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Tbh i think one of the reasons Azula is a good character is because even though shes evil and very much outsmarts the gaang shes still respectable. I think a lot of the time when people try and make characters like Azula the character just ends up being annoying and op but because Azula is still a well-rounded character shes not annoying

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i think azula’s arc mirrors iroh’s a lot more than any other person in the atla verse.  the reason why iroh changed his ways and turned is back on the fire national ideology was due to the death of his son, iroh  went into the spirit world and came back a changed man. 

i think it would be a good redemption arc for azula to  go on a trip to the spirit world to find ursa; for azula to change and fully be redeemed then her mind set needs to change, she needs to understand that the fire nation committed atrocities against the other nations and that she was toxic to zuko.

she needs to see that ozai wasn’t right and in fact was an abusive asshole, she would get that ideally with reconciling with ursa. 

@eshusplayground created an azula redemption (that i would love to read); my headcanon is based of her stuff. 

- zuko’s like wait a second azula’s 14 and she didn’t have a good adult to guide, unlike him, this make him sad. he thinks wait, i changed when i was exiled with iroh. so like zuko exiles azula and send her out to find ursa.

- she’s given a crew and a old ship, she ditches them as soon as she gets to the next port 

- azula goes ursa’s hometown in hira’a starts to searching where ursa can be 

- she talks to the locals and tries to find out more about her mother from the local folk, she doesn’t tell them who she is 

- she meets this man, who was her mothers friends. guess what, its ikem from the comics (i still don’t like the comics, but i will gladly use certain characters), he tells her everything about her mother. he recognises her as ursa’s daughter but doesn’t tell her; he tells her that ursa went to spiritual world to find a way to get back to her children. 

- he tells her the only to get in, is when the barriers are weakened in the summer solstice and the winter solstice; she had just missed the date, so she can stay with him during that time. 

-  she agrees… she stays and gets into a routine with ikem, she’s forced to do manual labor, wear uncomfortable clothing and eat poorly. she misses her home. 

- she doesn’t know what to think of ikem, he doesn’t like her at all, she suspects he knows of her and her reputation but he doesn’t chuck her and feeds her food. 

some more stuff happens, i cant think off and…

- time has come, azula goes to the spiritual world, she thanks ikem 

- when in the spiritual world, she can’t bend. she panics, she tries to leave but she meets some spirits and is forced to carry on forward. 

- she meets a spirit who shape shifts into ozai and calls her a failure, she could not defeat her brother, he’s cruel. traumatised, she tells him that she tried her best but… he interrupt her “good is not perfect.”

- she asks him why he’s treating her like zuko, she argues she was better than zuko. 

- he attack her and she’s forced to fight her father, this brings back memories of zuko’s agni kai, she loses and is forced to retreat. 

i don’t have anything else from there, anyone else want to contribute

also, i like the idea of ursa trying to contact her children from the spiritual world and kind of succeeds with azula 

i also like the idea of her bringing back dragons to the fire nation 

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I think if i could rewrite iroh i’d keep s1 iroh mostly the same (s1 iroh is my favourite iroh if i’m honest), but i think his wariness of azula in s2 initially stems not from like, misogyny, but the fact that she reminds him of *himself* when he was younger (just in the sense that iroh was clever, ambitious, and very capable as a young man and once was even ruthless… azula’s more prodigious and a better bender i’ll just say that right now), and while zuko obviously is doing soul-searching across the stretch of s2, iroh has his own much subtler version (like, a handful of lines) where he realises his inability to act (r.e. the war, ba sing se, zuko AND azula) has been far more harmful than he realises. s2 iroh isn’t the grand lotus - iroh *joins* the white lotus during s2 (maybe while zuko is off during zuko alone). he then tries to extend an olive branch to azula in the s2 finale episodes, and is rebuked each time.

s3 iroh is mostly the same. he has at least one scene with azula while he’s locked up in jail. iroh foreshadows events to come (that her father only cares insofar as she is useful, that one day she won’t be useful and her father will dispose of her, and what will she do then? she is not as superior as she might believe) which azula refuses to hear or believe. s3 iroh is involved in the white lotus retaking of ba sing se (he’s not the grand lotus - that’s probably bumi or piandao). crucially, though, iroh doesn’t tell zuko to take the crown and face his sister (which is unlike iroh, who has always guided but never told zuko dirdctly what to do) but the conversation there is more iroh asking questions and zuko & the gaang giving answers and vice versa. when zuko questions whether he should take the crown, iroh responds with the question: “would that bring justice?” (mirroring kyoshi’s advice there).

ultimately, after the final agni kai, zuko chooses to destroy the crown - the thing that his sister and he competed so bitterly over, the thing that he thought elevated him above others and made him better, that allowed him to be at times, cruel, that was at least 50% of what he *really* wanted when he said he wanted ‘his honour’ back, and it always held him back from being the best he could be.

(probably not mentioned explicitly, but i imagine an interrim council of fire sages and white lotus folks and various fire nation legal people take over until a new governing body can be decided upon).

more importantly, iroh tells zuko he’s proud of him. leaves ba sing se behind, but before we get to the final scene, there is one very important scene we need to have, where iroh visits azula (in a room in the palace, probably), and in which he apologises fully and sincerely for failing her and for leaving her behind, and offers to look after her and her brother for the foreseeable future, if she would be amenable. I don’t think we get a clear answer from azula, but no one has ever apologised to her like this, so she reacts emotionally despite herself.

the final scene is similar to the canon one, set two or three years in the future. iroh and zuko are running a tea shop, but in the fire nation this time, and the gaang are visiting, minus aang, who is late. we cut between him, the gaang, and someone mopping a patio. the camera focusses on aang, who before he enters the tea shop, sees azula, who is now working at the tea shop too and mopping outside of the store. both of their eyes widen (they haven’t seen each other since s3). there is no dialogue for the next part, but azula bows deep and low, the same sort of bow one would give for an apology (the implication being that it took this long for azula to reach this point). aang nods, and smiles and when she stands, she smiles back.

then aang goes into the tea shop to greet his friends. he hugs katara. series ends.

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𝐈𝐍𝐒𝐓𝐀𝐆𝐑𝐀𝐌 𝐒𝐍𝐀𝐏𝐒𝐇𝐎𝐓  1  /  ?  :  the most liked instagram posts on  (  modern  )  azula’s instagram !  there’s a lot bc azula is annoying and obnoxious and posts a lot.  ft.  the  following  muses :  

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It’s a shame, Nonny, I have in my queue a post for this AU that is right up your alley, but because you sent me this on anon, I can’t screenshot it and message it to you. Continued from: [Link] and [Link].

1. Iroh comes home. He is shattered, a broken man, grieving for his nephew, who was such a good boy, who tried so hard, and who Iroh should have protected. He finds his father dead too, and his brother having taken the throne. He finds his old rooms empty and his things moved into new rooms, rooms suitable, his brother tells him, to his changed status. Rooms, he notes with some unease, on the upper floors of the palace, and not attached to the escape tunnel. He recognizes them as Ursa’s old rooms. Which is another thing, Ursa is gone, and no one will tell him where.

2. Ozai is cold, hostile. Iroh understands. Really he does. Grief can do that to a person, and it’s only right that Ozai should blame his brother for the death of his son. He understands why his brother would want to lock him away, why he would cut off the condolences he tried to offer. He understands. He even understands why Ozai would want the throne after this, to keep it away from the person responsible for Lu Ten’s death. But why does his brother seek to cut him off from his own children? Where are Zuko and Azula?

3. That’s when Ozai tells him something that chills Iroh right down to the marrow. Zuko and Azula are his insurance policy, hostages for Iroh’s good behavior. They have been cut out of the line of succession, and the only use they have as far as Ozai is concerned is as leverage. “They’re your niece and nephew!” Iroh reminds him in horror. Ozai shoots back that Iroh is responsible for the death of Ozai’s child, why should Ozai flinch at being responsible for the deaths of Iroh’s?

4. Ozai has the children sent for, to greet their father, and Iroh supposes, to show him that they really are alive, because after all, Iroh has no reason to trust his brother’s word. They are paler than they used to be, and Azula’s eyes are puffy, while Zuko’s have dark circles around them. They rush to hug their father, but the guards hold them back.

5. Guards are posted at Iroh’s door, for his own safety, of course. After his terrible failure and disgrace, and painful personal loss, Ozai fears for his brother’s sanity and that he might do himself an injury. But Iroh observes wryly to himself that his door is locked from the outside and the guards only come check on him four times a day when the servants bring him food. He spends the day and into the evening contemplating how he will get to see his children again, before falling into a fitful sleep. But then he is woken up by the window opening from the outside, and Azula dangling from a knotted bedsheet rope swinging inside.

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i mostly headcanon azula as a lesbian too! but i also think her character is a fascinating one to explore in a variety of settings and pairings. and with azulaang, i think her genuine devotion to fire nation history and customs would pair in really electric ways with aang’s devotion to the air nomad ways, their shared love for tradition, and their haunted childhoods. (plus azula can still be queer if you also headcanon trans!aang 👀). they both have a lot of hidden depths that would be absolutely explosive to explore in fic, and i mourn everyday that more people aren’t interested in that exploration ;A;

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Does anybody want to talk about Azula and the super long “redemption” (growth, maybe atonement, and def getting better) fic I am jotting down ideas for? Because I am dying to talk about it with someone

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*muffled scream* THE VAST UNEXPLORED DEPTHS OF THIS PAIRING HAUNT MY DREAMS. can we discuss how they are both prodigies beholden to a greater power and had their childhoods overshadowed by how powerful they were. or how no one really understands the burdens they carry as super powerful youth. can we discuss how azula’s lightning marks aang permanently, and how her downfall really began when she shot him? or how focused and deadly their fight scenes are, because they can’t afford to take their eyes off each other for a second? PLEASE WHY ISNT THIS SHIP THRIVING IT’S SO ELITE

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zuko and azula from avatar and sharpay and ryan from high school musical are EXACTLY the same character types (gay antagonistic brother-sister duo in which the sister is the more dominant and talented one and the brother is a better person who helps the heroes in the end) except zuko and azula are dialled as far to goth as possible and sharpay and ryan are dialled as far to prep as possible. miles and franziska from ace attorney are directly in the middle of this spectrum, as extremely edgy preps

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