final moments made a lot of viewers realize that beneath all the psychotic evil, Azula was still a sad, scared little girl who just wanted her mommy to love her, and attached herself to a bastard of a daddy who used this to raise her into a villain.
- And then someone drew this.
- And then someone drew this.
- The moment that sets her off is when Ozai refuses to let Azula join him in his attack on Ba Sing Se. He crowns Azula Fire Lord but declares himself the Phoenix King, rendering the title of Fire Lord pointless. After losing Mai and Ty Lee, the last person she loves and the one person she truly trusted has betrayed her.
- Azula becomes an even more tragic character when one spends a moment considering her family. She's Zuko's sister. That means that, like Zuko, she is a direct descendant of both Sozin and Roku. Azula had the same potential to turn around her family and the Fire Nation that Zuko had, and instead became this twisted, evil, mentally unstable, manipulative monster. The fact that she could have been the one to redeem her nation and family like her brother just makes the person she developed into even more sad; the most tragic monsters are the ones who had the potential to be heroes.
- Also consider this the probable reason why Azula turned out psychotic and Zuko sympathetic was that she was the talented one. This meant she spent more time with her sociopathic father who encouraged her to villainous tendencies. This is probably also what drove a wedge between and her mother, as it is perfectly reasonable to assume she was genuinely concerned about the direction Azula was headed in. Meanwhile Zuko's lack of talent, lead to his status as their father's unfavorite, meant he wasn't as influenced by their crazy dad.
- After reading the comic "The Search" which takes place after the third season of Avatar:TLA, it can be assumed that talent or lack thereof had nothing to do with it. Ursa wrote a letter with a lie that Zuko was not Ozai's son but the son of her true love to see if Ozai was spying on her. When Ozai confronted her, she mentioned who perhaps she even wished that the lie was true. Ozai, being the sadistic bastard that he is, decided he would "respect her wish" and never treat Zuko as his son. It could be further imagined that Ursa possibly distanced herself from Azula, before she took after her sadistic father, to keep Ozai from possibly deciding to do the same to Azula and further declare that all that Ursa loves will suffer.
- How the Last Agni Kai starts:
Azula: I'm sorry it has to end this way, brother.Zuko: (in his stance) No, youre not.
- They're siblings, who more or less actually do care for one another, but with this one sentence, Zuko accepts that his sister is a total psychopath who wants him dead and that the only way to stop her is to fight her, possibly to the death.
- Word of God even says on the DVD commentary was that this was the exact intention: to show that this was not a happy victory, particularly not for Zuko, and that he was very unhappy about having to duel his own sister. It had to be done, but it's obvious Zuko wishes it hadn't.
- The background music. Oh, the background music. It's just so incredibly mournful. You barely even hear the blasts of the fire-bending over it, and the way the scenes keep shifting between that and the energetic fight between Aang and Ozai... whenever the scene switches back to Zuko vs. Azula, it's a little jarring. In a very sad way.
- Katara's presence also adds another dimension of heartbreak. Here she is, someone who was raised with family as her core and was able to comfort a broken Aang by letting him be part of their family. And now for her final battle, she has to confront this: a family - a brother and sister, like her and Sokka - that is so broken that it is beyond repair. This must have disturbed her greatly - and she must have felt great trauma from Zuko getting hit by lightning after what had happened to Aang - but like in the desert she still endures and only shows vulnerability after she's taken Azula down.
- The way Katara and Zuko react to Azula's descent into madness is what brings the final Agni Kai to a close. While Katara can't bring herself to look at Azula screaming and crying pitifully while struggling to free herself, Zuko calmly looks on. He was probably wondering if Azula could have been saved had things been different.
- The part where Toph is dangling from an airship with Sokka just barely holding onto her. When she starts crying because she realizes they're both at the end- they're both about to die. Just watch the .gif◊.
- Her utter vulnerability is what makes the scene. Because she is blind and can only "see" vibrations through her feet, the fact that she was dangling helplessly hurt. Her entire world has just become Sokka's hand.
- When Sokka is holding onto Toph and tells her not to let go. Toph, who is totally vulnerable and dependent on the strength of Sokka's grip, only responds with a choked-up "Aye-aye, Captain." These two characters have gotten to such a point in their relationship where not even death can make them doubt the other.
- Oddly enough, Sokka's "I don't think Boomerang's coming back" and "Goodbye, Space-Sword". He threw both away KNOWING they were gone forever, without hesitating for a second, all to catch Toph.
- It hits even harder with Boomerang. Through the entire series, Boomerang always came back, no matter what happened (discounting the time Sokka was stuck in that hole, since it was barely a foot away from him and he didn't really throw it). You know things are bad when Sokka gives up on Boomerang coming back. That begs the question: exactly where did they land?? Maybe the space sword hit a certain merchant's vegetable cart on the way down...
- When Aang takes a third option to defeat Ozai in the finale, the Lionturtle's encouraging speech about the strength of the heart and Aang's determination not to kill Ozai, risking his life and his own soul to do the right thing.
- Seeing Aang dressed in the monk clothes. Just, remembering, that he really is the avatar. The war is over. The nomads are gone, but in a few generations, there will be more. Just seeing Aang, looking like Gyatso, with all his wisdom, and his pain and suffering behind him cranked up the water works to 11.
- The very end, where Katara and Aang kiss is just beautiful - they don't even need words.
- The end. Just the characters, and the black words "The End." It's all over. The End. They're having tea in Iroh's little shop, and suddenly everyone is friends. Mai and Suki playing Pai Sho. Sokka doing his silly paintings, Zuko serving the tea, Toph being snarky as usual, Katara kissing Aang. And it's perfect. The sky is perfect. And then it's the end.
- Not much of one, but the merchant's cabbages are constantly getting destroyed, and then 70 years later, his gigantic company based on cabbages gets taken away from him too, even though it wasn't his fault.


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