#cannot wait for zukos redemption arc

[daisychainsandbowties]

To me Baylan and Shin is Iroh and Azula in Au...kind of. 🤷‍♀️

i think Shin wishes she was less of a wet cat and more of a “i will set the world on fire to warm my hands and they’re not even cold.”

azula is terrifying and while i think Shin is certainly frightening i also (delusional) am hoping for more of a Zuko arc with her. redemption i guess but more importantly realising that just because Baylan saved her (probably from being hunted by Inquisitors or, worse, turned into one) doesn’t mean she has to tie all her lifelines to his cause.

i know we joke about Shin being 👁️👁️ confused.com about everything but really!!! i think she believes in Baylan, and she believes in having somewhere to belong. she’s an arrow and she goes where momentum takes her but… i’m so struck by how she fights Sabine on Lothal.

it’s a dance. she stands there, waiting, and she doesn’t do it out of malice but because she’s curious. there’s no reason to think that Shin has ever met another girl like her. she’s been trained to fight, honed into a weapon, flinging herself at problems. she’s a cutting edge but in that fight she’s holding back. she’s playing until she forgets herself and sheathes her sword in Sabine’s body.

it has that “i like you but i don’t know how to like you.” so instead, Murder

Sabine is always defending and Shin is just testing her, taunting her, saying better better i’m better (i’m enough). she sidesteps that green lightsaber, totally unafraid of its bite, and in that sense i think she’s like Zuko. she’s just… looking for something to make her feel whole and then she sees Sabine and here’s another person who feels what she feels, right?

but she doesn’t. i think that’s half the vehemence of “you have no power.” there’s a hint of betrayal in it, of Shin’s horrible hope that she might have found a person who could understand her.

i think what we’ve seen of her is… so interesting because the ONLY agency she has shown is her fascination, her anger, her fury and helpless attraction to Sabine. that little smirk at the start of their second duel, the way she seems to lose every iota of her composure as soon as she sets her blade alight. it’s so rich and i think there’s a so MUCH to Shin that we can’t see yet.

i think she’s just reaching out with the Force and aggrieved at the silence she finds in Sabine but also… fascinated by this girl she cannot read, cannot predict. i mean… look at how she reacted to her, Force choking her when it was pretty obvious she posed little threat to Baylan. that was frustration and fear and silence, not her being pointlessly cruel. she’s burning up like she’s ice and Sabine is magnesium.

and i think Shin will fall for that. for the loud colours and the lightning to her fire that Sabine has become.

#shin hati #wolfwren #ahsoka show spoilers #did i make sense. no but i had fun #guys! 🙂 i’ve fallen so hard for this 🫠🫠😳😳 #anon #i don’t care about the redemption i care about the yuri #if i’m being perfectly honest #but i do think that shin is not a bad person #the implications of a sith (adjacent) padawan are always a bit chilling because she was probably pretty young #she was raised to this. of course she kills what she’s told to kill

[sokkastyles]

So, this is a post for another fandom, but the discussion of Azula and Zuko came up in it, and OP revealed themselves as an Azula apologist. Thought you might be interested.

What's so funny about this is that before OP goes on their rant (so tired of people misusing feminist talking points to excuse abusive behavior) they themselves actually hit on, then immediately dismiss, the reason why people like Zuko more than Catra.

"just because her redemption arc wasn't as good"

Like, that's it. That's the thing. It doesn't matter what actions Zuko did that might be worse (although given what OP later writes, I would seriously question that statement). We're talking about stories, so the character who has a better written arc is going to be liked more, and that's that. It has nothing to do with gender at all. It also has nothing to do with who did what when they were a villain, because if the redemption isn't believable enough, it doesn't matter. Zuko has a better written story and in the land of fiction, that is always going to be more forgivable.

You could argue that there is misogyny in the fact that we don't get enough female characters who are as well-written as Zuko, but I'm a feminist who reads enough fiction that I don't need to pretend something is a good story just because it's female-led. I think a lot of people wanted the She-Ra show to be good for that reason, but in the end, consuming media isn't activism. And from what I've seen of the relationship between Catra and Adora - hell, from the way people talk about Azula, too - a LOT of people will forgive shitty behavior if a woman is doing it on the grounds of "feminism," and that's not only not feminist - how many women suffer because of Catra and Azula's actions? - it's extremely dangerous because it perpetuates the idea that women cannot be abusers.

You want good female representation? Maybe read a book instead of putting all your money on one or two popular cartoon series.

Now that I got THAT out of my system, there's a lot wrong with what OP says about Azula.

None of what OP says to defend Azula is feminist. Like, they don't even attempt to back up this claim the way some Azula stans do, they just say it like they think declaring themselves a feminist makes it so. And then they spend most of the post bashing Ursa, natch. OP will not explain why defending Azula is feminist (because it isn't), but I can explain why bashing Ursa is misogyny. Because you're taking a female character we know barely anything about other than that she was a mother and that she was fridged for the main characters, and insisting she must have been a bad mother based on minimal evidence. Even though we know why her children acted the way they did and we know it had to do with the negative actions of their father. Blaming Ursa for Azula is misogynist because it is shifting blame from a male abuser to a female character who was his victim, and focusing the blame on how she was a bad mother, with very little evidence that she was. But reducing a female character to motherhood and criticizing her for not being saintly is absolutely misogyny.

Where is it "expanded on in the comics" that Ursa gave up on Azula? Or that Azula acted out for Ursa's attention?

Here we see Ursa spending time with both her kids. Azula hangs back because she sees a flower in the garden that isn't as pretty, and waits until Ursa's back is turned to burn it. Then, when Zuko tells on her, she burns Zuko. Azula isn't trying to get Ursa's attention here. She waits until Ursa isn't looking and is mad when she gets negative attention from Ursa because Zuko told on her. She did not want her mother to notice her burning the flower. But when her mother does notice, Azula explains why she did it. Because it wasn't as pretty. It's very obvious what's going on here. Azula is acting out, but not because she's being neglected by her mother. She's acting out in the ways her father groomed her to act out, because her father taught her that if something isn't the best, it's worthless and deserves to be hurt. She then applies this to Zuko, who she thinks deserves to be hurt because he told on her.

And this is a pattern of behavior for Azula that we see not only in the comics, but the series itself. In "Zuko Alone," far from acting out to get her mother's attention because she "gave up on her," we see Azula lie to her mother so that she can get Zuko to play with her, with the purpose of playing a mean prank on Zuko.

Azula appeals to the fact that she knows Ursa thinks she and her brother should get along. If Azula was desperate for her mother's attention, if Ursa gave up on her, Azula would not be able to successfully lie to her mother this way.

What these scenes show is not that Ursa gave up on Azula or that Azula lacked attention from her mother, but that even at a young age (which was more like 8, actually) Azula was influenced by her father's cruelty and acted it out on others, and knew how to manipulate her mother in order to get what she wanted. Shifting blame onto Ursa for trying to teach her child right from wrong, for trying to protect her other child, is misogyny.

Also "Zuko let his insecurities get in the way of his relationship with Azula" is a weird way of saying that Azula deliberately played on Zuko's insecurities to hurt him. Like, you cannot ignore that the reason Zuko is insecure is, in large part, because of Azula, because she provokes his insecurites and then blames him for feeling insecure. This is victim blaming.

Also, the doll thing. I am so tired, y'all. If you automatically assume Azula getting a doll from her uncle is proof he doesn't care about her, who is the misogynist again? If the show wanted us to think this was a thoughtless, sexist, or even misguided gift, that would be shown. We would see Iroh ignoring hints that Azula does not like dolls. Instead, what we see is Azula getting a gift from a relative who hasn't seen her in years, and she burns it because it isn't exactly what she wanted, and then says she hopes her uncle dies. This says FAR more about Azula than it does Iroh, and it is meant to. The OP then goes on to say that Azula was right about Iroh when she mocked his son's death and said he should have burned Ba Sing Se to the ground, but then says he committed more crimes and bloodshed than her, conversely. What bloodshed? We're shown no bloodshed because this is a nickelodeon cartoon show. But we ARE shown Azula mocking Iroh for not being more violent. So don't tell me Iroh is somehow worse. Azula's coup on Ba Sing Se would not be bloodless if this was Game of Thrones, and overthrowing a city using deception isn't more moral than a siege.

Azula also was not "right" about Iroh in the way OP claims because they make it seem like she objected to Iroh ending the siege because she cared about her nation and people. That is not what she said. She said he should have burned the city to the ground to be "a real general." This, and Azula's other actions, such as giving irrational orders and making threats when they aren't carried out from her introductory episode, show that Azula has no real concept of statecraft beyond how to violently assert power, and we know who taught her that.

Also, Azula did not immediately apologize to Ty Lee after making her cry by slut-shaming her (how often the "feminists" forget that). She begrudgingly apologized, and then made it about herself and what Ty Lee should do for her.

Okay, okay, calm down. I didn't mean what I said. [Frontal view over Ty Lee's shoulder.] Look, maybe I just said it because I was a little ... [Whispers.] jealous.

I know people make a lot of this because it's a rare scene of Azula being accountable for her actions, but that alone should tell you something. It doesn't make Azula this kind and compassionate soul. It's not even a great apology. Sincere apologies do not begin with "Okay, okay, calm down." Azula just told her friend that boys only like her because she's easy. The fact that Ty Lee forgives her, especially after everything Azula did to her, makes Ty Lee a saint. And then Azula has a very difficult time admitting that she is jealous, because of course she does. And yes, I know, people make a lot of this because it's Azula, and yeah, it probably did take a lot of effort for Azula to admit that Ty Lee was better at her at something, but that is because Azula is egotistical and selfish and cruel to even her "friends."

And Mai...Azula does not get points for not understanding that she can't force Mai to murder her boyfriend for Azula. Azula asking Mai why she did it even though she "knew the consequences" again shows how little regard Azula has for even her friends, who she thinks she can control using threats. Azula thought she could use Mai to control Zuko and then when Mai's feelings were inconvenient, expected Mai to just watch Zuko die, and is so offended when that doesn't happen.

Also, Zuko never worked on his anger issues? It is literally a major plot point that Zuko says he doesn't want to rely on anger anymore and finds another way. And I've talked about this before, but this idea that Azula is so calm and collected is utterly ridiculous. You only have to look at the examples I mentioned above, but also many more, to see Azula fly into a rage at the slightest provocation, make threats, act out violently, and attempt to control others through fear to see that that is not true. The real difference is that Azula thinks she is justified in acting this way, and when that stops getting her results, rather than trying to change and learning to understand and value other people, she has a breakdown. You have to misunderstand Azula's entire arc to not get that. It is literally explained to us at every opportunity in the narrative.

Conclusion: if you claim to be a feminist, act like one and get to know some feminist theory. And just because you're a woman does not exclude you from being an idiot.

#azula #zuko #the discourse #abuse

[riddlerosehearts]

honestly the fact that LOK couldn't be assed to give us any flashbacks to mako and bolin's backstory of living in poverty on the streets, having their parents killed by firebenders--when mako himself is a firebender! when the two of them are the product of a fire nation x earth kingdom relationship!--and mako having to step up and raise bolin, and the two of them even having to join a gang to survive, makes me want to tear my hair out. i love interesting and complex sibling relationships in media but only when i actually find both of the characters individually interesting or at least fun to watch on screen, and mako fails the latter for me while both largely fail the former due to the things that are theoretically interesting about them just never being expanded on. i can't imagine how badly it would've sucked to have never gotten any flashbacks to zuko and azula or sokka and katara's Tragic Backstories or to see them talk about how their pasts affected them and their dynamic with others--oh wait, yes i can, because that's what LOK did with mako and bolin. they told us mako and bolin have this super tragic and traumatizing backstory and implied certain things such as mako shielding bolin from the horror of it all so he could grow up to be as goofy and trusting as he is, but they never really showed it or showed in depth how it affected them and it drives me mad. we know so much more about amon and tarrlok's backstory and the effects it had on their relationship than we do for mako and bolin and i cannot bring myself to feel compelled by them as a result. i know i just said that LOK is so meh to me that i don't even feel like angrily analyzing it but i guess i changed my mind already! and that's not even to mention how asami's backstory is just... barely there at all and tbh i think she would've been 1000x more interesting as an actual equalist spy with a redemption arc if only bryke didn't backpedal because they liked her too much or whatever. and the fact that uh, hello, asami's mom was killed by firebenders, mako and bolin's parents were killed by firebenders, mako is a firebender, is anybody gonna mention this? no? okay then.

#LOK enjoyers i'm sorry to rain on your parade but grrrr #the failed potential of it all... #like i don't even hate mako as a person like so much of the fandom does #i don't think he's some master manipulator who was trying to lead korra and asami on #i just think he's insanely boring and doesn't have any discernible personality traits. sorry :( #to be fair i think asami is almost as boring. i'm sorry bi queen </3 #lok critical

[avatarmerida]

Question unrelated to huntlow

Do you ship Kataang or Zutara?

Just curious

Yo.

Okay.

Listen.

You didn’t ask for backstory but you’re getting it. Avatar was my first ever special interest so I will drop everything to talk about it.

I watched Avatar religiously when it first came out, like as it was airing every Friday night I was TUNED TF IN. So I had to live though some rough hiatuses.

And I straight up hated Zuko. Like season one Zuko with no redemption in sight with the bald head and high ponytail was on my little 11 year old shit list. This was also back when reruns were not guaranteed and until I had the DVDs I couldn’t go back and examine his character and his arc and by the time I did my mind was made up. (Don’t worry, I have grown to love him so do not come for me pls)

Like with the wait between book 2 and 3 and Zuko’s betrayal I was like HOW CAN PEOPLE SHIP THEM HE WILL NEVER BE GOOD?!?! I loved Katara so much and hated Zuko that shipping them just felt like I was betraying her, ya know? I didn’t dislike the idea of her and Aang together like I think they were actually very sweet but it’s a dynamic I would have preferred to see become canon when they were like a little older? I think because Aang just looks so much like a baby to me that I was like... what is this baby doing? Like that’s literally Pablo from the Backyardigans...

It’s so funny because I actually didn’t really ship Kataang I was actually very indifferent towards them but I just like actively did not ship Zutara. I was like Katara would NEVER!!! The fire nation KILLED HER MOTHER!!! Zuko is so mean and nasty and Katara is so kind and good (ya know, the way 11 year olds respond to media)

But I think that if I discovered Avatar for the first time as an adult and could binge all three books and not have to wait between cliffhangers I might’ve shipped Zutara. I will literally never know because I cannot escape the mind scape I had. I definitely do get the appeal more now than I did when the show was still airing but the debate between Zutara and Kataang was like one of those things where you could NOT be indifferent you HAD to pick a side so of course I picked sunshine boy Aang.

I was also really more of a Sokka girl so I put most of my shipping energy into his relationships.

#ask #anon #atla

[celandineitsaflowerdickward]

fINALLY!! now avatar really begins to shine, Toph is finally on screan

#i love toph #it has been a long time since i watched the avatar but i remember loving the shit out of her back then too #honestly might as well say it #toph is my favorite #deedeh rewatches the avatar #OOH i am defintley gonna anyoy everyone with the amount of toph art ill do #i can feel it #fuck i love this show #im honestley suprised by how much i remember of it #like its not as cronological #but watching the episodes i remember the plots fairly well for how long its been #its really fun to revisit old loves #bruh toph is just so fun on screen i cannot wait for this shit #s1 was fun and nostalgic but im defintely hoping for it to pick up the paze a bit #on the other hand i can easily draw while watching this show #im considering watching korra sometime after i finish this rewatch altough ive heard mixed reviews of it from people #i think my memory of the show propably wont extend much beyond book two tho #like i remember some events but its def gonna be fun too see #cannot wait for zukos redemption arc #i love my boi #i think i love katara even more with this rewatch #def loved her when i watched it as a kid but i have an affinity for her that is diffrent now #where she sometimes might have come off as annoying to little me i can see her viewpoint better with a more adult look on things #lol me adult #adult ish okay #loving sokka more on this run as well #i dont remember much of my opnioin of him from back then but i think hes grown on me more on this rewatch so far #god its so nice to be back with these characters #avatar the last airbender #atla

[that-was-anticlimactic]

...httyd x atla crossover

okay so. imma preface this by saying that i, personally, Really Dislike (hate) the httyd movies due to the fact that the book series was my childhood and how inaccurate the movies are, so i am So down for this au, except... imma make it the Books...

oKAY NO BUT LIKE imagine toph as freaking camicazi like "you're pretty good, for a boy, of course" MY QUEEN

and if aang is hiccup, then momo would be toothless and i just. i know it. momo would be toothless. appa is too nice to be toothless. toothless is a menace. toothless is the dragon that's like "i'm going to cause problems On Purpose" and that has momo vibes. and okay, while hiccup and aang aren't like super similar because personality wise, sokka has more hiccup vibes (loves learning, super smart, taught himself the language of dragons through observation...) this is the story of hiccup and him becoming a hero when no one really believed in him (except fishlegs and camicazi and other people on occasion). hiccup has the ability to befriend dragons that probably would have eaten other people. he has the ability to make friends with other vikings that probably would have killed other people. and, if he doesn't make friends with them (which he Always usually tries first--or even not becoming friends with them, sometimes it's just convincing them that he is fighting for the greater good and won't hurt them and is worth keeping alive), he is able to beat them due to wit before all else. he is the underdog because he's skinny and gets scared and expresses his fear and just. AHHH I LOVE HIM!

this got long... gonna do a read more lol

and sokka would Probably be fishlegs tbh??? like we'd have to change some stuff because fishlegs is an orphan like was abandoned by his parents, but they both have the energy of "will complain about everything but also has brain cells" okijuhygfcghuji and foo foo cuddly poops could be horrorcow because. fishlegs named his dragon. horrorcow. i think fishlegs and sokka have the same vibes when it comes to naming things...

so then. ig you could say that zuko would be snotlout but while snotlout's redemption is Really Good, it doesn't have time to become a redemption arc because of. the thing. that happens. that i have Still not recovered from. God, cressida cowell owns my heart i Still cannot believe she did that. but snotlout hates hiccup and isn't the main villain of the series because that would be alvin and his mom...

so ig azula could be alvin bUT THAT MEANS--pOOR AZULA IOUYGFTCGYHUJ zuko has the vibes of alvin's luck. like, he wouldn't be alvin purely because that dude does not have a redemption arc, but tHE VIBES P L E A S E but then oz*i could be alvin's freaking mom, excellinor

... king bumi would be gobber the belch and idk whether i should love that or hate it iuygftgyhuji wAIT NO HE WOULD BE OLD WRINKLY !!! KING BUMI IS OLD WRINKLY SEND TWEET I AM CORRECT... the boulder could be gobber... but i Kind of want him to be big boobied bertha because that's camicazi's mom therefore toph's parental figure...

oH jet could be humungously hotshot! no wait that's Literally perfect!!!

... zhao would probably be norbert the nutjob tbh

tHE OWL WOULD BE THE HAIRY SCARY LIBRARIAN !!! HE HATES EVERYONE FOR NO REASON AND DOESN'T LET ANYONE READ HIS BOOKS P L E A S E

oh and roku could be grimbeard the ghastly because he's like hiccup's ancestor that has this treasure and like. idk he guides hiccup along the way without Actually being there. like, he guides him via the treasure and all that iuhgyfhuijko

idk who katara would be (she would Not be fishlegs lol--no way) but i'm not getting rid of her so...

maybe we could change the plot a bit where it isn't fishlegs (sokka) that washes up on the isle of berk, but hiccup (aang) and katara and sokka befriend him and they're all in viking training together and get their dragons together too. and that would Still be as chaotic, but that was all Kind of fishlegs' fault and i Really Doubt sokka would do what he did, so let's just say it's like... idk it's hahn's fault or something lol and that's how aang ends up with momo

and everyone is super cautious of aang (including sokka, sometimes. sometimes sokka is just like "why do i hang out with you you're going to get us killed?" and aang just shrugs and is like "idk cause you love me") because he's a bit of an odd outsider and vikings are territorial and he learned how to speak to dragons which literally no one else can do and he also tries to idk be friends with dragons and stuff because he finds them interesting (and bonus points if sokka Also finds them interesting but is too scared of the negative reaction the tribe would have if he indulged in learning about dragons like aang) and aang teaches katara dragon stuff (and eventually sokka... he teaches them how to speak dragonese...) aND FRICK I LOVE THIS

okay this is already pretty long and Probably not what you were expecting sooooooo i'll stop here iougyftgyhuji

#jingyi tag #sorry this is about the books and not the movies #the movies and i have a bad relationship #mostly because i always got yelled at by friends and acquaintances when i said that i didn't like the movies because they were inaccurate #because apparently that's a good enough reason for my entire theatre class senior year to yell at me <3 i love them but they pissed me off #in that moment lol anyways my deep hatred for the movies mostly comes from the way people reacted when i said i preferred the books lol #aNYWAYS you liking the movies is Completely valid !!! #i just have. book feelings. God. they're amazing... wanna reread them All right now... #mmm book four is one of my favorites... maybe i'll listen to the audiobook this week... #anYWAYS #thanks for the ask !!! this was fun to write and think about ! i love engaging with httyd book stuff !!! #httyd books #atla #corey rambles:)

[ultranos]

Fox spirt au for the WIP asks?

You’re not the only person to ask about one! So here’s the notes on the premise:

the post-canon redemption arc that's basically "Journey to the West or Aang and Azula's Excellent Adventure". Possibly featuring an Azula who takes a Leverage approach to good deeds and Aang tagging along conflicted because no but actually yes?

Basically, it starts with the Last Agni Kai. Azula gets chained to the grate. Katara and Zuko wander off for their victory pose meeting with the Gaang. The...logical thing happens when you leave an enemy commander helpless and vulnerable in a coup: someone takes a fucking shot.

Whoops.

Zuko comes back to find his baby sister with an arrow through her throat and proceeds to go into a guilt spiral. He gets violently jerked out of this guilt spiral when he wakes up that night (or the first time he goes to sleep alone)...to find his sister attempting to wrap clawed hands around his throat?!

("Miss me, Zuzu?")

TURNS OUT: the spirits were like "wait, no, this is bad and wasn't supposed to happen" and try to fix it. Except spirits have a Very Odd Understanding of humanity, so when they yoink Azula's soul from her journey to the great Agni Kai grounds in the sky, they...work with what they know.

Fox spirits! (Azula and kitsune work really well together as a motif, because fire and trickery). They can do all kinds of transformation bullshit when they get all 9-10 tails. Including turning fully human. Or ascending to heaven. So shove this wayward soul into a fox spirit container, let her get enough tails, and boom, problem solved! ...oh right, that process takes 1000 years.

So the spirits muck with it and add a cheat way to get them faster.

Get unconditional acceptance from 9 people. Each one gets a tail.

Spirits: We r so smrt. Azula: ...my life is a train wreck, how am I supposed to do this? Spirits: ...AVATAR HALP.

The fun bit is that Azula is basically a spirit? So she can't really...interact much with the physical world. She either has to make a bargain/exchange with a person to do something OR they're one of the 9.

If someone wants nothing to do with her, she literally cannot do anything to them. She can still influence the world so she can solve her own problem, eventually. But this puts her on even ground with the Gaang since neither can really harm the other should they decide to get involved. (Azula is paralleling Sun Wukong, for the Journey to the West comparison)

In case it’s not abundantly obvious, this is another “crack treated seriously” fic, although it eventually leans a little more into humor. If only so I can use the scenario:

Zuko is dealing with Guilt Complexes multiplying and politics. Meanwhile, Azula is over in Ba Sing Se stealing 40 cakes. That's as many as 4 tens. And that's...actually the baker was horribly corrupt and selling out refugees to racists. And the cakes went to the biggest orphanage in the city. 

(Aang is delighted.)

#atla #for the record azula does in fact get stuck with fuzzy ears on her head #she is not amused #(aang is continually tempted to pet them) #krastbannert #nos answers things #you have no idea how tempted i am #to just title it 'what does the fox say' #fox spirit au

[ironwoodprotectionsquad]

Two things: I've seen your responses to Emerald's Redemption arc, so the only thing I have to say is that, in her defense, her redemption is an ongoing process from the looks of things. It's just like with Zuko; he wasn't forgiven immediately, and it spanned over the rest of the series. He had to work for it, which I can only assume Emerald's doing now - helping with evacuating the Atlesians and defending them from harshness of the Vacuan desert. Second, I'm probably the only one who sees Emercury as a "Friendship" (or at least, a long-time partnership). Nothing about them involves romanticism, like certain people have been saying. They have their occasional witty banter, defending each other, and being able to play on each other's strengths. The only thing I didn't like, however, was that Mercury invalidated Emerald's own abuse and other issues to not only validate his own but attempt to prove that Cinder never cared for her - which he's long realized himself from his own years under an abusive figure.

On the one hand I might normally agree, but with Zuko's arc, none of the Gang where joking and laughing with Zuko when he first joined. Meanwhile with Emerald they're all laughing together very soon after her defecting. That I think is something we cannot ignore. The mains are way to comfortable with Emerald for me to believe we will get any sort of satisfying arc with Emerald. That along with the very popular theory a time skip will happen when everyone gets back to Remnant I have very little faith we will see anything meaningful with Emerald.

Another issue I have is so often we're told to "just wait" like "Just wait Blake and Yang will talk about Adam's death" or "Just wait, Ruby will react to Penny being alive". We keep being told just wait so much and I personally just cannot trust CRWBY anymore that they will deal with these issues in any sort of believable manner, especially with the recent only the current volumes events are canon. Emerald changed sides in volume 8, no need to come back to it and address it. Or at least that's the impression I get.

Regarding the Emercury stuff I honestly don't have strong opinions either way. That criticism is definitely fair, I don't remember the scene in question but I am not too attached to them so I'm not surprised I don't remember those details too well lolz.

#RWDE

[samikozume-todoroki]

Warning: straight crack

Masterlist | Request rules | Gen. Taglist

Wildchild memelord reader meeting the guys for the first time and love at first sight:

Bakugou Katsuki:

You bump into him

“WATCH WHERE YOURE GOING EXTRA!!!!”

Boom boom, fingy explosions, boom boom

Gets in yo face

Not in the sexy way tho😔✊

You back up slightly

“I have a thick skin but dude you are scary scary”

Does that cute confused thing^

Like no one has said that straight to his face, and not with such nonchalance either

He respects it

But he’s still confused

“W-what??”

“Also sir please get outta my bubble, I mean I don’t mind a hot guy getting all up in my space but like consent is sexc ya feel?”

You’re an idiot.

Katsuki likes idiots (bakusqaud cough)

“And that’s how your father met me kids😌💅✨”

“Y/n I’m older than you”

“Kiri shut up, don’t ruin the story of mom and dad meeting🥺”

Todoroki Shouto:

You come up to him after the sports festival

“Ay yo! That’s the ice zuko!”

Ice zuko??? What’s a zuko???

You grab his hands in that whole “I’m praying with/for you” position

“I believe in your redemption arc!! You got this Ice zuko!!”

“My name is shouto todoroki??? What’s a zuko???”

He ends up in some random strangers, yours, house binging Avatar the next few days.

and that’s the story of how you met your future hubby

and how y’all went to comic-con in Zuko and Mai cosplay

and how your three kids were named

“Alright Zuko, Aang, and Iroh let’s go to bed”

“I can’t believe you named your kids that”

“Shut up Midoriya, when you meet the love of your life through a show then you can talk”

Kirishima Eijirou:

You bumped into him at the mall

And fell into the fountain

He helped you out apologizing

“Ya know, I don’t think this is how you get a girl wet sir”

“Agsjsghsjs w-w-whAt”

*voice crack bAybEE*

“Ya I mean usually you take her out to dinner or y’all watch a movie then you lure her to the bed-“

“mAAAM PLEA-“

“I mean that’s how it goes in all the wattpad lemons hm. Not gonna lie tho, the view of you-“

Licks lips

“Is all I need”

Kirishima_Eijirou.exe stopped working

Wait or Restart?

“Yes he will gladly take your number”

Bless Kaminari, after hyena cackling his ass off, he stepped in

A true bro😔✊

“And that is how I seduced your future son-in-law!”

“Y/n we talked about this- get better pickup lines cmon your game is weak”

“And Kirishima honey, I’m disappointed in your pick up line tolerance”

Midoriya Izuku:

You fell from the sky

Well not really you just crashed through the ceiling

Landing on top of deku your dazed face looks into his eyes

“Damn I must’ve crashed into hell because you’re fucking hot”

Izuku is blushing yes but he’s also out of it cause he knocked his head

“Then baby there’s no way you’re an angel cause you’re dripping sin”

I made that up on the spot and I am proud, wow my own talent astonishes me🤩

“I may be an angel, but I will gladly sin for you”

You both are two inches away from a heated makeout session but-

Cough cough

“Dudes the whole class is still here”

Izuku finally snaps out of it and promptly faints in shock

Meanwhile you’re mad cause

NO HEAD?! *throws phone, jumps and snaps a skateboard*

Doodling you number on Izukus forehead you skip out of the classroom and back upstairs

“And that’s how we met Miss Midoriya!”

“Izuku you’re all grown up”😭

“Mom whAT-“

Kaminari Denki:

This motherfucker also has wild child memelord energy

And wild children meme lords attract

Like put some meme lords in a mile radius of the other and they will sniff each other out eventually

So your first day of UA you run into the class in the middle of English

Point straight at Denki, him out of his seat pointing straight at you

“BRO!””PIKABRO!”

“Shawty let me suckle on them toes”😫

“Only if you allow me to break your ankles and put you in a skirt cause you remind me of my mom”😫

“BRO! FEEL free! Please lure me into your basement!!”😫😫

“I ain’t paid enough for this bullshit” present mic leaves the classroom💀

“And that’s how the mafia works”🤩✨

“Dad you literally told us how y’all met where did mafia come from?”

“Denki we raised a wack ass kid wtf”

“Ikr like who put the stick up his ass”

“Parentals I’m literally right here how are you guys adults I cannot-“

Shinsou Hitoshi:

So like everyone knows he loves cats right???

All of UA knows too

“Hola cat boy! Can you do me a favor???”

You walk up to him in a cat costume

Not one of the skimpy ones

Sadly

Like a full on cat in the hat onesie type deal

“I didn’t know cat in the hat went to UA?”

“I heard ya like cats, and I need you, so I am a cat

I am now irresistible you have to do as I say”

“You would have had better luck if you wore a skimpy cat costume but I’ll hear you out. What do ya want?”

“Okay right so this dickwad decided “yo let’s take panty shots of random girls”

and I’m one of them

and like he took the picture with one of my comfty panties

so the picture isn’t even cute

and I want it back but he won’t give it to me

so like can you do your whole Jedi mind trick and get me the photo back???”

“Lmao,,, what???”

“Wat???”

“So you get sexually harassed and you’re more upset by the fact that you weren’t wearing cute panties???”

“When you put it like that it sounds bad”

“That’s because it is bad”

“Oh yeah now that you put it like that it is bad. Can you fuck up his shit too???”

Mans beats the fucker up black and blue, shreds all the photos, destroys the camera, memory stick thingy, deletes all gmail account data then the account, destroys laptop, computer, hard drives, phones, 3DS, etc. etc. thoroughly

“Wow when you smashed his 3DS in his balls that was very hot”

Make out session over a half dead body: check 💯✅

“And that was how I prevented a man from having kids”🥰

“God you’re so hot, I could fu-“

“Y/n. We are literally in public with all of our friends. Stop being horny”

“I can’t help it you’re so hot yummy yummy man🤩”

A/n: LMAO I’m rereading this after waking up. I wrote this ten minutes before I went to sleep and it shows cause my god this is a hot mess💀

Tagged: @mssyprsn

#todoroki shouto x reader #todoroki x reader #shouto x reader #bakugou katsuki x reader #bakugou headcanons #todoroki shoto headcanons #bakugou x reader #katsuki x reader #kaminari x reader #denki x reader #kaminari denki x reader #izuku x reader #midoriya x reader #midoriya izuku x reader #midoriya izuku headcanons #hitoshi x reader #shinsou x reader #shinsou hitoshi x reader #eijirou kirishima headcanons #kirishima eijiro x reader #kirishima x reader #eijirou x reader #shinsou headcanons #kaminari headcanons #todoroki shouto #kaminari denki #bakugou katsuki #kirishima eijirou #midoriya izuku #shinsou hitoshi

[catboyyukineapologist]

Noragami 96/96-2 chapter thoughts

hey guys! I’m back from my month long break how’s everyone doing what’s been ha-

OH MY FUCKING GOD. OH MY GOD. HOLY SHIT. HOLY FUCK. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

two chapter double whammy under the cut because BOY do I got THOUGHTS and FEELINGS for y’all today

---

FIRST I GOTTA FREAK OUT ABOUT BOTH COLOR PAGES EXCUSE ME????? E X C U S E  M E ????????? M A ‘ A M?????????

Alright okay alright. okay. We’re doing this chronologically because i cannot DEAL RIGHT NOW

- 96 -

HIYORI OH MY OHHHHHHH MY GOD

MY GIRL IS BACK

She looks so tiny and I am 100% sure that is on purpose 

yeah hiyori your parents must be worried sick about you, huh

“And that right now, Haru was...” I mean she’s not WRONG

I am in SHAMBLES. I am NOT OKAY. I KNEW this was coming I KNEW HIS DAD WAS KEEPING THE LETTERS AND IT STILL HIT ME LIKE A BRICK TO THE FUCKING THROAT

See this is what I mean when I say I keep looking at Noragami like a western tragedy: That sense of knowing for certain the Bad Thing is going to happen: You know it is, you’ve seen it, the entire story revolves around it happening, yet you still feel for the characters and empathize and it still hurts when all the awful things inevitably come crashing down and why didn’t you see this coming? It’s literally right there in the cover.

Yes I’m in pain how could you tell :)

these character interactions are forcing my hand further into hurt/comfort fic territory every single month

Once again I am legally obligated to tell Kazuma to shut the fuck up

Not everyone has a weird codependent one-sided romance with their god bitch don’t go talking like you’re the paragon of god-shinki relationships<3

Again I love Kazuma but he’s uhhh Been A Bitch the last five chapters or so.

YUKI’S FACE PLEASE SOMEONE ACTUALLY HELP HIM FOR THE FIRST TIME IN HIS EXISTENCE

So basically that entire fight between Yato and Father was functionally pointless. cool. good. alright. thanks.

excEPT IT WASN’T bc bOY OH MAN did everyone involved get nicely placed on the board like little chess pieces with a side of good good character development and PAIN

no i will not elaborate (coherent analysis? in my nonsensical ramblings? never)

- 96-2 -

Kagutsuchi thirsters where you at (it’s me I’m Kagutsuchi thirsters)

“The sorcerer’s true form”... lol

Well, heaven guy uttered Three (3) sentences and I’m already annoyed and terrified

“I have to keep damage to a minimum” *immediately turns into a giant fuck you spider*

NORA MY BELOVED I LOVE HER I LOVE HER I LOVE HER SHE DESERVES EVERYTHING I LOVE HER

zuko who? redemption arc of the century

Hiyori being an impeccable audience surrogate as always in this trying time

I like that this is the Sorcerer Task Force’s idea of “minimum damage”

it’s been a hot minute since we saw Kagutsuchi’s face!! heyy👁️

“BUT”???????👁️👄👁️

SEE THIS IS EXACTLY WHY THEY WANT TO FUCK Y’ALL UP THIS IS EXACTLY IT THERE IS NO INTERNAL COHERENCE AND YOU’RE GONNA GET ALL YOUR SHINKI FUCKING DECIMATED AND GIVE ZERO SHITS

Finally my fave gets some angst (my fave being Ookuninushi for no particular reason other than Chill Uncle Vibes)

I might be joining the heaven bad bandwagon after this-

NO GOD FUCK NO NORA WAIT- NOT- THEY JUST- THE SHINKI- NO

THEY JUST DISH OUT HIS FACE LIKE THAT HOW DARE HOW DARE HOW D A R E

I hate it here I hate it here I hate it here I hate it here I hate it here I ha

GIRL HELP MY FAVE JUST GOT FUCKING MURDERED

...Yeah so this is your monthly reminder that if you see this man it is fully legal and encouraged to commit manslaughter On Sight.

#noragami #noragami 96-2 #yato #fujisaki kouto #nora #I'M CRYING PLEASE #I hate this man i hate him so much #I have no further comment #i just #yeah. #i'm in pain. #sorry if this makes No Sense it poured out of my system in a fugue state #sorry again for dropping off the face of the earth #school and mental health have been A Lot #but needing to yell about The Pain Manga is a constant in life<3 #chapter reaction #chapter thoughts #lextpost #noragami spoilers

[thinkingisadangerouspastime]

I hate to be an asshole, but I see this a lot and I'd like your take because while we have differing opinions on some things, your metas are spot on (and I binged half your stories last weekend, oops) and I know you'll be straight up with me on this. What "chemistry" between Zuko and Katara? I keep seeing that and not getting it? The chemistry when he roughed up her grandmother and threatened her village? The chemistry when he tied her to a tree and violated her boundaries? (1/3)

The chemistry when he hired a trained assassin to stalk her good friend and if collateral damage happened, oopsie? The chemistry when he stabbed her in the back after she was nice to him in the crystal catacombs? The chemistry when he demanded that she accept him? Or the chemistry when he showed he didn’t know her at all? The chemistry when both of them were grossed out being thought a couple? Or is it the chemistry when he saved her and Katara couldn’t wait to kiss another guy? (2/3)

I dislike r/eylo from Star Wars fandom. I think it sends the wrong message. But as much as I hate it, there was chemistry there from the first. Rey is attracted to him and Kylo is attracted to her. They don’t want to be, but they are and it plays out in the next two movies. There was none of that in ATLA and I can understand z/ks saying it but other people? What am I missing? Where am I not looking? I’m not even that huge on Katara/Aang but Zuko/Katara chemistry where? (3/3)

Obligatory disclaimer: this is my personal response to anon’s questions and my personal thoughts on Zvtara’s chemistry. I’m not going to put this into the main tags - much less the Zvtara tag! - because while I believe this is a genuine question, I don’t doubt there’s at least one person out there who will misconstrue it as “hate” because the A:TLA fandom is, uh, aggressive in its ship wars lol. However, if I have any Zvtara shippers following me, I encourage you to reblog this post with your own thoughts! Please refrain from sending your commentary on anon unless you’re going to be friendly about it, lol; I like to keep my blog positive and welcoming! Thank you :)

Firstly, I am EXTREMELY flattered that you enjoy my metas so much and binged half my fics!! I was grinning so gleefully as I read that part of your asks,, y’all are too sweet to me. 💛

Okay. Moving on.

So, the main question here seems to be this: What chemistry exists between Zuko and Katara in A:TLA?

Short answer? None, in my opinion.

Longer answer? For all the reasons you outline in your asks, I do not perceive any romantic chemistry between Zuko and Katara within the series run of A:TLA. Note the qualifiers: “romantic” and “within the series run.” I’ll try to break down what I mean!

“no romantic chemistry”

For one, a romantic interest with anyone in the Gaang would have undermined Zuko’s entire redemption arc, full stop. Yes, I mean anyone. For Zuko to have joined the Gaang because of romantic interest* would have been… counterproductive. Zuko joined the Gaang because he realized - to put it very simply - that the Fire Nation was wrong. He realized how he’d been indoctrinated since birth. He realized that he could help the Avatar (instead of trying to, uh, kill him lmao) by teaching him firebending. He realized he could help Aang defeat the Fire Lord and bring peace to the four nations. Zuko realized he could help end the war. He could help break the cycles of violence and abuse that had in part made his own life so miserable. For him to join the Gaang because of romantic interest? Completely takes away from all of that. A key theme of A:TLA is dismantling imperialist power, propaganda, rhetoric, etc. Zuko’s decision to fight against Fire Nation imperialism is crucial to his redemption. He could not have been redeemed without making that choice. Thus, if Zuko had joined the Gaang because of romantic interest, it would have been completely counteractive to his redemption.

(*That is, the relatively popular [? I think?] implication that Zuko and Katara’s moment in “The Crossroads of Destiny” was romantic-coded and thus Zuko should have joined the Gaang at the end of Book 2 because he had romantic interest in Katara and she in him. I genuinely am clueless how people interpret that moment as romantic - like to me it’s honestly heartbreaking! Katara offers Zuko tentative sympathy only for him to stab her in the back minutes later - so if someone would like to share some thoughts, please feel free to do so!!)

On a similar note, for Zuko to take the lightning for Katara at the end of the series because of romantic interest would also undermine his redemption arc. Please note: this does not mean Zvtara shippers cannot interpret the Agni Kai as being romantic-coded. Of course they can! That’s what fanon is for! Transformative works! But in terms of canon, Zuko did not try (and fail, rip) to redirect Azula’s lightning because he was romantically interested in Katara. (I mean, in terms of canon, Zuko and Katara were both romantically interested in other people, too, so… Moot point, lol? But I digress.)

Zuko taking the lightning is about him learning to earn forgiveness and accept unconditional love from his family (both Iroh and the Gaang). It is a selfless act, and it directly parallels Zuko’s selfish act in “The Crossroads of Destiny” to stand silently while Azula strikes Aang with lightning, thus becoming complicit in Aang’s death. The point of his “sacrifice” is that Zuko would have taken the lightning for anyone (and don’t get me wrong - the moment is doubly powerful with Katara, as she’s a primary protagonist!). Zuko did not attempt but fail to redirect the lightning because it was Katara he was protecting; he took it because it was the right thing to do. Zuko has learned to differentiate between “right and wrong” on his own. To at last put others before himself. To make his decision about romantic interest? To make Zuko’s most selfless act in the series (not to mention one of his only 100% selfless acts!) about out-of-the-blue “romantic love”? That not only lessens the impact of his decision, but it is also reductive to Zuko’s entire character and arc. There’s no romantic chemistry there.

Again, of course, fanon exists for purposes such as interpreting Zuko’s failed misdirection of the lightning to protect Katara as romantic. Go wild!! I’m talking strictly about canon.

So that pretty much summarizes why romantic interest with anyone in the Gaang would have been detrimental to Zuko’s redemption, hence why Zuko doesn’t have any canon romantic chemistry in the Gaang. It just ain’t there! It would have screwed over his arc! And again, because of all the reasons you outline, I cannot comfortably interpret any romantic chemistry between Zuko and Katara within the series run of A:TLA. Personally, romantic Zvtara would have been too sudden, too unexpected, and too… well, as I said: uncomfortable. Why would Katara have romantic interest in a guy who’d hurt her so many times? Who she’d only just forgiven? Why would Zuko have romantic interest in Katara, a girl he barely knew for most of the series? Especially when he already had feelings for a childhood friend? I, personally, just don’t get it.

But. You know what Zuko and Katara do have in canon?

A phenomenal platonic bond.

It develops very late, admittedly; Katara has only forgiven Zuko for the last five episodes of the series (5 out of 61… Katara was only on good terms with Zuko for 8% of the series, lmao). But Zuko and Katara are very, very similar personality-wise, so it follows that (eventually) they’d be great friends! Yeah, Zuko acts like an entitled dick for a good portion of “The Southern Raiders” lmao, but he ultimately respects Katara’s decision to spare Yon Rha (love that scene so much 🤧). Katara recognizes that Zuko is trying his best (if sometimes falling short) to redeem himself and earn the Gaang’s trust, and she also understands how - while she is completely justified in her anger! - holding that hatred close to her chest isn’t good for her. So she offers him a third chance (and honestly, Zuko should be forever grateful for that lmao!).

So what can a strong platonic bond lead to? Well, if it’s in your taste, a romantic relationship!

“within the series run”

As aforementioned, I don’t see any romantic chemistry between Zuko and Katara within the series run of A:TLA. I think Zuko has hurt Katara in too many ways - and again, she has only just forgiven him by the end of the show - for there to realistically have been any blossoming romance between them. I think romantic interest for anyone in the Gaang would undermine Zuko’s redemption. I also think M@iko and K@taang are well-implemented romances into A:TLA, so romantic Zvtara would not have fit into the narrative. (Doesn’t mean someone has to ship them!! I just mean they made logical sense and had narrative purpose within canon. That’s all.) But again, Zuko and Katara have a great platonic bond. So while I don’t see romance within the series run, I can understand why people might be attracted to Zvtara in post-canon!

Post-A:TLA (disregarding LOK, which I haven’t even seen lol) Zvtara has some solid potential. I’m personally intrigued by the idea of how they’d navigate their relationship amidst all the politics! Basically, any relationship with a strong platonic bond can have potential for “more.” That’s why people ship T@ang, that’s why people ship Zvkaang, Zvkka, M@ilee, etc. So while Zvtara may not have romantic chemistry within the show - in my opinion! - they’ve got one of my favorite platonic bonds, so I can totally get people wanting to explore that bond in post-A:TLA and possibly translating it to romance.

So for some people, then, it might be less about “chemistry” in A:TLA itself, but more how their relationship could grow and change after the end of the series!

Quick sidebar: I mentioned that while I do not interpret the final Agni Kai as romantic, I’m fine when other people do. It’s fanon! Ain’t no big thing! But also, Katara has forgiven Zuko by that point. I, personally, am not comfortable with reading any of Zuko and Katara’s TSR-and-earlier interactions as romantic because of the imbalanced power dynamic. Example: I don’t think Zuko tying Katara to a tree and manipulating her with her mother’s necklace was romantic, and I don’t like the resulting implications when people do treat it as such. Zuko was still so indoctrinated by Fire Nation propaganda… Yeah, from Book 1 to about halfway through Book 3, I personally don’t feel comfortable shipping Zuko with anyone outside of the Fire Nation. Pre-redemption Zuko was not the most fun person to be around if you were non-Fire Nation.

But as I’ve said, these are all just my opinions! Again, if I have any Zvtara shippers following me, please feel free to reblog with your own thoughts! I would love to know where the idea comes from that Zvtara had chemistry within A:TLA, since I personally don’t see any romantic vibes (though platonic chemistry, of course, abounds.)

(For the record, I don’t know anything about Star Wars, which is why I haven’t brought up R.eylo, lol.)

TL;DR - To me, there isn’t any canon romantic chemistry for Zvtara. Narratively, I think it would undermine Zuko’s arc. Logically, because of how Zuko treated Katara for 92% of the series, I personally cannot interpret any of their interactions as romantic. But their platonic bond? Beautiful!! Thus, if people want to explore post-A:TLA, fanon Zvtara, I am all for it.

#hope this at least partially answers your question anon! #anon #amy answers #amy analyzes

[cobra-diamond]

Mirror & Misdirection - The Distortions of the Mirror Scene

How excessive, myopic emphasis on the Mirror Scene distorted both the fandoms and Brykes’ understanding of Azula, and what the Finale actually says about Avatar’s most controversial villain.

Executive Summary

           To understand any fictional character, you have to understand their Goals, Motivations and Conflicts. This applies to Princess Azula from Avatar: The Last Airbender. 

           Ever since Azula was humanized in the Finale, arguments have raged over whether or not she has the capacity for meaningful growth and change like any other character, or any other human being.

           At the core of these arguments has been the infamous Mirror Scene where, while talking to an hallucination of her mother, Azula expresses doubt, regret and tear-stricken grief. As a thoroughly established villain who had never before shown such feelings, this scene was taken as character-defining.

           However, the Mirror Scene alone does not reveal all of Azula’s Goals, Motivations, and Conflicts. Instead, the Mirror Scene, when taken by itself, is only a Conflict. As a result, the Mirror Scene has distorted both the fandoms and Brykes’ perception of Azula by assuming she is entirely the work of complex, vague and puzzling psychological phenomena surrounding her mother, versus a variety of well-defined Goals and Motivations.

           In actuality, the Finale gives us two other scenes that, combined with the Mirror Scene, give us everything we need to understand Azula’s Goals, Motivations and Conflicts.

           In this article, I will provide an alternative explanation of Azula’s character that relates directly to the source material and which does not rely on psychological theory.

           First, I will summarize the “Azula Debate” to provide proper context for this subject.

           Next, I will explain the character-building concepts of Goal, Motivation and Conflict and why they are especially critical to devising a workable understanding of Azula.

           After that, I will explain how the Finale yields Azula’s Goals, Motivations, and Conflicts, and I will provide an alternative explanation of the Mirror Scene as it relates to them.

           I will then explain why the fandom incorrectly fixated on the Mirror Scene and how this distorted both the fandoms and Brykes’ understanding of their most controversial villain.

           And finally, using these Finale-revealed Goals, Motivations and Conflicts, I will suggest a “path forward” for Azula’s further involvement in the Franchise.

The “Azula Debate”

           When the Finale aired in 2008, one of the most striking and controversial developments was the rapid humanization of Azula. For the first time, we saw the fearsome and always-winning Princess scared, paranoid, emotionally fragile and crying. It was a radical shift from our previous image of Avatar’s most hated villain. Nothing like it had yet happened in the Franchise.

           The topic of Azula’s newly-revealed humanity was so compelling that even Mike and Bryan were asked about it in the Sozin’s Comet novelization. While their answers were vague and disjointed, the fact they had an affirmative answer shows that Azula’s humanity wasn’t an accident; it was intended.

           And the fans saw this: they saw an Azula that was more complex than what they had been previously shown, or lead to believe existed.

           While Azula’s breakdown in the finale was well-animated, scored and voice acted, and the show wrapped up nicely overall, the Finale created more questions than answers for the Fire Princess, most of which still have not been answered to this day.

           What is Ursa and Azula’s relationship? What is Azula’s moral compass? What does she value? What is the extent of her empathy? What lines will she not cross? Why does she use fear to control people? Does she enjoy hurting people? Can she feel love? What does she want in life? Why did she throw bread at turtle ducks? Is she a sociopath? Will she reconcile with Ursa? Is she mentally ill? Will she ever rise from the ashes of her shame and humiliation? What happens to her next?

           These were the sorts of questions fans were asking in the aftermath of the Finale, and which fans are still asking.

           Unfortunately, the fandom did not approach this topic with unity.

           What began after the Finale was an endless back and forth about morality and affective empathy; psychology and personality disorders; juvenile delinquency and abuse dynamics; Dracos in Leather Pants and Freudian Excuses, with one side arguing that there wasn’t anything inside Azula worth exploring, while the other side desperately clung to the hope that there was potential for compelling growth in Azula. You could term the “anti” side the “Azula Haters” and the “pro” side the “Azula Fans”.

           The “Azula Fans” are a diverse group that cannot be generalized. In summary, they found Azula compelling for a variety of reasons, they had questions they wanted answered and they desired to see Azula fleshed out fully.

           The “Azula Haters” are equally a diverse group and so cannot be generalized. Overall, their motivations are primarily to relate Azula to real-world bullies and abusers, thereby preserving her as a platform to talk about escaping domestic abuse situations and how to give up on toxic family members. Relating Azula to the real-world in this way is not to develop the world of Avatar and its characters, but to express their own anger, cynicism and heartache over what’s occurred in their own and other’s lives, and teach lessons about it.

           The key point is this: the purpose of the Azula Debate was not to discover the truth about Azula and determine how to tell a story about her. It was to either admonish “Azula Fans” for being misguided and ignorant in their understanding of Azula, or to prevent the “Haters” from discouraging their last, major interest in Avatar.

           In the twelve years that have followed since the Finale, neither side has “prevailed”.

           Aaron Ehasz has spoken about the potential for a Post-Finale Azula arc whereas Mike and Bryan have said little, or nothing. Wheras the fandom can all agree about their love for the heroes, Azula is like talking politics at a family gathering; it will not be pretty and passions will be inflamed.

          While Azula was brought back in The Search and Smoke and Shadow comics, these works yielded few, if any, answers to her developments in the Finale, and she remains a divisive character. In fact, much of her complexities established in the Finale were ignored in The Search and erased entirely in Smoke and Shadow.

          It can be argued that the Azula from the show did not actually make it into the comics and still remains “in an asylum off the coast”, waiting to be further developed.  As a result, both Azula Fans and Haters argue to this day with no end in sight.

           Driving these debates is the fact that nobody, not even the Creators, have provided a comprehensive, question-answering, Franchise-consistent explanation for Azula that combines her wickedness with her humanity.

           To Haters, Azula is the embodiment of all things awful and terrifying that must be removed from society. To Fans, she is the potential for another compelling character-driven story utilizing the original cast.

           A word frequently used to describe these “compelling” additional stories about Azula is “redemption”. This is a vague word with multiple meanings. Typically, both Avatar fans and the Creators interpret this as a character who is morally good on the inside realizing their mistakes and atoning for them; these characters are not truly bad people; as long as we don’t think they have crossed any moral “lines in the sand”, they can be accepted into the circle of “good people”.

           This is what has caused debates surrounding Azula to be focused on questions of morality, affective empathy and psychological disorders instead of her Goals, Motivations and Conflicts; if “Haters” can prove that Azula is genetically bad, then there is no potential for a story about her because it is impossible for her to change and grow, and stories require their characters to change and grow. On the other hand, if “Fans” can prove she is “human”, then she does have the capacity to change and grow, and the themes of the Franchise can be applied to her.

           Unfortunately for Azula Fans, there are two seasons of wickedness, smirking and bedeviling Zuko to back up the Haters’ position.

           But Azula Haters also have to contend with the Finale. It demonstrated the existence of Azula’s humanity and was an intentional decision by the Creators; Fans are not “reading into” it. Even Katara felt Azula’s humanity.

           So who is correct?

           Well, the Haters are, for the most part.

           The show spent a lot of time portraying Azula as unnecessarily cruel without a shred of self-doubt, suggesting her villainy is not just a matter of her upbringing and choices, but intractable psychological defects. Even the Creators wanted Azula to reflect a “deeply rooted malevolence.” To counter this, Azula Fans point to the Finale, and more specifically, to the infamous Mirror Scene.

           The Mirror Scene shows Azula expressing doubt, remorse, hurt and even tear-stricken grief. The Mirror Scene has been used by Azula Fans to explain all of Azula’s humanity, sort of as a Rosetta Stone of her innerworkings. Even the Creators seem to think this way, as shown by their answers to the Sozin’s Comet interview, and their choice to make Azula’s relationship with her mother in The Search take center stage, and drastically so.

           THIS. IS ALL. WRONG.

           In order to understand a character, you have to understand their Goals, Motivations, and Conflicts. Any character, especially Azula.

           The Mirror Scene and her relationship with her mother are not what’s vital to understanding who Azula is, what she wants and how she fits into the Avatar world. This is not an attempt to be “edgy” or “different” or “contrarian”. You will never, ever find your answers in The Beach or in the Mirror Scene alone, no matter how hard you try. This is because the Mirror Scene is only one of three scenes from the Finale that must be taken together to understand Azula on a fundamental level.

           The Mirror Scene is not enough. It has not answered the fandom’s questions about Azula’s Goals, Motivations and Conflicts. It has not provided a compelling argument against the evidence that she is a monster whose villainy was only limited by the censors and, most importantly, the Mirror Scene is not Azula’s most defining moment.

           These three, together, are:

And I will explain why.

Understanding Characters: Goals, Motivations, & Conflicts

           This section gets into some of the “nuts and bolts” of storytelling, but it is necessary for understanding Azula; she is too complicated and the source material too thin on her. Stick with this and you should learn something.

           In order to understand a character, you have to have a clear understanding of their Goals, Motivations, and Conflicts. Other writers have different terms for these concepts (Need, Want, Desire, Obstacle, etc.), but they are universal to storytelling.

           Stories are not meant to be exact replicas of real life. Yes, they can say something about life, but ultimately, stories are about characters having problems to solve and their journeys to solve them. It is not enough for a character to just “feel”. They have to want things, need things, do things, and something has to prevent them from getting what they want and need.

           Conflicts are what prevent characters from achieving their goals (their wants and needs). Motivations are what drive characters to pursue their Goals, and Goals are what characters strive to physically achieve.

           Goals are physical; they can be touched, held, acquired. They can be a person, a place, or a thing. They are not emotional or psychological. “Love” is not a Goal. Being in the arms of someone or waking up in bed next to them, however, is a goal. Goals are what enable characters to be active in the story, to move through the world, exert force on their surroundings. Sitting on the sofa, or ruminating in a prison cell are not Goals; getting up to join the protest or hatching an escape plan are. At the same time, “wanting power” is not a goal, but “becoming president” is.

           For some Avatar examples, “Capture the Avatar” is a Goal. “Master all four elements” is a Goal. “Liberate Ba Sing Se” is a Goal, but “My mother thought I was a monster” is not.

           Goals, however, do not exist by themselves. They are the result of Motivations.

           Motivations are internal. They are abstract. They cannot be touched or acquired. They derive from the thoughts, feelings, philosophies and psychologies of the characters. Some motivations can be caused by external forces, such as fear of breaking the law, a military commander giving an order to a soldier, or the threat of dying from starvation, but those external forces are not Motivations: fear of imprisonment, commitment to one’s leaders, and the will to survive are because they are emotional, philosophical, psychological.

           Motivations are where characters encounter those moral “lines they won’t cross”. It’s where they doubt themselves and wonder if they are willing to go “all the way” to stop the villain. Motivations are what drive a character to question if they should kill the man who murdered their mother, if they should kill the Fire Lord and ignore their culture, or betray their uncle to return home. Without Motivations, characters are robots. With Motivations, characters become people.

           But a story where characters face no opposition is not a story. This is were Conflicts arrive.

           Conflicts prevent characters from achieving their Goals. They can come from a variety of sources: internal or external; emotional or religious; psychological or philosophical, or combinations thereof. Conflicts can stem from Motivations (for example, somebody violating their moral code), but they are not themselves Motivations. For example, if a character is motivated to carry on the cultural values of their lost people, but their duty requires them to violate that culture, their struggle to reconcile the two is a Conflict. Or, if a character is motivated to be the image of the son his father wants, but finds out that image is completely against everything he stands for, his struggle to remain at his father’s side or leave is a Conflict.

           The type of Conflicts that “build character” are the ones that result from Motivations, not merely external forces. A character simply climbing over a fallen tree is not as compelling as a character who must decide if they should cut down the tree when there’s a nest of endangered owls living in it. Characters must decide for themselves. They must struggle with their feelings and values.

           However, Goals, Motivations and Conflicts are not the end-all-be-all of character. Characters can have secondary goals and motivations. They can have quirks, flaws and personality traits that give them depth and round them out, but their Goals, Motivations and Conflicts are what creates a story about them. They’re why Zuko being willing to burn down Kyoshi Island does not tell us the full story of Zuko, but it tells us something about him. They’re why Azula hanging Ty Lee over a burning net does not tell us the full story of Azula, but it tells us something about her. And they’re why Aang killing a buzzard wasp in cold-blood does not tell us the story of Aang, but tells us something about what he’s going through and what will make him ignore his values.

           In short, we have to know a character’s Goals, Motivations, & Conflicts in order understand them, only then can a character be fully fleshed out in a story that makes them overcome diversity, change and grow.

 The Goals, Motivations & Conflicts of Princess Azula

           In order to answer the lingering questions about Azula, including how to tell a story about her in the Post-Finale world, you have to understand what she wants, why she wants it and why she is unable to have it. In other words, you have to understand her Goals, Motivations & Conflicts.

           As it turns out, the Finale gave us all of this. Now, keep in mind, the Finale doesn’t tell us everything about the Fire Princess, just like how the show doesn’t tell us everything about General Iroh prior to Lu Ten’s death, but the Finale tells us enough in order to develop a workable explanation of her character. This explanation of her character was revealed in three scenes, starting with the one in The Phoenix King where she is speaking to her father on the platform, followed by the scene in Into the Inferno when she is talking to Lo and Li in the throne room, and, finally, the Mirror Scene.

           Not everything is explicitly stated and neither does it explain her bullying, teasing, smirking and smugness, but it doesn’t have to. Those are flaws, quirks and other personality traits. These three scenes in the Finale give us the big stuff; the information that’s needed to tie her into the franchise at large and make her a product of the Avatar world versus a mere set of villainous qualities.

           And it begins with The Phoenix King.

Pivotal Azula Scene #1: The Phoenix King

           I’m sure you can picture it: Azula racing to join her father on the platform, getting told she’s being left behind, frightened because she thought they were going to burn the Earth Kingdom together, snapping at her father for treating her like Zuko, desperately insisting she deserves to be by his side, and, finally, flinching as she gets yelled at.

           That’s some big, heavy stuff, huh? She’s been afraid of being treated like Zuko all this time? Burning down the Earth Kingdom is some child-like, emotionally needy ploy to be with her father?? She feels she deserves to be by his side?!? Azula has problems?!?!?

           This scene reveals a portion of Azula’s Goals, Motivations and Conflicts.

           Before I begin, I must warn you: I’m not going to spend a lot of time using clever words and metaphors to convince you. If you ever have the urge to shout “But wait! I disagree with that and here’s all the reasons why!!” I encourage you to slow down, approach this with an open mind and try to ignore your existing ideas about Azula.     Forget about her smirking and smugness, her throwing bread at turtle ducks, her tormenting of Zuko and especially the psychological disorders that people have tried to tie her to. We are focusing on her Goals, Motivations & Conflicts as revealed by the Finale, not essays and fan interpretations. We are applying time-honored storytelling principles to Azula as if we were trying to tell a professional story about her.

Azula’s Goal #1: Be With Her Father

           In the Phoenix King scene, Azula said she wanted to “do this together.” She said she deserves to “be by his side.” She doesn’t want to stay behind. These are physical, tangible things. They comprise a Goal.

           Why does she have this Goal? Don’t worry about that right now; we’ll get to that later, but right now, the Phoenix King shows and tells that Azula wants to be in the presence of her father. She wants to stand next to him. She wants to do things with him, and she is willing to snap at him over it. This scene also reveals her Motivations.

           Hold on. Wait. Stop. I know you’re doing it; you’re thinking, “”But they’re both predators feeding off each other! ‘Be with her father’ must actually mean something sinister and her real goal is to extract power and influence off of him!”

           Stop.

           Relax.

           Forget all of that. We are exploring what the Finale shows and tells us. Ignore fan theories. We are in unexplored territory right now.

Azula’s Motivation #1: Not Be Treated Like Zuko

           Not being “treated like Zuko” is abstract. Being “treated like Zuko” means being openly disrespected, thought of as irrelevant, viewed as a disappointment, not being wanted, sent on fool’s errands, belittled and cast aside.

           Being challenged to an Agni Kai isn’t being treated like Zuko as the Agni Kai is a standard Fire Nation practice; child Zuko was perfectly willing to fight the general over his mere “disrespect”. If the General had burned him, would the General have been treating Zuko “like Zuko”? Neither is the act of being physically punished being “treated like Zuko”; lots of kids in the Avatar world probably get physically hurt by their parents. Terrible, but not unique.

           It’s not the physical abuse that makes someone be “treated like Zuko”, but the emotional. In a society where Agni Kais are commonplace and soldiers are expected to be tough and aggressive, being “treated like Zuko” is a state of mind; it is emotional, philosophical, psychological. Think of it this way: if Azula had been challenged to an Agni Kai, fought with aggression, and Ozai “merely” burned is favorite on the arm somewhere to end the fight because it had served its purpose, and later expressed pride to her because of her aggression, would that physical harm be treating her “like Zuko”? The Fire Nation’s leadership is supposed to have a warrior culture.

           In the Phoenix King scene, the Motivation behind Azula’s Goal of “being with her father” is not merely to avoid the physical harm of an Agni Kai, but her fear of being “treated like Zuko” and everything that means. This isn’t the entire message of the Finale, but it’s what this particular scene is saying, and Ozai’s response to Azula’s fear reveals one of Azula’s Conflicts.

Azula’s Conflict #1: Her Father Doesn’t Want Her

           Imagine if Ozai had taken Azula with him and they drank tea, played Pai Sho while and, together, lost to the Avatar. She’d probably be far less distraught than she was at the end of her Agni Kai with Zuko. Certainly her hair wouldn’t have been disheveled and she wouldn’t have been screaming and crying.

           What prevents Azula from achieving her Goal of “being with her father” is that her father doesn’t want to be with her.

          Look at that sequence closely, in particular the change in Ozai’s expression after Azula arrives. Is that the face of a man who wants his supposed favorite around?

           Wait. Stop. I know you’re doing it again: you’re thinking about Ozai’s capacity or lack thereof for love, why Azula feels this way or what her ulterior motive is or what psychological disorder is driving her to cling to him like a parasite.

           Once again… Relax. We’ll get to that. Just focus on what the Finale is telling us here: Azula wants to be with her father (a Goal), she is scared of being treated like Zuko (a Motivation), and her father is not giving her what she wants (a Conflict).

           Does Ozai assure her that he isn’t treating her like Zuko? Does he put his hands on Azula’s shoulders and tell her that that isn’t what’s happening?

           No!

           He buys her an expensive car to get her to shut up. Azula hasn’t been given what she wants in this scene. “Fire Lord Azula” is not being at her father’s side. Being coronated is not “doing this together”, in fact, it’s leaving her alone. It can be argued that Ozai manipulated Azula in this scene by giving her something she wanted, so how was he able to manipulate her?

           By understanding her Goals and Motivations, next of which are revealed in the Throne Room Scene.

Pivotal Azula Scene #2: The Throne Room

           Ever hear the phrase “show don’t tell” in storytelling? Show the reader what the characters feel and what they want? Show what a character is willing to do to achieve their goals? Well, sometimes you do need to tell a reader what a character is thinking in order to make it starkly clear to them, and in the Throne Room scene, we get just that: a clear statement by Azula of what her Goal is, and it is a whopper.

           In fact, this stated Goal by Azula is so monumental that it can be considered character-defining. It ties her royalty into her relationship with her father into her being a prodigy into her high standards (“almost isn’t good enough”), even into her struggles to be a “normal” teenager in The Beach. It makes the “Princess” in Princess Azula actually mean something. It makes “Princess of the Fire Nation” actually relate to the Fire Nation.

           Azula’s second Goal, as stated explicitly in the Finale, is to be the greatest leader in Fire Nation history. Those are her exact words.

           Be something; a physical condition. It requires her to take action, to be active, to accomplish things. It is a Goal.

Azula’s Goal #2: Be the Greatest Leader in Fire Nation History

           In the Throne Room scene of the Finale, Azula says that she will be the greatest leader in Fire Nation history. She says it. This is not an interpretation or “reading into” things. The Finale has told the viewer what the Princess component of Princess Azula wants to be when she grows up: the greatest leader in Fire Nation history. This is a Goal; something that can be physically achieved. While it is true that what constitutes “greatest” can be subjective, certainly it involves a combination of reputation and physical accomplishments, especially given the goals of the Fire Nation at the time: conquering other nations and advancing the country’s wealth and power.

           That this scene has flown under the radar for so long is mind-boggling. It is akin to asking a child what they want to be when they grow up, only this is a flame-throwing, feudal-era teenager who is being raised to command armies. Look at it this way:

           “Little Jimmy, what do you want to be when you grow up?”

           “An astronaut!”

           “Little Susy, what do you want to be when you grow up?”

           “A doctor!”

           “Little Princess Azula, what do you want to be when you grow up?”

           “The greatest leader in Fire Nation history!”

           Azula told us what she wants to be when she grows: the greatest leader in her country’s history. That is a pretty lofty goal that has been tempered by age or experience, something a young person could easily think they could achieve, but then again, maybe it wasn’t so unreasonable for her: she captured Ba Sing Se, defended the Capital from invasion and can bend blue fire and lightning at a young age.

           So, why would a princess strive to be the greatest leader of her country versus just lounging around all day? That is for her Motivation to explain.

Azula’s Motivation #2: Her Father’s Expectations + Pride & Belief in Her Royal Title

           This Motivation is really multifaceted, but in order to simplify things, it is being tied to her royalty in order to emphasize its connection to the Throne Room scene.

           If “being the greatest leader” is a Goal, then the reason why she wants to be the greatest leader is her Motivation.

           This is where some speculation becomes necessary. Even though the Throne Room scene stated this Goal very clearly, it doesn’t say much about why she desires this. You have two ways you can approach this question. First, you can cynically assume that Azula is motivated by nothing honorable or relatable, therefore she is closer to a parasite feeding off of the Royal Family, or second, you can assume she is a product of the world she lives in and so is motivated by things that can tell us about the Royal Family, the Fire Nation, and life under her father. Because the former results in no room for growth and change, and is entirely based on psychological theory, this article will assume the latter.

           Because there are no clear answers for why she has this Goal in the Finale, I am simply going to list a variety of potential Motivations. Most likely, the answer is a combination of these at the same time:

·         Ambition to achieve (like a great athlete striving for excellence);

·         Enjoys challenging herself;

·         Desires to be someone (famous, notable);

·         Internalizes her role as Princess and sees herself as nothing else;

·         Enjoys fighting, firebending and military subjects;

·         Enjoys politics, ruling and statecraft;

·         Excels at her royal role, so enjoys being good at it;

·         Believes in the purpose of the Imperial Government;

·         Takes pride in Fire Nation history and wants to contribute to it;

·         Enjoys having power over people;

·         Seeks praise;

·         It’s what her father expects of her;

·         Believes her father is a great leader and so wants to be like him;

·         It’s what’s expected of a Fire Nation Princess;

·         Wants to maintain the legitimacy of her family and “prove her worth”;

·         If there’s any sort of sexism in the Fire Nation, maybe she feels she needs to work “twice as hard to get half as far”;

·         Following the sexism angle, maybe she wants to distance herself from any “limiting” feminine roles;

·         And others.

           In the Throne Room scene, we are given a hint as to what might be one of Azula’s motivations for wanting to be the greatest leader in Fire Nation history: not being treated like Zuko (i.e. living up to her father’s expectations).

           Right before she gives the aforementioned line in the Throne Room scene, she says to Lo and Li that her father doesn’t think she “can handle the responsibility of being Fire Lord”. Perhaps one of the reasons for pushing herself toward ever greater achievements and abilities is to prove to her father that she truly does deserve to be “by his side” and not “treated like Zuko”.

           But Azula is also a princess. That is extremely important.

           Azula is a member of the Royal Family and is a military and authoritarian leader by default. The Throne Room scene is the chance to inject the Fire Nation into Azula’s character, not just emotional disfunction and psychological dependency. Remember what kind of country Azula lives in: it is full of walking flamethrowers who must be kept in line.

          Remember all the warfare in ancient Japan? No? Then take a look at this article, The East Asian Origins of Fire Nation and Its Villains, for an idea as to why the Imperial Government exists and why the Royal Family is very concerned about being successful, and using force and intimidation to do so.

           “I want to be the greatest leader in Fire Nation history” is the chance to use Azula to convey broader subjects about the Fire Nation’s politics, history, culture and how they effect someone who is either too young or unable to be what is expected of them: a feared military ruler in a militarized society at 14 years old.

           Also note that her goal of being the “greatest leader” was stated after she learned she would be Fire Lord. This means the Goal was not accomplished; the Motivation didn’t go away. Being Fire Lord is not being a great leader; it is simply being Fire Lord. To her, wanting to be the “greatest leader” comes from a much deeper source and, in fact, could be argued as a character-defining Motivation. Along these lines, Azula is not merely Azula; she is Princess Azula at all times, everywhere. To her, there is no “Azula”, but only “Princess Azula”. Her title is her identity.

           You might have to apply some artistic license here, but you can do so in a way that is both faithful to the source material and builds upon it. For example, while the show was active, there was a description of Azula from the viewpoint of the Fire Nation on Nickelodeon’s website. Note that it sounds very similar to what Zuko said about his sister in Siege of the North: Part 2. This heavily suggests that not only is Azula what her father wants, but also what the Fire Nation and Imperial Government want in a princess.

           To summarize, Azula’s second Goal is to be the greatest leader in her country’s history and her Motivation for this Goal is a combination of wanting to meet the expectations of her father and flat-out believing and taking pride in her role as Princess. But what about her Conflicts as a result of this Goal? Well, as the Finale demonstrates, she isn’t the greatest leader yet. Once more, some reasonable speculation is required.

Azula’s Conflict #2: She Struggles to Be a Great Leader

           Azula felt she had to compel the Captain into taking the ship through the tides right now in order to exert her dominance (this is explained in the Tale of Azula novel). She relies entirely on fear instead of using a combination of trust and fear, like someone who read Machiavelli but wasn’t old enough to actually understand what it was saying; she failed to understand Zuko’s motivations and so he turned against the family; she failed to understand that people are willing to sacrifice their lives for loved ones, or even make stupid mistakes, so she felt personally wounded by Mai; she didn’t know how to handle both Mai and Ty Lee’s betrayal and so lost all faith in her subject’s loyalty; and she banished all of her servants and guards instead of figuring out how to act differently.

           If Azula’s father is her “measuring stick” for success, then being at his side and doing things with him is not only protection against “being treated like Zuko” but also a sign that she is doing everything right as a leader in training. Remember that her Goal of being the greatest leader didn’t go away when Ozai gave her the crown; the Goal is coming from someplace deeper.

           But Azula begins to doubt herself in the Finale. She begins to feel paranoid and she doesn’t have the life experience and knowledge to tell her why Mai and Ty Lee betrayed her, how to adjust accordingly and what to do differently. She’s never failed before. She’s unsure of what the future will be and she doesn’t have her father to measure herself against. She is not yet a great leader.

           She wants to be the greatest leader in Fire Nation history, but how will she become that if she keeps failing and her father left her behind? She wants to be by her father’s side, but how can she be if she’s back in the Fire Nation struggling to have the loyalty of her closest subjects (guards and servants)?

           If Azula’s second Goal is to be the greatest leader in her country’s history and the Motivation behind it is a combination of her father’s expectations and pride and belief in her royal title, then her second Conflict is that she doesn’t know how to be a great leader or live up to her father’s standards. In the Finale, she is trying and failing and she doesn’t know what to do.

           This leads to the third and final pivotal Azula scene: the famous Mirror Scene.

Pivotal Azula Scene #3: The Mirror Scene

           If there were any key emotions during Azula’s breakdown, they were paranoia, fear, anxiety, grief, uncertainty and doubt.

           It’s been established by the Phoenix King scene that she wants to be with her father to avoid being “treated like Zuko”. Knowing what happened to Zuko, that must create a hell of a ton of fear, anxiety, stress and doubt within her.

           It has also been established that she wants to be the greatest leader in her country’s history. That must also create a ton of fear, anxiety, stress and doubt: will she be the greatest leader? Will she fail? Does she even have what it takes? What if she doesn’t? What if Zuko is better than her? What will her father think of her? What will her country think of her?

           During the Finale, she is paranoid about the consequences of disobedient, vengeful subjects who might assassinate her.

           She doesn’t know what to do or what the future holds.

           She is doubting herself, she is afraid she might fail.

           She feels grief, but about what exactly?

           There is a pattern emerging from the Phoenix King and Throne Room scenes. You have a teenage girl (remember, that is what Azula is) who is anxious and panicky about being left behind and mistreated by her father; you have a young, military ruler-in-training who has very high standards for herself and is failing to live up to those standards; and you have a member of royalty who is alone, afraid and doesn’t know how to deal with failure or handle what she is feeling.

           Remember what I said earlier about ignoring your existing conceptions and feelings about Azula? Well, you also have to ignore the 30-year old voice actress and general appearance of being older. You need to think about the franchise at large.

           What were the ages of the main characters: 12? 14? 16? 17 at most? Kids and teenagers, essentially. That is a unique selling point of the franchise—young people going through adversity—and it makes it easier to feel sympathy for them, just as the youth of the characters in the Hunger Games made it more relatable to kids and teens, and allowed adults to feel sympathy as well (adults are the ones who take care of kids and teens).

           In fact, the characters of Avatar being kids was an important part of the story: themes of family were critical to Katara, Sokka, Toph, Zuko, Mai, Ty Lee and even Azula (in the end). Therefore, you have to keep in mind the importance of youth to the main cast and franchise at large.

           How old is Azula? 14-15?

           Do you now see the pattern?

           Who do kids and teenagers rely on when they are in trouble?

           Who helps them understand their feelings?

           Who is supposed to have all the answers?

           Who tells them they’ll be okay, they’ll figure it out, they’re not alone?

           Parents.

           What is Ozai to Azula? A parent. A terrible one by our eyes, but still a parent. Is he there for her during her time of need in the Finale? No. Does he help her understand the myriad of feelings that are causing her to unravel? No. Does he provide guidance as to why Mai and Ty Lee betrayed her and how to learn from it? No. Does he tell her she’ll be okay, to not worry, that she’ll figure it out and she’s not alone? No. Could he have done these things? Yes, because he’s a parent of Azula. Did he? No.

           Would it have helped her to have a parent who could walk her through her struggles? You’re damn right it would have. She would have still had a platoon of Dai Lee and Imperial Firebenders to protect her and she’d have been Fire Lord.

           But she didn’t have Ozai, either physically or emotionally. She didn’t have a parent to help her. Teenage girl, military-leader-in training Azula couldn’t handle the tidal wave of adversity that struck her, and so she drowned. Lo and Li weren’t parents; they were advisors; subjects. Her servants weren’t her parents; is she going to expose her weaknesses to the people she doesn’t trust and whose respect she must command? Neither were her Dai Lee or Imperial Firebenders (her guards). But she wanted a parent to help her… And she has two.

           One of them, her father, not only wasn’t physically present, but also made it clear, in subtle ways, that he wasn’t ever going to be there for her “in that way”; she didn’t jump to the “you can’t treat me like Zuko” conclusion if it wasn’t clear to her that that’s exactly what was happening.

           So who is the only other person in the world who can say the things a parent can to Azula? Who is literally her only other parent?

          Her mother.

           Ursa is not Azula’s conscience speaking to her. Ursa is not a Freudian Excuse. Ursa is not a Shakespearean metaphor for god knows what. Ursa isn’t even a spirit talking to her through the Spirit World. Ursa is, in Azula’s mind, her parent and this reveals Azula’s third Goal.

Azula’s Goal #3: Have a Parent Who Can Help Her

           Remember what Avatar is based on: kids and teenagers going through adversity. Ask yourself this: do you believe that all of Avatar was a “lie” and that the “real” Avatar is full of nudity, torture, rape, grotesque violence, “grimdark” themes and the cast is really 18+? I don’t. Work with the source material; it’s what we have, it’s what was made.

           Azula is a teenager at the top of a feudal, military government who has extremely high expectations for herself, a father who has her living in fear of being spurned and abused, and who has certain proclivities (i.e. flaws) that are causing her harm. As a result, she is full of fear, anxiety, stress and doubt as a result of her struggle to achieve her Goals. She wants a parent to say and do the things that parents can: sooth their children’s fears, teach them life lessons and help them understand why they’re wrong and how to set them straight.

           Azula’s third Goal is to have a parent who can help her, physically be there for her, do and say the things that parents are supposed to in order to make her fears, anxieties, stress and doubts go away.

           You always had such beautiful hair?

           I wouldn’t miss my daughter’s coronation?

           I think you’re confused?

           I love you?

           Who the hell says those things to someone like Azula?

           A parent, or at least Azula thinks a parent would. She might not be able to put this combination of Goal-and-Motivation into precise words, but the teenage girl in her feels it. Her Motivation to achieve this Goal is her feelings.

Azula’s Motivation #3: Alleviate the Stress Caused by Her Goals

           Is having a parent the only way for Azula to alleviate her fears? No. She can achieve great things for her country, make marked progress in firebending, be praised by her father, be with her father, have friends to hang out with and, most importantly, she can alleviate her stress by making sure she never fails. If she works hard enough to never experience failure (“almost isn’t good enough”), then eventually she’ll come to believe that she can’t failure, and so won’t be burdened by it. It’s simply impossible… Like an inexperienced person would believe. There is certainly no shortage of highly talented young people in the real world who are both very confident and afraid of failure.

           No one wants to live with fear or anxiety or stress; it’s painful and draining. Same for Azula. In her time of great adversity during the Finale, these feelings were not unknown to her; she was already afraid of failure; she was already full of stress over meeting her father’s expectations and becoming the greatest leader; she was already guided by very high expectations. She already lived with fear, anxiety, stress and doubt and it was kept in check by being naturally talented, working exceptionally hard, having the personality for the environment she lived in and never failing. But in the Finale, she was struck by a tidal wave of failure and did not have the knowledge, or support, for staying afloat, like a teenager.

           In the Mirror Scene, Azula wants a parent—Ursa, Ozai—to help her with her problems, with her feelings, because she can’t handle them. She is motivated by the fears, anxieties, stresses and doubts of a flawed, inexperienced teenage girl who was raised to be a feudal, military dictator in a rapidly changing world, and is failing.

           But as we know, she didn’t find a way to alleviate her feelings in the Finale. Why? Because of her third and final Conflict.

Azula’s Conflict #3: She Doesn’t Have a Parent Who Can Help Her

           Could Ozai have helped her? In theory, yes. He knows how to rule through the same manner that Azula is emulating and he’s a 40-50 year old man with the experience, emotional maturity and, most importantly, respect of his daughter. Does he help her? We know he doesn’t. So during the Mirror Scene, Azula retreats to the other parent who could help: her mother, the one who, while not a military leader who rules through fear, can still tell her the sweet, soothing things that mothers are known to say, and say it with the authority of a parent.

           But Ursa is not physically present to say those things. Not only this, but Azula doesn’t even believe her mother would say those things, let alone mean them if she did. Why is her relationship with her mother this bad? We don’t know; the show or comics never showed or told us.

           However, “my mother thought I was a monster” is not a revelation of Azula’s Goals or Motivations. It is a statement that reveals one of her Conflicts: she doesn’t have a parent who can help her. Either she literally doesn’t have parents who are physically and emotionally present (Ozai), or she doesn’t believe she has parents who are (Ursa).

           To repeat, we do not have an explanation for “my mother thought I was a monster”, but ask yourself this: if the “Bear Mother” had actually been standing there during the Mirror Scene, would her words have sounded so haunted, shallow and detached-from-the-moment as if an inexperienced, confused teenager was saying them? Hell no. We’d have gotten the earth-shattering Mother-Daughter heart-to-heart that has eluded the franchise for 12 years (and which likely will never occur).

           In the end, Azula did not get the parental support she needed and she didn’t accomplish any of her Goals. She got swallowed by the tidal wave of failure, bashed against the rocks, swirled in the mud and dragged off to an asylum where she will wallow in her misery for all time, never to rise from ashes of her shame and humiliation. Her motivations did not leave her, though; they will burn inside her until the end of her days…

           Unless her story is advanced.

The Flaws, Quirks and Personality Traits of Azula

           Before this article explains how and why the fandom and Creators misunderstood the Mirror Scene, I want to spend some time exploring Azula’s Flaws, Quirks and Personality Traits.

           These are general terms for the variety of additional features that add “depth” to a character. Flaws, quirks and personality traits are separate from Goals, Motivations and Conflicts, but they can cause Motivations and create Conflicts.

           For example, if a character wants love (a Motivation) but they struggle with feelings of jealousy (the result of a flaw, quirk, or personality trait), then their Conflict becomes their struggle to overcome this part of their personality when dating their romantic interest. This is a rudimentary example.

           Another example would be a husband enjoying watching and hearing his wife scream when she finds fake spiders in the bed (YouTube can reveal lots of example of family members playing pranks on each other). Scaring his wife is not his Goal or Motivation in life; he simply enjoys doing it, and if he is trying to maintain a happy marriage with his wife, this flaw, quirk or personality traits creates a Conflict.

           This is how you have to approach Azula’s wickedness in the series. Remember how I said earlier not to think about all of that? Well, now you can.

           Smirking triumphantly while Zuko is burned for refusing to fight? Threatening the Ship Captain over a reasonable concern in order to exert her dominance? Throwing loaves of bread at turtle ducks as an 8 year old and still having turtle ducks swim away from her when she’s 14? Shoving Ty Lee to the ground and laughing at her because she upstaged her? Tormenting Zuko over something as awful as his father being ordered to kill him and enjoying it? Smugly hanging Ty Lee over a burning net to make a point? Enjoying teasing and inflaming Zuko? Smirking deviously? Has little respect for others perceived as beneath her? Makes flippant, dismissive comments? Can’t separate herself from her title? Doesn’t appreciate the “softer” sides of leadership (trust, loyalty, love, etc.)? What are these things?

           They are Flaws, Quirks and Personality Traits.

           Azula’s primary Goals, Motivations and Conflicts are independent from whether or not she feeds turtle ducks by hand or throws the entire loaf at them, or smirks while bullying Ty Lee to establish her dominance, or enjoys teasing Zuko for his perceived weaknesses; Ty Lee would remain a subject to the Crown and Zuko’s problems with his father would not go away.

           Azula’s smirking, smug, nasty, sassy, Hyeena-woman persona is what makes her distinct. They are her flaws that create additional Conflicts and exacerbate existing ones. They are the quirks that make Azula a warm body and not simply a set of villainous specifications moving around on screen. They make her feel “alive”. They are the personality traits that separate her from all others in the show.

           Remember what Azula’s Goals are: be with her father, be the greatest leader in Fire Nation history, and have a parent to help her. For two of those, her wickedness will both help and hinder her.

           Not being concerned for peoples’ feelings and having no tolerance for weakness? Makes her able to manipulate corrupt, militant organizations like the Dai Lee. Pushing Mai and Ty Lee too hard and making them resent her? It got her their cooperation, for a time, but it ended up creating the chain reaction of fear, anxiety, stress and doubt that eventually ruined her. Embracing her father’s treatment of Zuko and doing everything necessary to avoid the same? Well, she never really got “treated like Zuko”, did she?

           Not having appreciation for trust and love and focusing solely on leading through fear? Makes her able to thrive in the current Imperial Government, but also incapable of adapting to failure. Teasing Zuko? Tormenting him? Perhaps her acting in “evil” ways strained her mother’s relationship with her and lead to the “monster” impression. Now that would be quite the flaw.

           Azula’s wickedness both helps and hinders her, and in the case of the Finale, contributed to her downfall. Her wickedness is a flaw. It harmed her. It prevented her from achieving her Goals.

           Flaws, Quirks and Personality Traits only tell half the story of a character, and in the case of Azula, they’re not enough to understand who she is and what she wants, and more specifically, they’re not enough to advance her story in the Post-Finale world.

The Distortions of the Mirror Scene

           By not paying attention to the two other pivotal Azula scenes in the Finale, the Fandom and Bryke developed a distorted, myopic understanding of the Fire Princess where mental illness, unexplained issues with her mother and violent action against hallucinations comprised the sum total of her complexity.

          As a result, just about every piece of the Mirror Scene, from physical actions to key words, along with Azula’s Flaws, Quirks and Personality Traits ended up becoming stand-ins for her Goals, Motivations and Conflicts in official franchise content: The Search and Smoke and Shadow.

           By focusing on Azula’s feelings and feelings alone, the Mirror Scene wound up becoming perceived as the pivotal scene for exploring her depth and even became the source of Bryke’s understanding of her when they wrote the comics. Take a look at these panels from The Promise and The Search to see what this means:

           Where are her unresolved feelings concerning her father?

           Where is her relationship with her country?

           Where is her connection to the “Princess” in her name?

          This is not to say that Azula’s time in the asylum couldn’t have resulted in her developing such extreme feelings for her mother. In fact, it does make a certain amount of sense: if she is spending her days racked by endless, gut-wrenching shame, humiliation and hopelessness, then the idea of her temporary psychosis from the Finale getting worse is reasonable; it becomes a Conflict for her to overcome.

          However, this is not portrayed as what has happened to her. Instead of the Azula from the Finale getting worse, we get the Azula from the Mirror Scene falling off the cliff; all of her complexities from the Finale are absent. Once more, it isn’t that Azula couldn’t have gotten worse, she definitely could have, it’s that Azula’s relationship with her mother alone does not explain the depth of her complexity established in the Finale, which includes her father and country. If she really is suffering from gut-wrenching shame, humiliation and hopeless, leading her to succumb to wacko delusions about her mother, those feelings have to be coming from something already established: her father and country.

           If you think I’m cherry-picking, go back through The Search. Scenes like the above happen over, and over and over again with zero mention of anything close to her Goals and Motivations from the Finale. Remember, feelings are not Goals or Motivations; crying about “destiny” and having “proof” in a dream sequence are not enough, especially when the Finale already established the myriad of things she wants, why she wants them and why she can’t have them.

          In The Search, Azula is not shown to be motivated by a sense off shame or humiliation over her defeat in the Finale, or sense of responsibility for failing to stop Zuko’s take over of the country. You would expect that someone who wanted to be “the greatest leader in Fire Nation history” would not be dismissive of what their failure resulted in, whether or not her enemies had outside help or not. The closest The Search comes to giving Azula Goals and Motivations separate from her mother is wanting to claim the throne from Zuko over arbitrary reasons of “destiny”. Never in the Finale did Azula espouse “destiny” or a desire to be Fire Lord just for the sake of being Fire Lord; it was tied to her desire to be the greatest leader and please her father. Instead, Azula spends the entirety of The Search lashing out at hallucinations of her mother and wanting to make the voices stop. Not once is her father or country mentioned as Motivation.

           Azula does not get portrayed like this unless “love” and “hallucinations” and “being confused” and “my mother thought I was a monster” are taken as the full extent of her Goals, Motivations and Conflicts. You do not portray Azula like this if you properly understand the Mirror Scene as depicting a troubled teenager believing their parent is lying to them (”Don’t pretend to act proud. I know what you really think of me...”) versus her conscience trying to “weaken” her with “love” (”Same as always, Zuzu. Even when you’re strong, you’re weak). In The Search, Ursa is not Azula’s parent in any capacity, past or present, and we are not shown how she has come to feel this way.

           You do not make Azula’s relationship with her mother this drastic unless you fully believe that everything about Azula can be acquired from the Mirror Scene and the Mirror Scene alone, and it appears this is precisely what Bryke believed.

          In a way, the Azula in The Search is an answers to the macabre question: “How much further out of her mind can Azula go if she believes her mother is the source of all of her problems and every key word and emotion from the Mirror Scene is carried forward?”

           To further this point, here are some key lines from the interview in the Sozin’s Comet novelization where Bryke discussed Azula’s “evil”, with commentary added:

           “As The Beach and Sozin’s Comet showed, she has a lot of unresolved issues with her mother.”

           Yes, it appears she does. Where do they come from?

           “She really feels that her mother didn’t lover her as much as Zuko, and this drives her crazy, literally.”

           Wait, what? She was already falling apart by the time the hallucination occurred. What about Mai and Ty Lee, her father and her role as Princess?

           “There are some truly evil people in the world, but in the case of Azula, her repressed emotions and jealousies corroded her spirit and made her become that way.”

           Made her become what way? She’s the Fire Princess; she enjoys being mean and powerful, and she just had a mental breakdown and fell flat on her ass in front of her nation’s capital. What “corroded spirit”?

           “And who knows, she might have a chance to heal.”

           Heal from what, her villainy? Her personality? Her breakdown? She wouldn’t be Azula anymore?? What are you referring to??

           By itself, the Mirror Scene does not reveal Azula’s Goals, Motivations and Conflicts. By itself, it only shows examples of things that give Azula grief and confusion and clearly recognizable human emotions that the viewer can relate to. In other words, feelings.

           Feelings are not Goals. Feelings by themselves are not even Motivations; they have to be in the context of wanting, needing, desiring something in order for them to become Motivations.

          “My mother thought I was a monster” is not a want or a need or a desire. It is a statement of a Conflict and nothing more, whereas, “My mother thought I was a monster (Conflict) and this eats at my soul (Motivation) because I want my mother in my life helping me (Goal)” is getting somewhere.

          Using the mirror scene as a sole reference is how Azula’s throwing of the hair brush in the Finale turns into shooting lightning at water, or her gripping her hair and screaming to reject the words of “love” from the hallucination, or her desiring to literally murder the physical embodiment of the hallucination; it’s because the writers are trying to wring every drop of meaning from this out-of-context interpretation of the Mirror Scene.

          It’s how her want for the throne is based on vague, brand new notions of destiny instead of duty to her country. It’s how you get not a single word from Azula about wanting to correct her image in the eyes of her father... Because the Mirror Scene didn’t say any of this; it was all about her mother, love and confusion.

           And don’t think this myopic, excessive emphasis on the Mirror Scene and Azula’s feelings was limited to Bryke. Oh no. Nobody is getting off easy.

           Take Aaron Ehasz’s comments about his brain bugs for a Post-Finale Azula arc in a hypothetical Season 4, which many fans have found inspiring and also devisive:

            He focuses on “pain”, “love”, “feelings”, “change”, even uses the magic word “redemption”. These are all abstract. Where are Azula’s Goals, especially those revealed in the Finale? Where is “I will be the greatest leader in Fire Nation history?” What does she want to accomplish in this Season 4? What will she be doing? Feelings are not enough. Motivations are not enough. There have to be Goals attached to them.

            “Azula is in the depths of her abyss” is not a Goal, whereas “Azula is in the depths of her abyss (Conflict) because she wakes up every day with gut-wrenching feelings of shame and humiliation that she wants to go away (Motivation), so she wants her normal life back (Goal)” is, once more, getting somewhere. And better yet: “she will do whatever it takes to end her misery” is the beginnings of a story.

           Now take a look at what author Gene Yang wrote when he was asked by a fan if it is possible for Azula to have “happy closure.” What does “happy closure” mean? Well, as someone who now understands Goals, Motivations and Conflicts, you know that it means a character achieving their Goals and no longer having any Conflicts, but what is Gene Yang’s answer?

           He says it’s not even possible.

           Of course it’s possible for Azula to have “happy closure”. Any character can. It’s a matter of them achieving their Goals or losing the Motivation for them. She’s not a robot.

           But hold on! Wasn’t Gene Yang just being vague? Wasn’t he only trying to make a point to get the fan to think for themselves? Maybe even hide the plot of Smoke and Shadow?

           You could have thought that at the time, but as we now know from Smoke and Shadow, Gene Yang wasn’t making a vague, thought-inducing comment to that fan. He was stating that Azula can’t achieve her Goals or change her Motivations. Remember what her Goals and Motivations were from the Finale: be with her father, be the greatest leader in Fire Nation history, and have a parent who can help her. None of those Goals and none of the Motivations behind them were resolved at the end of the Finale, or by the end of The Search; they were ongoing. We didn’t even find out if they had changed between the Finale and The Search. Now take a look at these two scenes from Smoke and Shadow:

           Not even Azula’s mother and brother know what she wants, and in fact, neither do Gene Yang, Bryke, and for the longest time, the majority of the Fandom.

           Why can this conclusion be made about the Creators? Because Azula’s Goals, Motivations and Conflicts established in the Finale, and which had not been resolved by the end of The Search, disappeared entirely in Smoke and Shadow.      

           Without hallucinations, without her mother’s voice giving her haunting assurances of love, without feelings directly attached to the Mirror Scene, there is nothing else inside Azula in the minds of the Creators. Once she runs away into the forest at the end of The Search, after hearing hollow platitudes from her brother, she becomes “weightless… free”.

           There are no unresolved issues with her father. There is no goal to be the greatest leader in her country’s history. There is no desire to absolve herself of her failures to prevent the old regime from falling. There is no sense of personal responsibility for failing to stop Zuko and thereby prevent the destruction of the colonies. There isn’t even a relationship with her mother if it can’t be tied to hallucinations.

           By placing all emphasis on the Mirror Scene in the comics, everything about Azula became searching for “love” and feeling “confused” because those were the key words used by the hallucination in the Mirror Scene. “Love” becomes just a word she needs to hear (“I love you, Azula” from the hallucination, “You’re still my sister” from Zuko) without regard to who it comes from (supposed to be from her parents) or whether it is actually meant (there is no reason for Azula to believe Zuko, or even seek it from him; he’s not a parent and he’s a mortal enemy responsible for her ills).

           There was nothing about one’s duty to their country as a Princess; there was nothing about living up to her parents’ standards, both parents’ standards; there was nothing about becoming the greatest leader in Fire Nation history, and becoming Fire Lord (either via the letter or vicariously in Smoke and Shadow) is not becoming the “greatest leader” to Azula. It simply means being Fire Lord. This is what was revealed  in the Finale when she still wasn’t satisfied despite being on the verge of being crowned. And finally, there was nothing about resolving her feelings of fear, anxiety, stress and doubt that resulted from her failures to achieve her Goals during the Finale.

           So why did this happen?

           On the Creators’ side, it’s impossible to speak for them, but judging by the interview in the Sozin’s Comet novelization, not even Bryke paid attention to the Phoenix King and Throne Room scenes. They became myopic about Azula’s relationship with her mother too, and forgot all about her other relationships and motivations, namely those involving her father, country and self. As a result, their understanding of their “favorite villain”, as they described her in the Art of the Animated Series, became a vacuous, distorted mirage (literally a ghost in Smoke and Shadow) of her former self and her Arc that was begun in the Finale was abandoned entirely.

           On the Fandoms’ side, it’s a combination of things:

1)    The Fandom had not been “primed” to have their view of Azula challenged, so the “subtleties” of her relationship with her father and country got overshadowed by Ozai donning a ridiculous outfit, Azula banishing people in a blue-colored throne room and “Oh my god, Ursa!!”;

2)    The Mirror Scene was “sexy”; it was eye-opening, jaw-dropping; it made you go, “Holy crap!” The eerie violin score was haunting, the voice acting was top notch and it had big, bad Azula on her knees sobbing like a wimp. Naturally, it stood out in peoples’ minds whereas the Phoenix King and Throne Room scenes fell behind the desk, and thirdly;

3)    Azula’s relationship with her mom is primarily about feelings. A show as visually stunning and well-voice acted as Avatar is, first and foremost, about inspiring feelings in the viewer. In fact, all stories are about inspiring feelings. The Fandom did not go into the Finale looking to learn about Azula’s complexities, so The Phoenix King and Throne Room developments did not receive the same amount of intense, emotional attachment as the Mirror Scene. Simply put, the hallucination of a mother telling her teenage daughter that she loves her, and that same teenage daughter collapsing into tears over it, is much more heart wrenching and relatable to kids and teenagers than the pressures of ruling a military feudal dictatorship in the image of the Big Bad.

Summary

           To understand a fictional character, you have to know their Goals, Motivations and Conflicts. Next, you have to identify their Flaws, Quirks and Personality Traits, which add distinction and depth and provide internal sources of Motivation and Conflict.

Azula’s Goals, as revealed in the Finale, are as follows:

Be With Her Father;

Be the Greatest Leader in Fire Nation History;

Have a Parent Who Can Help Her;

Azula’s Motivations, as revealed in the Finale, are as follows:

Not Be Treated Like Zuko;

Pride & Belief in Her Royal Duties;

Alleviate the Stress Caused by Her Goals;

Azula’s Conflicts, as revealed in the Finale, are as follows:

Her Father Doesn’t Want Her;

She Struggles to Be a Great Leader;

She Doesn’t Have a Parent Who Can Help Her;

           The Mirror Scene and Azula’s relationship with her mother are not enough to reveal her Goals, Motivations and Conflicts. The Mirror Scene, by itself, is only a Conflict, whereas the two additional scenes in the Finale—the Phoenix King and Throne Room scenes—provide her other Goals, Motivations and Conflicts that make the meaning of the Mirror Scene clear: a teenager looking for the support of a parent.

           Excessive emphasis on the Mirror Scene and, by extension, Azula’s relationship with her mother, have created a distorted view of Azula that has harmed her portrayal in the comics and stymied explorations of her value to the Franchise. Instead of Azula being a feudal military leader-in-training who struggles with both her feelings and Goals, she has been reduced to both a myopic interpretation of the Mirror Scene and is limited to her Flaws, Quirks and Personality Traits, none of which are enough to advance her story in the Post-Finale world.

Closing Remarks: How to Move Forward with Azula

           For those fans of Avatar who are curious about what to do with Azula’s Goals, Motivations and Conflicts, and makes use of her Flaws, Quirks and Personality Traits, you have to ask this question: what value can more Azula bring to Avatar?

           No individual character will be more popular than the franchise itself, especially a hated villain who might have the ability to change and grow. Below is a screenshot from Google Trends showing the relative popularities between Azula, Zuko and Avatar: The Last Airbender search results. It demonstrates that secondary characters like Azula are nowhere near as popular as the franchise they are a part of.

           In order to make a character like Azula worth exploring in detail, they have to be made important to both the Main Cast and the Franchise at large. It’s not enough to just have “a” story about Azula; her Goals, Motivations and Conflicts have to be valuable to the Heroes and world of Avatar. There are no hard and fast answers as to how to achieve this, and the franchise has clearly moved on from Azula, but with Avatar being rebooted in live action form, here are some ways to begin approaching this in case the live action version moves into Post-Finale territory.

Azula’s Unique Selling Points

           These are the things that make a character fun, interesting and enjoyable to have on screen. In other words, likable. Toph’s cheekiness, for example, is a Unique Selling Point. Aang’s free-spiritedness is a Unique Selling Point. These can also be called the “fun and games” of a character. They are what viewers want to see, hear and feel when these characters appear on screen. For example, if Toph and Azula are going to appear on screen together after Azula is taken out of the asylum, there better be sass, like in Day of Black Sun.

Azula: Um, right. I think your friend just said that genius. And since you can't see, I should tell you I'm rolling my eyes.

Toph: I'll roll your whole head!

           So what are some of Azula’s Unique Selling Points?

Blue fire;

Lightning;

Skilled martial artist and firebender;

Royalty;

Intelligent;

Snarky and smug;

Smooth-talking;

Confident;

Female in a militarized society, but who does not eschew femininity;

Makes “princess” associated with power and aggression, not passivity;

Dark subject matter surrounding her (e.g. the unresolved emotions in the Finale);

Determination;

Emotional fragility;

Youth (the kid/teenager themes of the show).

Azula’s Value to the Franchise

      This is what makes a character more than just a background character or plot device. It’s what makes them create new fans of the Franchise, add interest, sell product. In other words, add value.

      Haru, for example, adds little value to the Franchise because he’s just a regular Earthbender with no Unique Selling Points and his relevance to the plot and characters is over. Iroh, on the other hand, is absolutely full of Unique Selling Points and provides insights into the Avatar world and its characters. His perspective adds value. His abilities add value. His importance to the Heroes adds value.

      So what makes Azula relevant to the franchise beyond just being a villain?

She can teach us about firebending through her blue fire and lightning;

She can provide an aggressive firebending female, which ATLA does not have;

She can teach us about the Fire Nation through the eyes of someone who doesn’t appreciate Zuko’s transformative policies;

She can teach us about what it means to be a girl/woman in the Fire Nation;

She can teach us about the Fire Nation’s military, government and history;

She can represent the “old” Fire Nation that Zuko must reform.

Azula’s Critical Relevance to the Heroes

           Since any story is ultimately about its characters, Azula not only has to be relevant to the Heroes, but critically relevant to justify deeper exploration. So to which characters is Azula critically relevant?

           Ursa, Zuko, and to a lesser extent, Iroh.

           As Azula’s mother, Ursa will be implicitly concerned with her daughter’s well-being regardless of how us fans feel; as a young member of the Royal Family who can firebend, she is relevant to the Royal Family’s continuation, and by extension, Zuko’s legacy; and as the sister of Zuko, she is Iroh’s niece, in other words, family.

           Essentially, if there is any drama surrounding the Royal Family in the Post-Finale world (and how could there not?), Azula is a fundamental part of it. I call this the “Royal Family Drama Triangle”.

Azula’s Critical Importance to the Plot

           Azula must also be essential to both resolving the Primary Conflict of the story. This forces the viewer or reader to implicitly care about Azula’s Goals, Motivations and Conflicts since she impacts the fate of the Heroes directly.

           What are some of the problems that Azula can be critically necessary in solving? To begin answering this question, you have to sit down and think about what kind of problems the Heroes would face in the Post-Finale world. This article series, How to Develop Avatar’s Season 4, provides one such scenario.

           One way to answer this question is to look at the unchanging aspects of Azula’s character, the thing’s that don’t go away whether she is a villain or not, and these are: 1) she is a young, firebending member of the Royal Family; 2) she is a member of the old regime that Zuko must reform; and 3) she is Ursa’s daughter. This suggests that the type of plot that Azula can take a major role in is one where the Fire Nation and Royal Family are at the center. Princess Azula of the Fire Nation might not care about the rest of the world like Zuko, but certainly she will care about the Fire Nation and its Imperial Government.

           Some of the specific problems in the Post-Finale world that Azula can help solve:

Quelling unrest in the Fire Nation over Zuko’s policies;

Stopping a rebellion against Zuko and the Imperial Government;

Saving the Royal Family from assassination/coup (i.e. eradication);

And others if you can come up with them.

How to Develop an Arc for Azula

           Finally, how do you go about developing an Arc for Azula in the Post-Finale world? Remember that to understand a character you need to identify their Goals, Motivations and Conflicts. This also applies to creating a character, but when it comes to creating an Arc, you have to add in the Epiphany.

           A character’s Epiphany is simple to describe, but difficult to execute: it’s how they grow and change in order to either achieve their Goals, or lose their Motivations and move on in life. The Epiphany is the result of the character’s journey to achieve their Goals combined with their Motivations, Conflicts, Flaws, Quirks and Personality Traits. It is, in essence, what the story is all about. For example, Zuko did not arrive at his Epiphany easy and his decision to betray Iroh in Crossroads of Destiny was not a random step backwards: it was the result of everything about him. An Epiphany for Azula would undoubtedly be complicated and multi-layered, probably much, much more so than Zuko’s.

           To begin developing an Arc for Azula, you first have to identify what remains of her Goals, Motivations and Conflicts from the Finale when the story picks up with her in this new Post-Finale story. Remember that she suffered a mental breakdown, was humiliated in the eyes of her nation and has been locked away in an asylum for some length of time.

           Next you have to devise a new Central Conflict that drives both her and the Main Cast through the story, something that requires all of their actions to solve. Then you have to establish her new Goals, Motivations and Conflicts in relation to that Central Conflict and the Post-Finale situation she faces, and finally, you have to put her in situations that test her, make her think, challenge her values, that make her change and grow. How you do this is up to you, but her are some pointers:

           Always think about her Unique Selling Points. Blue fire? Make her ability to produce blue fire important to the story and not just a thematic decision. For an idea as to how to tie blue fire into the Avatar world at large, see the article, The Science and In-World Reason for Azula’s Blue Flames.

          Azula was locked in an asylum? Make it have lasting effects on her that she struggles with. She is royalty? It better be more than just a title, but responsibility and a part of her personal code. Snarky, confident, intelligent and brave? There’s a lot you can do with someone who doesn’t shy away from danger and enjoys infuriating people, especially when they have the literal firepower to back it up.

           Always strive to make her add value to the Franchise. She is a female firebender, something that ATLA has a dearth of. This is good; make her femaleness mean something. Along these lines, she is a great opportunity for a “Female Power Fantasy”. Just ask R.F. Kuang about it. She is also not the victim of circumstance or the actions of others as many characters in Avatar are. This gives her a different type of change and growth story compared to Zuko’s.

           Use her to talk about the Fire Nation’s militarized culture, the same culture that “pure heart and unquestionable honor” Zuko somehow has to change. Use her to reveal the Fire Nation’s history and politics as it pertains to Zuko’s rule without going into “Info Dumps” since, as a princess, Azula would naturally be concerned with those subjects. Also use her to help advance Avatar’s East Asian themes. The fact that Azula is a feudal leader-in-training and female can give you a lot of material to work with (east Asian origins article).

           Maker her critically relevant to the heroes. Find legitimate reasons for why Zuko, Ursa, Iroh and even members of the Gaang would care about Azula’s thoughts and feelings; if they care we care. Don’t think this is possible? It is definitely possible.

           And finally, make Azula critically important to the plot. She cannot be a side character; she is too loathed and hated and has too much bad blood with the Gaang for her presence to be tolerated without some pressing need for her to be around. Whatever role she takes, it has to be big. It has to be obvious that Azula’s involvement is required. The Gaang has to think, “Well, damn, we need Azula’s help.” Zuko has to think, “I hope she makes the right decision and helps me. I know she can.” Iroh has to think, “I hope my niece isn’t killed.” Ursa has to think, “I want the love of my daughter. I want my daughter back.”

           In short, you have to make Azula important.

           Remember: her Arc in the Finale was not finished. It still can.

#Avatar The Last Airbender #atla meta #avatar comics #Azula #azula meta

[tuiyla]

She-Ra’s like, really good, people

It’s been over a week since She-Ra season 5 came out and I binged it and this is not going to be coherent but I just want to rant about it a bit before writing some more structured metas. I deffo wanna write about Catradora and how I think SPoP is the true spiritual successor to the Avatar.

But first, let me just scream about how good this show is. I already started rewatching it, pretty much straight after finishing it, and I don’t rewatch tv shows often. The exception is Avatar (seen it like 15 times) and sitcoms. But She-Ra is so layered that I felt like I needed to watch it again just to appreciate the dynamics even more.

I already enjoyed the first season but it kept getting better and better. I’m not in love with the art style and it’s definitely for a younger demographic overall than my other favourite animated shows, but like any good kids’ show it balances tone well. It doesn’t talk down to its target demographic but also includes more traditionally mature themes in a digestible and entertaining way. Not all the jokes landed for me but as the series went on I learned to appreciate the tone and the type of humour She-Ra goes for.

It’s funny to me because this is definitely the type of show I would have rejected as a kid, with all the princesses I would have deemed it “too girly” and therefore not for me because screw gender roles. There’s a degree of internalized sexism to that, for sure, a rejection of the feminine because it’s always been seen as less somehow. But there’s also a truth that, at least in my childhood of the late 90s and early 00s, children’s media targeted at girls often had a poor quality to it, at least when compared to “boys’ stuff”.

She-Ra is not only a clever, heartfelt, complex story, it also transcends that binary of having to be either for girls or boys. I know most of modern animation rejects that as well, but She-Ra embraces so many traditionally feminine qualities while also going beyond gender roles and even the gender binary. This show is so queer, man, and I love it. It’s especially impressive when you consider the source material that was literally just the girly version of He-Man. I have no beef with 80s She-Ra, haven’t seen much of it, but this is such an upgrade.

That being said, I would have loved to watch She-Ra as a kid. I’m so incredibly envious of kids, aged around 10, who get to watch this show as they’re growing up. But I am so, so, so happy for them and for the future of animation that shows like She-Ra can be made now, that they’re being made. I’m going to go into spoilers soon, but just before that: She-Ra’s a perfectly enjoyable show in many aspects. I think the worldbuilding’s pretty cool, the story feels coherent and planned out, it’s lighthearted and so genuine. That’s the word that I ultimately choose to describe the series: genuine.

I feel like so much of TV aims to be dark and gritty nowadays, animation included, and though that’s slowly turning to dark comedy or a balance between fun and serious, it’s still the norm. At some point in the last decade, creators became terrified of being judged as cheesy. Even something like the MCU bathes in bathos to avoid being cheesy. But She-Ra proves that creators shouldn’t be afraid of being genuine, of basing characters and storylines on the simple power of love. Like, it’s such a cliché trope but I think that’s mostly because it has become stale.

Noelle Stevenson has talked about the importance of love in her story and I’m so grateful for that. Through, She-Ra, she’s truly proven how powerful love can be in a story and how it doesn’t have to be cheesy. It’s just so unabashedly genuine. The power of love and friendship literally saves the day several times but it’s always so genuine and more importantly it always makes sense that it doesn’t get boring. If the foundation wasn’t there, then I’d say “well this is just super cheesy”. But the show makes a point of building relationships and making them the focal point of the story.

Alright, so, spoilers because I need to talk about character arcs and THAT KISS and just everything. I really need to write more in depth about Adora and Catra and their relationship but for now I feel like it’s so important to appreciate how they’re developed. Everything from their shared childhood to their trauma with Shadow Weaver and the finding their way back to each other, it’s just *chef’s kiss*. It’s so well-written and believable. Ngl, I do have some minor issues with Catra’s redemption arc. Let’s just say that on a scale from Kylo Ren to Zuko, she’s definitely closer to Zuko. I also appreciate Shadow Weaver’s death scene and how it allows them to move on. I didn’t see that one as Death as Redemption and it shouldn’t be. Again and again the show made it clear that she was abuse towards both girls and nothing will negate that.

From what I can tell, the fandom really latched onto Catra, even when it wasn’t clear whether she’d get a redemption arc. I think that’s important, because unlike some characters in animation, Catra’s actions were almost always framed appropriately. There was always an understanding as to where she’s coming from, how she’s acting from a place of hurt, and yet her actions weren’t justified. They weren’t suddenly all okay just because she’s hurt, too. I especially loved in the season 3 finale when Adora was allowed to finally say no, to say that Catra’s actions were not her fault. That season as a whole was beautiful, like, episode three when Adora’s struggling so much and Catra has the opportunity for a better life but she still fails to choose her own happiness because she’s too bitter over SW and Adora? It’s poetic cinema. I love that angst, so well done.

It would be so easy to misfire in Catra’s storyline and either a) write off all the awful things she does because she’s just “misunderstood” or b) irredeemably stuck in her abusive environment with no hope of escape. They balanced quite well there and managed to handle such a complex character with delicacy. I’m quite happy with how Catra was portrayed because on the one hand, she’s painfully relatable to me and I assume to many others. The audience can see their own mistakes reflected in her character because we’ve all been too stubborn, done things out of spite, refused to acknowledge that we were wrong because we were hurting so much. At the same time, I always felt like the show gave me enough space to judge Catra’s actions and acknowledge that she was in the wrong. I honestly think I would have been a better adjusted teenager is if saw this show just before my angsty years, lol.

I’m going to write more about Adora at some other point but I love how vulnerable she’s allowed to be. Protagonists never used to be my favourite characters because they all seemed the same, with two major categories: the stereotypical male hero who can do no wrong or the angsty boi who can be shitty and the text still frames him as awesome. It’s only recently with series like The Legend of Korra and She-Ra that I go “damn, protagonists can be like that, huh.” Adora is a dumb jock who tries so hard and she deserves all the hugs in the world.

Also, Catradora? Breathtaking, amazing, groundbreaking. No doubt She-Ra needed shows like Adventure Time, LoK, Steven Universe and the likes to pave the way but still, it went there. I saw people be anxious about whether they were gonna be queerbaited, but I always, idk, knew? Trusted? That She-Ra would follow through. I didn’t wait six years for Bubbline to happen for Catradora to not get their big damn kiss. The series has been so effortlessly queer from the get-go that it just made sense that they were always heading there. I did see a gif of the kiss before watching s5 and ngl, that spoiler kind of bummed me out in a way that I wanted to be surprised. But even before I saw that I wasn’t worried. And the context of their journey in season 5? That cannot be spoiled by a simple gif. You have to experience that to fully appreciate it and that is the marker of good storytelling.

I understand that, though this should be the norm by now, Noelle Stevenson still had to be smart about how she approached the execs and she wasn’t sure this could happen. I cannot tell you how happy I am about what she said regarding how Catradora was so integral to the story that the execs couldn’t not allow it. That’s so brilliant, and it feels so natural in the story. Queer love saves the day and it’s not ambiguous, it cannot be censored because you lose a part of the story without it. You did it, Noelle, you funky little lesbian, what an icon. I can’t wait to see more stuff from her.

In other news, I appreciated other characters as well, like how all the princesses got to be different and awesome in their own unique way. Season 5 was great for so many characters, Mermista got so much to work with and Spinnerella and Netossa got so much more characterization than in previous seasons. Glimmer continued to be the third most important character in the story and I’m happy about all the relationships that also got to be canon. Good characters and dynamics all around, no wonder since the show is built on that.

Such a satisfying conclusion and one that makes you feel like this is just part one of a much bigger story. Such genuine, heartfelt moments, well-developed characters, complex themes explored in a respectful and digestible way, and such an unapologetically fun show. Melissa Fumero as a side character? Yes please. Catra’s new haircut? Heck yeah! She-Ra’s new design? Oh my.

I’m not even like, super into She-Ra, and I usually don’t write so much about things I only watch casually. But this show is so good and important that I had to rant. And I will write more about it eventually, but for now I needed to get all of this out. I’d give it a better structure but if I really get into I might never end up posting it so for now here, have this ramble of love. She-Ra, of all shows, deserves that.

#she-ra #spop #she-ra and the princesses of power #catradora #spop spoilers #my thoughts #that's pretty much it for now

[ringdeck]

okay now i've actually slept i'm coming back to this because as a long-time fan of yugioh the idea that kaiba needs a redemption arc is frankly insane to me. seto kaiba is a fantastically well constructed character, his arcs are ones only he can have, and narrowing that down to "when will he and joey hold hands" would shred him of every positive point he has.

first of all, blaming him for the fact that people keep getting into magical gunfights during his card game tournaments is ridiculous. i cannot believe i had to see someone list "did not stop the duel when they passed out" as a thing he maliciously did and needs to atone for. teá wasn't crawling up onto stage to do emergency cpr, but i don't see anyone calling her a monster for it.

frankly, letting joey collapse on stage is probably the first sign of kaiba actually respecting him we ever see. he worked until he collapsed, his entire childhood, because it was important to him. letting joey finish his duel when he decided he was done instead of swooping in to nanny him is genuinely the only time i have ever seen kaiba deal with him as a Fellow Duelist Who Has Drive And Ambition instead of ugly yugi dog friend who screams at me every time we meet for 0 reason.

secondly, and more importantly: fuck you. zuko needed an arc because atla was about genocide. seto kaiba has already dismantled his father's empire by the time we meet him. that's the point. he did all of his moral growing off-screen. he never believed the hype. he always saw the victims. and the second he could he burned the whole shit heap to the ground.

what kaiba needed wasn't an arc about becoming a nice sweet person like all abuse victims should, but about making friends who could meet him where he was at: a rude hyper-competitive weirdo. and he got it! he made a friend who over time proved to him again and again that there were people in his life who didn't need him to skip around holding hands, who didn't hold him in contempt for being too mean and suspicious after those years of abuse, and who he could trust to ask for help without that "sign of weakness" being used against him later.

yes, because of plot armor atem had to always beat him in the end, but the prideship duels are some of the most fun and actually inventive that ygo has, because seto kaiba being a prodigy strategist has to remain true even if he never wins. besides mokuba, atem is probably the first person ever to play a game with seto kaiba where the winner and loser spots don't mean life or painful death.

yes, he doesn't get along with the scooby gang. yes, he says mean and rude things to people all of the time, constantly. yes, he doesn't actually care if people signed up for seto kaiba's on fire duelist stadium tourney and then get burnt. so? that's not a thing he needs to overcome. he's right there on the ground of that on fire stadium with everyone else, trusting that they're as serious with their commitment to the sport as he is, and waiting for them to tap out.

sending him on a road trip would strip everything that makes him compelling and interesting and allows prideships to develop eachother and actually face the moral quandries of the last arcs head on. you may as well say dragon ball would be more interesting if vegeta stopped being bitchy.

#seto kaiba #🍎

[pidgebeifong]

atla characters as bnha characters (part 2)

Post-redemption arc Zuko (aka thank-god-ur-not-bald-anymore) as Todoroki Shouto

if you didn’t see this one coming idk what to tell you

Daddy Issues™

emotionally scarring burn on left eye inflicted by a parent

Co-Presidents of the Shitty Dads Club

gorgeous, sweet, out of ur league

have to be at least friendship level 3 to unlock Mysterious Tragic Backstory

fire powers that they wouldn’t use/lost the ability to use for a while

hot (both literally and figuratively)

the favourites of their fandoms

Socially Awkward™

both have a sweet & kind friend who’s partly the reason they’re not angsty and emo anymore, everyone say thank you midoriya for giving us the todoroki we have today (give me platonic!zukaang/tododeku or give me death)

started out friendless and now they have like six bffs

‘farther is for physical distance, further is for metaphorical distance, and father is for emotional distance’

Pre-redemption arc Zuko (aka what-the-fuck-is-that-ponytail) as Bakugou Katsuki

weird hair

Angery Bois™

im sorry they both look like really angry pomeranians i can’t take them seriously

‘you wanna go?! you wanna fuckin go?!’ tell me that isn’t the entirety of bakugou’s dialogue summed up in two sentences

‘let me see what you have’ ‘A KNIFE’ ‘NO’

torments the hell out of peace-loving main protagonist & hunts them down

both have had their lives saved (kinda? at least deku tried) by the main protagonist when they were still assholes

have father figures (kinda? does all might count?) who just want them to stop being fucking assholes and make the right decisions for once but do these dumbasses listen? no

have kidnapped someone/been the one who got kidnapped

100% would recommend anger management therapy. pls for the love of god sort out ur deep-rooted issues

repressed gays

zuko gets a pass bc of his emo tragic backstory but honestly baku was such a jerk to deku in szn 1 for literally no reason. fuck you bakugou

Azula as Dabi (aka Todoroki Touya, we all know it’s true at this point)

yes i have a special place in my heart for villains with blue fire and tragic backstories, what about it

figuratively and literally hotter than their siblings (don’t @ me y’all know it’s true)

the ‘evil’ sibling one of whom was actually just misguided and whose redemption arc i’m still waiting for, but i’m not going to elaborate on that bc the way the atla writers handled azula just makes me mad & I’ll end up talking forever about it

fathers majorly fucked them up (ozai was abusive to azula, fight me)

kinda psycho

god if dabi really does turn out to be a todoroki and still doesn’t get a redemption arc i am suing. my heart cannot take this pain again

their most popular ships are both gay with a person who’s the complete opposite of them and have/will inevitably betray them in the end (tyzula, hot wings. manga readers know what i’m talking about but i don’t think dabi/hawks is too popular a ship with anime-only fans yet)

Ty Lee as Ashido Mina

pink!!! pinkity pink pink

bubbly and fun, peppy attitudes

‘be gay do crimes’

actually incredibly dangerous and formidable even though they don’t really look like it (can you imagine fighting someone who can literally paralyze your entire body with a few punches? or shoot honest-to-god acid at you? we stan two (2) queens)

really flexible and good at sports (ty lee’s acrobatics, mina’s hip hop dancing)

both part of iconic squads (ozai’s angels, the bakusquad)

both their squads have a kinda mean leader (azula, bakugou)

don’t really take criticisms too harshly and always brush off mean comments by azula or bakugou with a smile

yeah i don’t really have a lot to say about them bc they don’t have a lot of screen time (we were robbed) but they’re cool

Mai as Aizawa-Sensei

110% done with ur shit

Did Not Sign Up For This

the OG emos

*drives up to mcdonalds with ten kids in the backseat clamouring for fries, orders one (1) black coffee and leaves*

every day their will to live dies a little more

neither of them have bending/powers that are useful in combat so they’ve both learnt to be really good at fighting the traditional way, without bending or quirks

just let them sleep ffs

kinda hot when they’re fighting

dragged into dangerous situations by the main characters when they just want to mind their own business and take a nap

‘wake me up (wake me up inside)’

Uncle Iroh as All Might

father figures

cheerful, jovial, always there to save the day

very powerful & strong

kinda old

both have antagonistic relationships with the ‘abusive fathers in power’ in each of their respective series

you probably can’t tell but i really don’t like iroh (even tho i adore all might) so it’s kind of hard to find good stuff to say about him, but i’m trying

give good advice that’s useless anyway bc the protagonists literally never follow it

both adopt a young boy who isn’t actually their kid but whom they have a closer relationship with than the boy’s actual dad has with the boy

train that young boy to become their successor

Fire Lord Ozai as Endeavour (aka human pieces of shit)

FUUUUUUCCCCKKK YOOOUUUU

burn in hell

apologise to your fucking kids

why was end*avour given a redemption arc in the manga that’s just as bad as h*ggar getting that stupid fucking redemption arc in voltron, makes absolutely zero (0) sense

good at one (1) thing and it’s giving their kids emotional trauma that they’ll have to carry around for the rest of their lives

have stupid beards and moustaches that makes them look like paedophiles

being indirectly/directly responsible for burns on their sons’ left eyes

hold on a sec i’ll be right back just give me a moment, i gotta go punt these dickheads into the mfing sun

if they were dying of hunger and i had a feast in front of me, i’d tell my servants to burn the leftovers

Princess Ursa as Todoroki Rei

both forced into marriages because of their bloodline/powers that would make their future kids strong

had abusive husbands who were very powerful and feared

scarred their kids (literally)

disappeared from the household while their kids were still young due to an incident where they killed/harmed a family member (ursa poisoned fire lord azulon, rei scalded shouto’s eye)

had a child/children who was/were disregarded in favour of the child who was favoured bc of their abnormally strong powers

unintentionally abusive (ursa fucked azula up bad, don’t @ me)

idk what else to say we got like two and a half seconds of screentime in total for each of them

Bonus:

Emo Zuko (like even more than normal) as Tokoyami Fumikage

professional Edgelords™ such darkness

so drama

very emo

Sparky Sparky Boom Man as Bakugou Katsuki (aka sparky sparky boom boi)

boom boom time to die

#avatar the last airbender #atla #prince zuko #zuko #azula #princess azula #bnha #mha #boku no hero academia #my hero academia #todoroki shouto #shouto todoroki #bakugou katsuki #katsuki bakugou #all might #uncle iroh #endeavor #fire lord ozai #tokoyami fumikage #mai #ty lee #ashido mina #mina ashido #fumikage tokoyami #ozai’s angels #princess ursa #rei todoroki #dabi #todoroki touya #sparky sparky boom man

[yannasunflower]

flux

on today’s episode of “yanna needs to stop writing new things and work on her wips”. i love this show and i wanted to write a lil something that’s been at the back of my mind for a while. always wanted to know what happened while Katara and Zuko waited to hear if they were able to win the war, or if their friends would survive or not. may keep this as a one-shot, may turn it into an actual fic with an Azula redemption arc and actual Zutara shenanigans and politics GALORE. who knows? enjoy!

~~~~~~~~~

Katara is sure he’s dead. She’s never been more sure of anything in her life, to be precise. Azula’s aim is impeccable, Zuko has always been at least a little suicidal, and Katara is a waterbender who is absolutely useless against lightning. Tears are streaming down her face and she’s trying to convince her sputtering heart to keep beating even as she runs toward his prone body, so lifeless, so helpless on the cold, stone ground.

It is no place for a son of Agni.

She falls to her knees and doesn’t stop to listen for a heartbeat, just puts her hands to his chest and prays. The wound is gaping and raw and scorching. She tries to keep her memory from racing to another night on Appa’s back when she held the world’s future in her hands for the first time. Katara hiccups, not sure if she has felt fear like this since Aang took the same lightning bolt in Ba Sing Se. Lightning that put him in a coma for weeks, a wound that didn’t let her sleep for days at a time. 

Aang had been necessary to world peace but right now, looking down at Zuko’s pale, fine face, Katara knows in her gut that Zuko is just as instrumental to the future Aang saw, was willing to die, that they were all willing to die for. The comet is still streaking a path of fire through the sky and behind her, Azula is screaming like a wounded animal. 

Katara flutters her fingers, inhales, holds her breath, squeezes her eyes shut and tries to imagine the heart in Zuko’s chest, one that is red and bleeds just like hers would be if Zuko hadn’t been so damn noble, so honorable. The thought makes her flinch even while her hands stay steady.

And then she feels more than hears the first tremblings of a heart that’s alive. The heart beneath her stirs, beats, skips, and beats again, stronger and steadier with every passing second. She’s sobbing and thanking every spirit out loud she can think of: Agni, La, Tui, Yue, Agni again for saving his son.

Zuko’s body twitches, his fingers curling inward. Katara could jump for joy when his eyes open, still gold and bright. His voice is quiet and low but strong. 

“Thank you, Katara,” he rasps. 

Katara can’t stop herself from throwing her arms around his shoulders, sobbing freely now, unable to imagine a future where his heart had remained still forever. Was it only weeks ago she had wanted to throw him from a cliff?

“I think I’m the one who should be thanking you,” she sniffles when she can finally let go of him, trying her best to give him a big, if somewhat watery, smile. Zuko smiles back, awkwardly like he does everything, and Katara resists the urge to hug him again. 

“Where’s - what happened to...Azula?” his words are halting. Katara helps him sit up, healer eyes careful to catch any wince. 

She jerks her head in Azula’s direction and watches as at first, understanding, then, an indescribable sadness passes over Zuko’s face. She helps him stand at his insistence and when he finally sees his little sister, chained and broken, tears streaming down her face even as she sends fire roaring into the red sky, Katara’s heart breaks. A single word is threaded in Azula’s cries, mama, and Katara’s breath hitches. She looks away, unable in that moment to see anything but a frightened girl she knows she cannot help. A war criminal, a killer, a teenager who was never meant to fight the way she did. 

Attendants are flooding the courtyard. Katara can see the understanding dawning on their faces, many of them scurrying in the direction of what she presumes are the Fire Sages who fled at the first sign of Zuko. She glances at him, sees the grim knowing in the set of his jaw.

“Find the Fire Sages. And someone sedate my sister.” Katara flinches. She does not envy the poor soul tasked with shutting a wild Azula up.

His voice rings through the courtyard, commanding, more powerful than he probably feels, sagging against Katara. She frowns up at him, guiding him to the stone steps and setting him down carefully, gently.

“I need to clean that wound and bandage it Zuko, now is not the time for state matters,” she admonishes, preparing herself to pull more water from the soaked ground. Zuko grits his teeth and she recognizes the way his eyes flash molten gold at her. Zuko is truly the most stubborn person she’s ever met, and she’s met Toph Bei Fong. 

“Scowl at me all you want, I’m cleaning that wound right this second, even if I have to tie you up to do it. Wouldn’t want your Fire Sages walking in on that I bet,” she growls. He shuts his mouth with a click and she gets to work, trying to be gentle, clenching her jaw at every hiss of pained breath Zuko lets out. With Zuko out of immediate danger, her mind wanders to Aang and Sokka and Toph and Suki. Spirits, her father and her tribe’s men. She wonders if Iroh and the White Lotus have recaptured Ba Sing Se, if they ever even had a chance in hell of it. 

Mostly, she tries not to imagine her father’s face if Sokka never comes back. 

“Do...do you think Aang is out there, fighting my father?”

The question is quiet, almost a whisper. Katara pauses to consider it. She manages to flash a smile she doesn’t fully feel at him. 

“Aang always comes through,” she answers. It is as honest one she can give. It seems to satisfy Zuko, who leans back on his palms as Katara rips the hem of her tunic and wraps it around his torso. 

“If,” Katara can’t finish the question. She looks away, at the damaged rooftops still burning, gnawing on her lip. Azula is still shooting blue fire and sobbing and really she knows there’s a comet but how much fire does Azula have? Zuko waits. “If Aang doesn’t defeat Ozai...what will happen to us?”

There is silence for a moment. Katara is afraid to look him in the eye, to even look at his face, so she keeps her gaze focused on wounding the bandage around his chest, tightly but not too much. She ties it off much more carefully than usual, trying to avoid the moment when she will have to look up.

“He’ll try to kill me,” Zuko finally says after a long pause. He can’t run from his homeland again. Her horrified eyes dart to his, mouth open with shock at the mere idea of a father murdering his son. A grin almost curls at the corner of his mouth. Zuko knows that Katara, for all her strengths and intelligence, for all the awful, inhuman things she had seen during the war, he knows that perhaps the one thing she and her brother cannot imagine is that. He realizes, a little abruptly, he has never told any of them how he got his scar.

It’s a story for another day, one bathed in sunlight, where his father’s shadow cannot reach him. He likes to think that day will come, that it exists in his murky future.

The Fire Sages arrive, immediately falling to their knees and pressing their foreheads to the ground, still wet from Katara’s water. She glares at them balefully, disgusted by their spineless cowering and simpering. 

“Prince Zuko,” one whimpers, voice somewhat muffled by the floor. “The Fire Sages welcome your return as the rightful heir to the throne.”

Zuko says nothing. She can’t read his eyes or his face, smooth and imperturbable. With a pang, Katara sees the Fire Lord he could become. She is sorely tempted to tell the cowards to scramble in language she has picked up from travelling some of the coarser parts of the world. But this is not her nation, not her palace, and it is not her crown at risk.

“Sit up,” Zuko orders. He speaks with a new authority, one he never uses when talking to her. She blinks a little. It is hard to keep up with Zuko’s faces and sides at times. “Preparations for my coronation will begin immediately. You will declare me Fire Lord in the next hour. We can have a more formal ceremony at a later date.”

Whatever objections the Sage had been about to sputter died on his lips with one hiss from Katara and a little help from the water rapidly freezing around his wrists. Swallowing, hard, he rises to his feet, as well as his companion, who pulls a familiar object from his robes. 

“An honor, my lord,” this one rumbles and he meets Zuko’s eyes with a little more defiance than the first. Zuko holds his gaze. The air warms by at least a few degrees. While not versed in Fire Nation politics, Katara is somewhat sure the proper address should have been your highness. By the narrow slit of Zuko’s molten eyes, the slight had not passed unnoticed. She shivers. Katara resists the urge to throw the Sage into the ocean, to make him and his hard, dark eyes disappear. He is a viper in a snake’s nest, at home in a court that Zuko has not truly belonged to for years. The hairs at the back of her neck prickle. 

The ceremony is brief and to the point. Katara is beginning to scan the sky for a messenger hawk or some other sign that her brother and their friends are alive. The comet is fading away into the darkening sky. Every moment that passes is painful, agony really. Zuko stands up, shoulders squared and straight, crown gleaming in his black hair. Katara forces a smile, swallowing bile, taking his arm and walking with him to a chamber just a little ways down the hall. When the door closes after a bowing servant, she presses a careful finger to the wound, relieved to find it still closed and not-bleeding. 

Her body sags without permission. She is tired, deep in her bones and blood, with a world to rebuild in front of her. Zuko doesn’t look any better off, the dark circles under his eyes difficult to miss. He plucks the crown from his hair, letting it fall loose around his face once more. Katara brushes an errant strand from his cheek, gently, and she marvels at how Zuko no longer flinches from her touch. When had he begun to look at her with trust in those eyes? When did he stop wincing at every movement she made?

He leans into her touch, just a little, and she allows her fingertips to graze his cheek, enjoying the way his eyes fall shut seemingly without permission. There was a time when Zuko had found it difficult to sleep around her, and there was a time when Katara had stood guard outside his door, stiffening at every noise while he slept. Now, his eyes remain shut and it doesn’t take Toph’s hearing to know his breathing has slowed. 

They don’t move for what feels like days. When he stirs, Katara startles just a little, averting her gaze quickly, praying Zuko hadn’t caught her tracing the thick black (how unfair) eyelashes that fluttered against his cheekbones (too fine, too angled, the bastard even had good bone structure) with her eyes. She stands, wringing her hands, feeling the last of the water in her skin swirling restlessly. 

Katara orders tea and watches with no small amount of amazement as Zuko pours it gracefully. She had nearly forgotten his time working a menial tea shop job in Ba Sing Se. Somehow, the sight of an injured Fire Lord Zuko skillfully pouring her steaming tea is both humorous and disconcerting. 

“We should have heard by now,” she frets as the sky still darkens and time still passes with no word from any of their allies. Outside, she knows the palace is in disarray and the nobles are probably wondering if it is safe to come out yet, but Zuko is in no condition to appear before them as their new Fire Lord, he looks exhausted, La she wishes she could let him sleep. But the world is on fire and Katara is drinking tea mostly to preserve her sanity at this point, so damn the nobles and damn the politics. 

The waiting is almost worse than the fighting. After a few comfortable minutes spent in silence, Katara’s worrying breaks it again.

Zuko flashes her a familiar, exasperated scowl. 

“Stop fidgeting, for Agni’s sake,” he sighs. His tired, overly-patient tone is familiar. Afternoons watching him and Aang work through firebending forms flood her mind. She grins sheepishly. “If Ozai had defeated Aang, we would know by now. That’s not something he would keep to himself for longer than necessary.”

The words soothe her, but only slightly. Because by defeated he meant killed and the thought of Aang’s small, broken body is too much for her to bear. 

“Katara.” Zuko hesitates, and she waits, because they always know when more is coming, they always know when to wait for the other. 

“Thank you, for healing me,” he says and she can’t help but laugh at the genuine, earnest way he looks at her from under those unfair lashes. It’s a boyish expression in a face that long ago lost its roundness.  

“You already said that,” she dismisses him. “And I told you, I’m the one who should thank you. I would be dead if it wasn’t for you. You almost threatened the future of the world to save me.”

Zuko looks slightly confused. 

“You are the future,” he says and damn him he’s done it again. Her heart is sputtering, blood rushing to her cheeks and she briefly considers trying to bloodbend the blush away. Because Zuko’s face, no longer boy-round, permanently scarred by the cruelty of his father, is so damned honest and grateful and la, she is trying hard not to wonder what would happen if she leans forward, just a little.

Zuko’s eyes are more than gold, she finds, especially in firelight, and is this what Agni’s eyes would look like she tries not to wonder, tries not to see that she has leaned closer, unwittingly, or maybe not, her thoughts a jumbled tangle of heat and fear and spirits there’s still a war going on. But she can’t help but notice that Zuko isn’t moving away, is just watching her face in a way that sets her bones on fire and spirits, she wants to touch his cheek again - 

A rapid, soft knock on the door makes her gasp. She throws her body away from him in a ridiculously dramatic motion. It’s only a servant, asking if her new Fire Lord would like food, bowing all the while. Katara takes that moment to straighten herself, gulping in steadying breaths and pushing the stolen moment far, far from the front of her mind.

“Have any messages come for me?” Zuko asks and the servant girl shakes her head. Katara’s heart sinks and from Zuko’s thin mouth, fear is beginning to settle into his bones, too. 

It only takes a few moments of awkward silence after the servant leaves for Katara to start fidgeting again. She has just about made up her mind to take Appa to where the Fire Nation’s fleet had planned to raze the Earth Kingdom to the ground when a servant enters, bowing low at the waist, a sealed message in her hand. 

“Pardon me, Your Majesty, but a messenger hawk has just arrived from Ba Sing Se.”

Zuko grabs the message hungrily, breaking it open and scanning the words before the girl has straightened from her bow. He sighs, deeply, and Katara reads it over his shoulder, nearly bursting into tears again with relief. 

“They recaptured Ba Sing Se,” she whispers. Her hand grasps Zuko’s shoulder and he reaches a hand up to clasp it silently. For a moment, the world straightens. 

“Please bring any other messages directly to me,” Zuko says. The girl can’t quite stop herself from blinking rapidly before bowing low again and retreating, red definitely crawling up her neck. Zuko looks confused and Katara nearly laughs. She doesn’t have the heart to tell him that she doesn’t think Fire Lords often say please when addressing servants. 

A distant scream sends Katara scrambling for her waterskin and Zuko trying to jump to his feet, failing miserably and crying out as he slumps back. 

“Stay put,” Katara orders him, forgetting for a moment the crown on Zuko’s head. She runs out before she can think too hard about it, her legs taking her to the courtyard, water already rising from the stones, fire burning in her veins because Zuko bled for this palace, these people, before a familiar wolf tail registers in her heart. 

“Sokka!” She definitely screams it a little, nearly falls at least twice as she rushes forward and throws herself into his arms, his healthy, alive arms. He’s on crutches and his leg is bent strangely but she doesn’t care because he’s alive and holding her tight and trembling against her. Suki grunts a little, bearing the brunt of his weight, but makes no complaints, smiling too broadly to feign irritation. 

Aang is standing next to him when she finally pulls back, a tired smile on his young face. 

“Hey Katara,” he says and he sounds his age for once but she doesn’t care because La, he’s alive and so is Toph and Suki and she’s going to cry again. She’s not sure who is hugging who but it doesn’t matter because all of her friends are breathing and here. 

“Where’s Sparky?” Toph asks when they all manage to disentangle themselves. Katara’s eyes widen and she gasps. 

She turns on her heel to find a very injured Zuko hobbling down the steps. 

She runs to him, throwing his arm over her shoulder and shooting him an apologetic grin. 

“Agni, did you think you could face Ozai alone?” he wheezes and she laughs because he is alive, too, and he took lightning for her, and everyone she loves may have just made it out of this war. 

The group rushes forward, murmuring sympathies, arms reaching out to embrace Zuko, and they fall into another tangled hug, tears streaming down faces, Sokka complaining about his leg, Toph grumbling about sappiness even as she slings to Katara like she’ll never let go. Katara looks at Aang and his grey eyes are still alight with something that is all him, all Aang the airbender, and he smiles at her the way a child who has not been ravaged by war would. 

Questions and answers will come later, as will healing and scars and hard work and negotiations. In the light of the lanterns and the moon and the small spots of fire the servants have not yet put out though, Katara clings to her family and begins to realize that the war that killed her mother is over. The war that took her father, took Aang’s people and Zuko’s innocence, took Azula’s soul. It is over. 

She is alive, they all are, and they are breathing in a new life, a future. Together.

#yanna speaks #text #atla #zutara #zuko #katara #azula #gaang #atla fanfiction #atla fanfic #canonverse #avatar: the last airbender #iroh #toph #suki #sokka #azula redemption maybe??? #please reblog and let me know what you think!!!