#I am also conflicted about Katara in the live action

[zorosnavigator]

All the people complaining abt Katara not being 'angry', 'passionate' or 'raging' enough in the live action and then then you'll see Katara in s2 being the angriest motherfucker ever (against the fire nation, Zuko, or Sokka, even Aang... whatever they'll decide to do) and people will still be like 'wait. wait. no! nononono! angry, but not like that! '.

[sokkas-therapist]

Ok so I decided I am going to post that “atla live action hot take” I mentioned

Click below the cut if you’re interested in hearing my take on the whole “taking away sokka’s sexism” thing

1) nobody is glorifying sokka’s sexism by saying it should be kept in the show. It’s quite literally the opposite. The original series did a great job using his sexism as a lesson; any time sokka made a sexist remark in the first 4 episodes it was made abundantly clear that he was wrong, and as soon as Sokka was proven wrong he admitted that he was misguided, apologized, quite literally bowed down on his knees to ask for forgiveness, and even asked to learn from the kiyoshi warriors, and excepted wearing their traditional uniforms, further surrendering his flawed perspective of societal gender roles. A wonderfully executed example of writers using their characters to teach viewers a lesson: which was, in this case, that sexism is wrong. Sokka’s sexism was not left unresolved, so why take away a valuable lesson in the show??

2) if you take away a character’s flaws…then they don’t have development. A character can’t learn and grow from their mistakes if they never make mistakes.

If a charecter starts off perfect and unflawed then they are surface level and lack depth or the ability for an arc.

And no, this is not saying that Sokka didn’t have many other admirable qualities like his intelligence and adaptability etc.. He 100% had those qualities. But one of the coolest things about the original atla series was their ability to flesh out side charecters and give them depth. A charecter who is simply smart then becomes smarter, or adaptable then becomes even more adaptable, lacks depth and internal conflict.

Sokka’s sexism was the starting point for his internal conflict. Sokka wasn’t just sexist to be sexist, or because the entire southern water tribe was misogynistic (and we know for a fact they weren’t, because if they were misogynistic, then Katara wouldn’t have been shocked when the North denied her waterbending training). He was misogynistic because being seen/accepted as a “man” and a strong warrior was all Sokka wanted after his father left him behind. In reality, we know his father was only trying to protect his son from the horrors of war. But to a young and impressionable child, Sokka internalized this as him not being “man” enough, so he dedicated himself to becoming the person he thought would make his father proud. He was always reaching for this unattainable standard he set for himself, which lead to him having a skewed and toxic view of masculinity that he took out on the women around him. He associated being a worthy warrior with being a traditionally masculine man, and leaned way too far into fulfilling the gender roles men and women are told to play in society in hopes of gaining his father’s approval. We see him do this by suppressing his feelings of inferiority as a nonbender, along with all the aspects of himself that he thought could be seen as “weak” or “feminine” (ex: his love for shopping and poetry and art that we see develop up until the literal end of the series).

So clearly, the vast majority of sokka’s charecter development that deals with internal conflict stems from the toxic view of masculinity and gender roles that he adopted after being left behind by his father, which caused him to outwardly lash out toward katara and Suki with misogynist comments. So taking away the sexism we see in the first few episodes eliminates important context that makes sokka’s character development throughout the entire series significant, not just an “iffy unnecessarily bigoted message”, because it was quite literally used to show that sexism was wrong.

I wasn’t going to say anything about this at first but seeing so many people display a fundamental lack of understanding for the premise of character development and the usage of charecter flaws to promote positive messages in media set me off. Just…WTF????

(Also I know I wrote a summarized version of this in the tags for another post but I wanted to expand upon it more and make this a separate post)

[burst-of-iridescent]

atla live action thoughts: episodes 3 & 4

SPOILERS AHEAD

tw: opinions

things i liked:

jet, you beautiful, beautiful man. had me twirling my hair and kicking my feet fr i NEED this show to get a season 2 just so i can see more of him in the ba sing se arc please netflix

but looks aside, sebastian amoruso DELIVERED on the performance. the softness, the vulnerability, the charm, the intelligence, yet also the ruthlessness beneath it all? KILLED IT.

the moment between him and katara where he tells her to remember her mother as she was alive and not just her death was absolutely lovely. “remember the sunrise” made me very emotional

on that note, can’t believe jetara fake marriage is canon now lmao

i am SO here for desi omashu. i love the vibe and aesthetic of the city and again the visuals are STUNNING. live action repping the south asians better than the original ever did i’ll be honest

shameless fan service but “MY CABBAGES” being so fucking dramatic had me dying

of all the things i expected from the atla live action, secret tunnel and omashu being lesbians wasn’t even on the list but i’m not mad. hilarious that they turned the cave of two lovers into the cave of two platonic siblings though

jet, omashu and northern air temple arcs actually meshed together better than i thought. the NAT episode never sat well with me in the original so i’m glad they moved them to omashu instead.

the freedom fighters were RIGHT OUT OF THE ANIMATION. casting directors absolutely killed

love that they showed resistance movements within the fire nation and azula being part of rooting them out. it’s a nice nod to the deserter, since i’m guessing they’re not including that episode

really glad to see that the atla live action is following the tradition of having weirdly unnecessary zutara crumbs in every iteration of the story because what in the om shanti om was that zutara scarf moment. 10/10 no notes

having one of the earthbenders transporting iroh be angry over losing a loved one because of iroh’s siege of ba sing se was a really great change. i’ve always thought the original glossed over the true extent of the damage iroh did, so having him come face to face with what he’d done in the past was a great way to add some complexity

“how dare you beat up that child!” everyone go home seeing zuko being beat up by a random old lady is the highlight of this series. really love that they were just running around throwing things at each other that was major book 1 zuko/aang fight energy lmao

SECRET TUNNELLLLLLLL

leaves from the vine instrumental was 100% to inflict emotional damage and it fucking worked. the scene between zuko and iroh at lu ten’s funeral was so beautiful & then to have it flipped around at the end when iroh says “everything i need is on this boat”… fuck you for this netflix i didn’t need these tears today

things i disliked/am conflicted about:

not a fan of what they’re doing with katara’s character. they’re toning down a lot of her rage and fierceness, and boiling her down to “trauma over mother’s death.” in the original katara didn’t freeze jet and splash water at him because he tried to fight her, she did it because she was hurt and pissed off! there’s no way animated katara would’ve just run away from jet without sending a water whip at his face first. i’m concerned for how the pakku fight is gonna go tbh

bumi my guy, what did they do to you 💀 this series seems hellbent on having everyone remind aang that he ran away which doesn’t work when a) you already changed aang actively running away to him just going off for a break and b) you’ve made that point! the original omashu episode was about bumi teaching aang to look at the world differently, here it just weirdly feels as though he’s punishing aang by venting all his anger and despair on him?? that’s NOT what animated bumi was like & they didn’t even have the two of them go sliding down the delivery system in the flashbacks so adding it in at the end felt very out of nowhere. they didn’t even genuinely seem to be FRIENDS

having aang immediately figure out it was bumi was… sigh. can we please not do the thing where characters already know everything it’s giving me trauma flashbacks to the percy jackson show

jet’s plan feels more reasonable here than it did in the original. i get they’re trying to show that he didn’t care about the collateral damage to innocent people and that’s bad, but idk him wiping out an entire town unilaterally felt more extreme than a few bombings.

heavily dislike what they’ve done with zhao. i know they’re trying to show him clawing his way to power but that’s more of a long feng move than a ZHAO move. it’s important that zhao always holds more power than zuko and that he has an overinflated sense of ego from the start for him to fulfil his narrative purpose of serving as a warning to zuko of what he might become.

i like seeing mailee but why are they in this show? it feels as though they’re cardboard cutouts there for fan service instead of being actual characters

overall i liked these episodes better than the previous two & i do enjoy how action-packed and visually pleasing the show has been so far.

overall rating: 8/10 for episode 3, 7/10 for episode 4

[azure-firecracker]

ATLA Live Action Stream of Consciousness (Episode 1, Part 3).

How does Gran Gran know all of this (how does she know that Aang is the avatar?)

I AM SORRY ANIMATED KATARA WOULD NOT GO HIDE BECAUSE SOKKA TOLD HER TO! Yeah character reinterpretation is a thing but no.

Okay Katara’s monologue to Sokka I see her character there she is! And confirmed the problem was the directing because Kiawentiio acted the hell out of that. Now do more of it! I have also seen her energy in interviews and I know she can bring the power if they just…let her.

“Lord of snow and ice” lmao

Zuko continues to be a reckless idiot that’s good (don’t fall for it-proceeds to fall for it)

I wonder if the substitution of “glory” for “honor” has any deeper connotations because those words don’t mean the same thing.

I know the Water Tribe being SO unprepared for war was a key point in the original but I did like the moment with the village kids I thought it was sweet.

Okay Zuko is the one instance so far where I liked someone saying “burn it all down” because I’ve seen all the comments about him being soft and this reminded me that no, he’s still a bad guy for now.

Who told Kiawentiio to stop moving the second Ian Ousley touched her? That struggle (when she’s trying to stop Aang from turning himself in) doesn’t look realistic at all I’ve seen better stage directions in my high school theater productions. Somebody hire new directors.

I know the Aang and Iroh scene is fanservice and I don’t care.

This Iroh is more overtly conflict averse and I like that we may be exploring that some more. I love Iroh but I’m also glad for the chance to get to see some of his flaws.

The transition onto the Water Siblings flying on Appa was awesome and very reminiscent of the cartoon. I don’t personally need this to resemble the cartoon too much in terms of energy because I can tell it’s so different, but those moments are nice.

God Zuko’s room looks like an emo theater kid’s room too.

He has a fucking detective wall it’s my murder mystery fanfic! Wish fulfillment! (Also self plug here’s the only fanfic I’ve ever finished I’m fond of it and you should check it out).

There’s some good old Zuko yelling.

Katara waterbending moment! Nice!

How are there 15 minutes left in the episode?

They’re fitting…another episode in here? Okay.

I’ve seen people say that it doesn’t make sense to have Aang go into the Avatar State when he sees Gyatso’s skeleton since he already knew about the genocide. I think it passes since seeing something is different than hearing about it. I do, however, think that we didn’t need to see the genocide, have Gran Gran tell Aang about the genocide, and see Aang react to Gyatso’s skeleton. One of those (probably the middle one) could have easily been removed to make time for some more character moments or something.

I miss Katara pulling Aang out of the Avatar state. The vision is nice but having it be Katara emphasized the power of friendship and family which they literally did…so why couldn’t they do it in a way that made Katara more useful? Because book 1 Katara already veers in the damsel in distress direction (ish-more so than in later books) without them taking away when she does important things. I did love the Katara/Aang hug though.

THE TRANSITION TO ZUKO WHEN AANG WAS LIKE “THIS WAS MY HOME AND NOW IT’S GONE” NARRATIVE FOILS MY BELOVED!

[hakuna-machete]

So, with the live action avatar trailer out a lot of people are saying they’re really hoping it’s not just another gridmark remake, and that there is still the humor and whimsy that the cartoon had. And while I absolutely agree, we can’t forget that, even though Avatar the Last Airbender is a cartoon made for children it’s a pretty brutal show. And because it’s a cartoon, the characters’ ages are not really salient, but in a live action, we can see how obviously young all of the characters are. And that throughout the series these are all child soldiers actively fighting in a very brutal conflict.

I thought I had saved the post, but I couldn’t find it, and it was a post about how when Katara was fighting Pakku in the northern water tribe he was shocked when he had to doge ice discs that would’ve decapitated him when he thought they were just sparring.  And it was because Katara had never been in a fight that wasn’t a fight to the death. Even if the Gaang managed to escape before it got to that point, they were all fighting just to stay alive every time. Sokka, who is 16, matter-of-factly tells Aang, who is 12, that he has to kill another person for the good of the world because the inescapable fate of fighting and killing in a war is the reality that Sokka has lived in his entire life. 

There is so much fun and humor in the show, and it would be a serious loss and disservice if that was taken out. It’s a show with central themes of hope and resistance and redemption and family and love and acceptance. But it’s also about war and imperialism and genocide and our main hero is 12 years old and now in the live action remake really looks 12 years old. Even if they just did a one to one exactly as it was in the cartoon remake just because we can now see that these are 12-year-olds and 14 year olds and 16-year-olds waging war and fighting these battles and going through all of the things that these characters went through in the animated series, it would still make it seem darker.

Just my thoughts, I am looking forward to it, regardless of what happens. Yip yip!

[theburninggalaxy]

Atla live action real time reaction - ep1 Aang

(Minus the first five or so minutes cause I forgot, also i havent looked at any other opinions so if i like it and everyone else hates it or i hate it and everyone else likes it then oh well)

Ok why is Aang basically flying without his glider. Like ik technically he's not zaheer type flying but it still feels WRONG cause. Just take your glider with you.

Oh god please no I'm gonna get all invested in a thriving air temple fuckkkk

IT WAS A CELEBRATION THEY ATTACKED DURING A FUCKING CELEBRATION

That's a lot of bison

Ngl it does make more sense that it'd be a gathering of all air nomads instead of staging four simultaneous attacks and then spending years if not decades trapping them

Why are the air nomads getting involved in a conflict. Like. Even as a defence force that's unlikely to happen cause then otherwise s4 of Korra wouldn't have been predicated by Tenzin saying they're gonna break from tradition and become involved. Like yh some sort of response sure but seemingly sending some sort of volunteer force? No.

Imma say it now or I'm gonna be massacred when it comes up later: I don't like The Storm. And I really hope that by getting Aangs backstop changed here they also change when we get Zukos.

Ok I really like the scene where Gyatso tells Aang he's the avatar. I love the emphasis on their relationship and I hope it continues past ep1

OH JESUS THE ACTOR FOR AANG IS BETTER THAN I EXPECTED OW

Ehhhh this monologue feels very forced and I don't think it's necessary? The point would've gotten across without it imo. Just add another scene of Aang being a normal kid instead.

Also I don't like how they left out the social isolation he felt after everyone found out

With that said, I do like when Aang and Appa hug, it's a good setup for their friendship

I also don't like how it isn't Aang running away? Like. That's the basis for a decent chunk of his arc?

Jesus Aang was close to being killed

I'm not sure how I feel about the bending. The airbending looks fine but the fire and earthbending look a tad off. Maybe it'll get better once I see it in any light whatsoever. Why aren't scenes lit anymore why are people in movies and shows nocturnal.

While I agree that the air nomads fighting back is the right choice, I don't like how there hasn't been a single mention of their philosophies.

Ok I'll admit the back and forth between appa over the ocean and the battle at the temple is pretty neat.

Would've been better if we had any evidence that the comet is doing anything

This is pretty explicit violence bloody hell not what I was expecting. Not sure how I feel about it and how it's gonna work with the more lighthearted aspects

The music is cool.

I'm sorry but I just found Gyatsos death a little goofy

Cool iceberg

Why is Katara in the ship. Idk I don't like how they keep missing small things cause the small things are pretty important to character arcs

Why is the Southern water tribe so big

And why does it sound like there are multiple settlements in the south Pole.

No.

Wrong.

Ok the Sokka lecturing kids scene works well

Whys Sokka serious. Again.

Ehhh don't like how Kataras waterbending seems to be a secret from the village. Dunno why they did that.

Why haven't I heard a single joke from Sokka. Did they learn nothing.

Why didn't they find Aang correctly. Just. Why. It's such an important scene for establishing their characters.

Whys Zukos scar so small

Ok we got a little sarcasm

Ok Zuko is pretty much bang on just turned down a little

Iroh needs to be more lighthearted

AND THE FUCKING CABIN NEEDS TO BE LIT BLOODY HELL BRING BACK LIGHT

I'm gonna quote "but for me it's my destiny" until the end of time now

But where's the honour?

Aang is rightfully confused. A much more logical reaction than to ask someone to go penguin sledding and not caring what's going on

What the fuck. Where's his glider. That's just fucking wrong.

I'd like Sokka to make more intentional jokes but I am finding the dry sarcasm and humour decently funny

Ok the actor for Aang is way better than I was expecting

Why is Gran Gran saying the line. And why now.

Why is she saying all this. Why haven't we had any proper interaction between sokka and katara and aang.

Zuko needs to be angrier. Right amount of angst not enough anger.

I like Katara but she feels too old. Like I knew someone who was the type of 14 year old that Katara is and she feels older.

Zuko however. Yeah. Spot on. Its painfully and embrassingly familiar I do not miss being 16

Ok I really like Aangs explanation of bending. It ties it all together and brings it back to balance really nicely

I'll admit the moment where Katara bends is nice. Bit of a deviation but I'm not too mad at it? I hope it doesn't set a president for removing kataras agency

I don't like how him being the avatar is revealed.

Katara hope count: 1. Zuko honour count: 0.

Also where'd the water tribe get all the wood?

The music is pretty good I will admit

The water tribe kids fighting back is nice

Wait so Aang has his staff but it's not a glider?? Tf????

Ooh I'm a fan of how they're doing Iroh, minus the lack of lightheartedness (which. Is becoming a theme.)

Ok I'll admit, Sokka screaming on Appa is pretty funny

Might just be me, but imo Zukos desperation when he first saw aang out of his cell is really apparent yet really subtle and I love it

Ok I like how Aang apparently can't fly without smth to bounce off that's something

I'm in two minds about the change in what Sokka and Katara are doing. On the one hand, I like Sokka catching Aang. On the other, the fight with them there had some great moments and I'm sad that they're not here.

Nvm I fucking love that Katara was the one to stop the fireball

JESUS THE KID WHO PLAYS AANG IS A GOOD ACTOR I ALMOST CRIED WHEN HE SAW GYATSO

Not a fan of the lack of fun before finding out about the fire nation attack

The slow motion "Aaang" made me laugh I'm sorry I just find slow mo inherently funny

Seriously tho Aangs actor is some of the best child acting I've seen in a while

Yh they're definitely going with unintentionally funny sokka. Which. I don't like. At all. I get that they're aiming it at a different audience but still. Intentionally funny and goofy teenagers exist.

Having said that, I am enjoying moments like "oh is that all" I like the humour, it just isn't sokka

Zuko drawing I am accepting that as canon after the war he does art constantly to help him relax and during book two he'd use sticks to draw in the earth when he was bored I am accepting this as canon fight me.

And that's the episode! I'd say a 6/10 on the cartoon accuracy (0 being you know what and 10 being a moment for moment exact replica of the cartoon) a 7.5/10 on the "does this feel like atla" scale and an 8/10 on the enjoyment.

It's incredibly obvious that this is a show for teens. My 10 year old cousin loves atla and I would not recommend showing it to her. Personally I like the idea of making it for teens, partially cause it might allow for deeper exploration on a couple of things that wouldn't be appropriate for a child audience (Zuko and Ozais relationship in particular) however I think they've slightly missed it by cutting out the more lighthearted moments.

As for characters: Sokka is wrong but is just about recognisable, Katara and Iroh are pretty solid but do feel a bit wrong due to changes to events and lightheartedness respectively, the actor for Aang is fucking incredible imo but Aang really does suffer in the writing from the darker tone but ngl with this actor I don't actually mind it as it does still feel like Aang, and Zuko is almost perfect literally just needs a bit more anger.

The special effects are fine. I like how they're doing airbending and the firebending and waterbending are fine. Doesn't really add or detract anything to my opinion really. However I do like the costumes, they're simple enough to be recognisable but detailed enough to be realistic. I really like how much Aang blends in at the air temple but stands out in every other environment, its the sort of thing that can work a lot better in live action and I hope they continue to take advantages of the medium instead of just assuming live action to be the default.

There are some changes I really don't like (the way the find Aang in particular) and some I really do (seeing Aang in the air temple). I think the general vibe is a sort of alternate dimension atla where it's geared towards teens instead of kids. It's fundamentally the same show, but still very distinct in a way that could be its greatest asset or its downfall.

[testudoaubrei-blog]

Well, it’s not quite a master’s thesis, but this is (the first of) a series of posts on why Catra and Adora are the best love story in the history of kids TV animation and maybe the greatest love story in the history of TV. This may in some ways be faint praise - romance on TV is generally not very good compared with books or movies. Often it’s just some will they/won’t they sexual tension that is defused by getting characters together and re-heightened by breaking them up. TV is full of nearly shark jumping pointless dramas like Sam and Diane (Cheers, holy fuck am I dating myself, though that was technically before my time), Ross and Rachel (Friends, which was no Cheers) etc, but also some less annoying couples like Ben and Leslie (Parks and Rec) or Amy and Jake (Bk99) who are mostly just kind of cute and fun. Other shows, like the X-Files, teased viewers for years with unresolved sexual tension. In kids shows most romances are, appropriate for their target viewers, mild, sweet relationships based more on self-conscious flirting and blushing than on complex and conflicted feelings or deep passions - which is pretty realistic when the characters are young teens or even mid-teens. Some of these relationships are really well done - Finn and Flame Princess, Dipper and Pacifica (yeah I ship them), the early stages of Katara and Aang (before the showrunners imbued this childhood crush with cosmic significance), Steven and Connie, etc. Catra and Adora, though, are different. Their love story is not a side plot or a sub plot, it’s the heart of the show. It isn’t a childhood crush, it’s a very messy and passionate relationship between two young adults. She-Ra is an emotionally complex lesbian romance just as much as it is a thrilling action/adventure show. Everything about their relationship is baked into the show’s plot, its themes, hell even its musical score. The dramatic tension between Catra and Adora is not the result of stretching out a flirtation for ratings, but a coherent dramatic arc that runs through the entire show. As Noelle said, he made Catradora so central that execs couldn’t take it out without ruining the show. And the show is better for it. In this series of posts I’m going to try to show why, as well as showing why She-Ra is such a fantastic love story.

First off, let’s talk about how Catra and Adora’s character arcs are foils for each other, and how they come together and apart through the series. This is actually a post that I’ve been working on for a while but I keep summarizing the show rather than cutting to the chase, so I’m not going to recite many plot points so much as sketch out what’s going on with the dramatic structure at the time. But also, let’s talk about what each character’s arc is saying, and how they are commenting on each other. Spoiler alert: Catra’s arc is a subversion and critique of stories of empowerment through ruthless self-assertion and revenge, while Adora’s arc is a subversion and critique of chosen one narratives and stories of self-denial and self-transcendence.

When the show starts, Adora and Catra are shown as rivals and friends - their first scene starts the recurring motif of them reaching out for each other as one of them dangles above an abyss, as well as establishing their flirtatious banter and easy camaraderie. We quickly learn that these two young women plan to conquer the world together. These scenes and later flashbacks show Catra and Adora as deeply enmeshed in each others lives, to the point where neither of them (but especially Catra) have clear identities outside of one another. There is so much genuine love on both sides before Adora leaves, but also resentment, envy and fear, especially on Catra’s side, as well as a protectiveness on Adora’s side that deprives Catra of her autonomy. They are both being abused by Shadow Weaver - Catra physically  and emotionally, Adora emotionally. It wouldn’t be too much to say that Shadow Weaver holds Catra hostage to control Adora (this is why critiques that Adora abandoned Catra to be abused are actually kind of messed up, since they accept Shadow Weaver’s premise that Adora is responsible for what Shadow Weaver does to Catra). In addition, Catra and Adora actually see the world incredibly differently. Adora already sees the world in terms of right, wrong and her destiny to right wrongs - this is why it’s important for her  to accept the Horde’s obvious lies - she couldn’t keep living if she didn’t. Catra, on the other hand, sees the world solely in terms of survival and personal loyalty - everything for her is about preserving herself and the person she cares about - Adora.

Then, when Adora finds the sword, she leaves because it’s the right thing to do. Catra doesn’t even have a concept of ‘the right thing to do’ being something she should care about, or perhaps, something she can care about as an irredeemably evil, awful fuck-up. So at Thaymor neither one understands where the other is coming from, and Catra and Adora begin to part. This is the first turning point in their relationship. Adora chooses duty over what she desires, Catra chooses to protect herself (such as she sees it) and nurse her sense of betrayal and abandonment.

Their relationship until Promise is a kind of weird Frenemy thing that is fascinating to watch and sold me on the show. Neither one wants to fully admit to themselves that the other is now their enemy, neither one has given up on changing the other’s mind. Each is furious at the other, and desperate to see her again at the same time. There’s a lot of heartache and just as much sexual tension, especially at Princess Prom. Both of them come alive when they fight each other (more about that in a later post). But they’re already growing apart - Adora embracing her destiny as She-Ra, Catra rising in the ranks for the Horde. Adora now has the purpose she always wanted, plus other friends and a sense of being chosen to do something great, while Catra now has power - the means to protect herself from people like Shadow Weaver as well as the vindication she had always been denied, and even the opportunity to beat Shadow Weaver at her own game.

The next turning point is Promise. Holy fuck, this episode. It’s an episode that is even more heartbreaking after you’ve watched the show because you know just how much worse things are going to get, and yet, it’s a necessary part of both of their character arcs. Even through season 1 Catra and Adora had remained very much enmeshed in each others lives in an increasingly fucked up way as they grew apart but refused to turn away from each other. Even though they aren’t -exactly- a romantic couple (Adora doesn’t recognize and acknowledge her feelings until the last episode of Season 5), Season 1 of She-Ra is one of the worst breakups I have seen on TV. As I said in a couple of previous posts, this is the kind of shit that the Mountain Goats write songs about. Everything that was poisoning their love for each other even before episode 1 bubbles to the surface and combines with them fighting on opposite sides of the war to make a truly fucked up situation. In the end, it’s Catra that makes the choice to turn away from Adora. This isn’t a -good- decision. It’s spiteful, and destructive, and based on an outright deluded understanding of their relationship (inspired by Light Hope’s manipulations and her own issues), but it’s in some ways a necessary decision. Catra has been so wrapped up in Adora for so long that she isn’t going to be able to figure out who -she- is without cutting Adora out of her life. And the same is true of Adora.

But each of them do this in about the worst way possible. Catra embraces destruction, ambition, manipulation and outright cruelty, turning the tactics of her abusers against them and against everyone around her. She first triumphs over Shadow Weaver and manipulates Entrapta into trying to corrupt Etheria itself. Meanwhile Adora ‘lets go’ and commits herself to the self-denying mantle of She-Ra. Over the next several seasons, their respective paths will nearly lead both Catra and Adora to their deaths (in the Season 4 finale).

For the next season (counting season 2 and 3 as one) Catra and Adora are still closely linked, but as enemies. Still, there’s more than enough flirtation between them (that ‘Hey Catra’ in the first episode of Season 2 is something else), and especially on Adora’s side we see her hold back with Catra, and often take responsibility for the harm Catra inflicts, just like she had when they were kids. Yet they still drift apart - after facing off every other episode in Season 1, they spend less and less time on screen together through season 2 and 3. Catra continues her ascent to power and descent into villainy while Adora becomes more of a stressed out mess as she takes the fate of the world and the wellbeing of everyone she cares about on her admittedly broad shoulders. Catra’s one moment of vulnerability is rewarded by Shadow Weaver’s betrayal and her exile, then Catra triumphs in ruthless badass fashion through sheer desperation and aggression. In the Crimson Wastes, we see Catra at her most independent, and she almost seems happy. But once Adora shows up and Catra hears about Shadow Weaver, she’s sucked back into the worst of her resentments, and she makes very clear that being happy is less important to her than making sure Adora is miserable.

This changes everything. Catra completely breaks with reality and tries to kill Adora, herself and the world rather than lose to Adora and Shadow Weaver (I do think it’s important to remember that she does that after Shadow Weaver nearly kills her). Catra betrays everyone around her when she exiles Entrapta, threatens Scopria and lies to Hordak. Then she flips the switch. When Adora tries to fix things, Catra fights to her own death to make sure that the world disintegrates with her. For her part, Adora fights first to understand what is wrong with the world and then to fix it. Finally she tells Catra that destroying the world is her choice and she has to live with it, decks her, and then sees her off with a death glare once the portal is closed. With this, Adora writes Catra off even if, as she says later, she never never hated her. By doing that, Adora casts off the guilt that had dogged her and takes responsibility for her own life rather than someone else’s - this is actually a huge step for her, and one that will become more important in Season 4.

Season 4 is in many ways the nadir of their relationship. They only see each other once during the entire season, in Fluterrina, when Adora tries to blast Catra, much to the latter’s shock. There’s a sense in that scene that Catra is trying to have the same flirtatious enmity she used to have with Adora, and Adora is having none of it. Catra almost seems hurt by this, which is an early hint at how isolated Catra is beginning to feel. Catra spends the rest of the season at her highest and lowest. On the one hand she spends most of 12 episodes winning by every standard she has ever claimed to care about, besting Hordak himself in single combat and making herself co-ruler of the Horde and coming within a day’s march of ending the Rebellion. In many ways it is the ultimate empowerment fantasy - the abused young woman has defeated her abusers, showed up everyone who doubted her and forced everyone to respect her. But I think it’s striking that the show starts with her and Adora dreaming of conquering the world together and in Season 4 Catra nearly succeeds in conquering it alone, almost like she was trying to live out her old shared fantasy while proving she didn’t need her former best friend. 

At the same time, Catra is clearly miserable. She’s always been unhappy, but in Season 4 we see her completely isolated and lying to herself and everyone who will listen in a desperate attempt to justify her actions. Turning the tactics of Hordak and Shadow Weaver against them to gain power and then against Scorpia and Entrapta to maintain it haven’t vindicated Catra, they’ve made her more and more alone as Entrapta is exiled and Scorpia drifts away. Meanwhile Catra reaches out to Double Trouble, and her interactions with them reek of a kind of desperate desire to have someone in her life (the feeling of their interaction is of an unhealthy casual relationship where one partner becomes emotionally invested and the other takes advantage of that while denying the other the closeness they desire). As people leave her, one after the other, it becomes clearer and clearer that Catra doesn’t want power at all - she wants connection, friendship, love, and power is a very poor replacement. As I said in my long Catra rant, Season 4 is both her ‘Walter White as a Catgirl’ season and the beginning of her redemption. Everything comes to head when Sparkles destroys everything Catra has tried to achieve, Double Trouble delivers those harsh truths and Horde Prime shows up and makes it all irrelevant, just highlighting how futile all her struggles and sacrifices and crimes have been.

Meanwhile Adora spends Season 4 becoming her own her and her own woman. After telling off Catra, she grows more and more disillusioned with Light Hope and critical of Glimmer (though the latter has more than a shade of her old habit of taking responsibility for others - Adora’s development is not linear). She’s gained the courage and confidence to strike out her own path, not just follow a destiny. At the season’s end she once again breaks with her best friend to do what is right, and discards the destiny that she was being prepared for. But in this case she isn’t chasing one packaged destiny for another, instead she’s making her own choice and literally shattering the thing that she thought gave her life purpose. It’s badass, and heartbreaking, and along with decking Catra and jumping after Catra into the abyss (see below) it’s the perfect Adora moment.

In many ways Season 5 starts with Catra and Adora farther apart than they have ever been. They aren’t even enemies anymore, they’re completely out of each other’s lives. And both Catra and Adora are lost at the beginning of Season 5 - Catra is useless and alone on Prime’s ship, completely defeated despite ostensibly being on the winning side, and she goes through the motions of her normal plotting without any particular conviction and none of her normal flair. Meanwhile Adora is even more miserable and self-destructive than usual, throwing herself at Horde Bots and working herself until she drops of exhaustion. In a very real way they both stay lost until they have a chance to help the other. Catra takes responsibility for what she’s done and what she can do, saves Glimmer (at least partly for Adora’s sake), apologizes to Adora, and sacrifices herself. Adora only seems to come alive when she decides to turn around, face Prime, and save the cat. And when she does, Catra and Adora’s arcs, which had separated so completely in season 4, come crashing back together to end the series.

Adora during Save the Cat is such a contrast with the uncertain, hesitant and self-destructive wreck we’ve seen so far in Season 5. This is possibly her craziest plan in 3 years of mostly cazy plans, but she never wavers or questions herself. Even when Chipped Catra appears and we see Adora’s heart break while we watch, Adora doesn’t back down or relent. She keeps at it even as the tears stream down her face. She fights better trying to save Catra without She-Ra’s powers than she fought at the Battle of Bright Moon with them. Catra’s just about as desperate - we see her cry and plead, and now is probably as good a time to any to point out how amazing a job both VAs did throughout the show, but especially in this episode, and how good a job the board artists did. 

Seeing each other for the first time in a year, and only the second time since Catra blew everything up, Catra and Adora are probably the rawest and least restrained we’ve ever seen them. There’s barely any banter, no bravado, and no pretense that they are anything other than two women who desperately need each other (Prime doesn’t help with ‘You broke my heart’.) Then Catra is flung to her death, Adora jumps after her, breaks both her legs in the fall (we see her crawl to Catra, as though she couldn’t walk) and becomes the real She-Ra. It’s such a triumphant and deeply queer moment seeing a woman transformed into a warrior goddess to protect the woman she loves, and it’s the reason that, as dark as it is, Save the Cat is my Comfort Food episode.

Let’s not sleep on Taking Control, though. This episode is like a microcosm of what this show does best, especially the A plot with Catra and Adora. Catra’s reversion to lashing out at everyone and her refusal to be open to Adora shows just how much of a struggle this whole ‘being good and trying to connect to people’ thing is. Catra’s outburst gives Adora a chance to stand up for herself and refuse to be Catra’s punching bag, while also not trying to control her. Adora’s ultimatum gives Catra a chance to reach out to Adora (quite literally), and allow herself to be vulnerable. In this episode, we see just how far Catra and Adora have come since the messed up stew of their relationship in Season 1. Adora lets Catra be responsible for her own actions; Catra lets herself be vulnerable to Adora and takes responsibility for her actions. They’re both better people and better friends and better partners than they were, and the show has shown this in a strikingly nuanced and realistic way. 

The important thing to note in the next few episodes of Season 5 isn’t just how much closer Catra and Adora get to each other and how much they flirt (So much. So much, y’all) but just how -happy- they are. We see both of them transformed in the other’s presence. Basically, since they’ve parted, both Catra and Adora have been defined in no small part by how miserable they often are. They have both had their triumphs and their lighter moments, but there’s been a sense of melancholy dogging both Catra and Adora since episode 1. And now that they’re together again, that lifts, somewhat. Catra’s verbal barbs have lost their venom, and she can openly show how much she cares for Adora and even Bow and Glimmer. She’s still herself - snarky, cynical, somewhat devious - but she’s not engaged in a self-destructive zero-sum struggle with everyone around her. Meanwhile Adora has spent 4 seasons being a neurotic and sometimes nearly joyless mess who takes responsibility for everything and often doesn’t let herself enjoy anything other than the odd BFS group hug (exceptions include trying to uh...impress Huntara and reveling with the butterfly ladies of Elberron in Flutterina).  Around Catra, though, she’s a cocky, swaggering jock who gives as good as she gets. It’s a side of Adora we’ve only seen hints of before, and one that’s so much more confident and joyful even as the world is ending around her. Apart, Catra had tried to protect and vindicate herself with power and conquest, while Adora had tried to forget herself in duty and sacrifice. Together, they can be themselves again. This dynamic is crucial to the show’s portrayal of Catra and Adora’s romance because it doesn’t just show how much they love each other, but how they’re -good- for each other now that they’ve grown as people, and that they are so much better than they were when they were apart.

Until Shadow Weaver shows up. Their old abuser reintroduces tensions but even then things are different than they were. Now Catra isn’t just resentful of how Shadow Weaver prefers Adora - she’s  protective of Adora, which is clearest in Failsafe when she calls Shadow Weaver out for being willing to sacrifice Adora. And while Adora takes the Failsafe, it isn’t to follow her destiny or because she has a death wish - it’s because she loves her friends, and she is the only one who has any hope of doing this and living (though Catra’s suggestion that Shadow Weaver take it is a good one). And finally, when Catra leaves Adora, it isn’t because she hates Adora, nor, despite what she says, is it because she really thinks that Adora chose Shadow Weaver. At least, not exactly. It’s because Catra loves Adora, and can admit that to herself, and can’t stay around and watch the woman she loves sacrifice herself rather than choosing Catra. Before Catra leaves, she asks Adora ‘What do you want?” It’s a question that echoes Shadow Weaver’s speech in Episode 1: ‘isn’t this what you always wanted since you could want anything?’ As much as Adora has grown as a person, and defined herself and stood up for what she thinks is right, she still has never answered that question - it’s never been ‘what do I want’ but ‘what do I have to do?’ and that’s how Adora answers Catra’s question. This is Adora’s last gasp as a self-transcending hero, letting go of what she wants (not that she ever dared articulate what that was) in order to do what must be done. And it nearly kills her and dooms the universe, because Adora can’t be the hero that she needs to be by being anyone less than herself.

But it’s losing Catra that inspires Adora to tell off Shadow Weaver for good (not that she’d ever really warmed to her after season 1). And it’s love for Adora that inspires Catra to stand up to Shadow Weaver and demand that she do the right thing. In both cases, Catra and Adora aren’t just standing up to their abuser, but holding her to account for the harm she’s caused, and it’s the love that they have for each other that inspires them to do this. In Catra’s case in particular her refusal to let Shadow Weaver weasel out of finding Adora is a much greater triumph over Shadow Weaver than beating her up and breaking her mask in Season 1 - it’s proof not so much to Shadow Weaver but to Catra herself that Catra really is better than this and that she deserves better than this. It’s not turning her abuser’s tactics against her, but truly holding her to a moral standard and demanding that she do the right thing.

And then there’s Catra and Adora together at the heart. Catra has already come back for Adora and stayed to the end, choosing to die with her even if she can’t share a life together (not out of some death wish, but because Adora needs her). And Adora, who’s been avoiding answering the question for three fucking years, finally let’s herself want Catra when Catra finally confesses her love (breaking the last of her self-protective shields) and asks Adora to stay -for her-. And by admitting what she wants, Adora can truly be at peace with herself and be the hero she needs to be, lesbianism saves the universe, The End.

So anyway, that’s how Catra and Adora’s stories are woven together and how they compliment and comment on each other. Narrativiely, Adora and Catra start together, come apart, find something of themselves, and truly find themselves and each other when they are reunited. Thematically, they are critiquing seemingly opposing narrative tropes - empowerment narratives and narratives of self sacrifice. But by showing the flaws in both types of story and showing how neither self-seeking empowerment nor self-negating self sacrifice can actually make us happy, She-Ra asks and answers more profound questions than most prestige dramas for adults do. I’ll get into how the show sells the idea that the power of love can bring us happiness (and save the world) in a future post. But next up, I’m going to celebrate just how much Catra and Adora’s relationship revels in ambiguity, complexity and contradiction and so tells a grown up love story in a kid’s show.

[firelxdykatara]

You’re doing a LoK rewrite, correct? Would be really interested in hearing how you plan on fixing Suyin’s character and the Lin-Suyin conflict because……. oh boy. Man there’s a lot to unpack there. This is what happens when we don’t let Toph just raise her fucking kids for the sake of pushing a stupid as hell narrative about working women and single motherhood.

I am indeed!

In... you know, the way I'm doing most of my big potential projects, in that I have a folder with some documents that have plot notes and... some day I may actually get full, finished fics out of them (h2o AU is in there, as is my voltron!atla fusion AU, and uhhhh my book 3 atla rewrite, and a few other things), so... but I will say that the docs I have for my LoK rewrite so far amount to roughly 4.2k words of just Plot and Character Notes, which may some day turn into words of Story, hopefully.

ANYWAY, POINT IS: yes, this exists, and I have Many Many Thoughts.

Including how the Gaang kids would shake out! Cause I know I'm doing Zutara, and maybe Tokka???? Although I don't wanna just leave Suki out either... maybe a throuple??? Or Sukka having an amicable breakup before Sokka and Toph get together--maybe she already has Lin by then, and Sokka helps support her through the grief of losing Kanto???? Idk honestly, I haven't actually figured any of that out definitively yet except that Aang was perfectly happy to settle down with an Air Acolyte from one of the rebuilt temples because he grew up and out of his crush on Katara pretty easily once he hit puberty and matured a bit.

UHHH none of which is actually an answer to your question, because it's a valid one! Which is why I've been sitting on this a while (10 days I'm so sorry) bc I haven't made any solid decisions but I've been letting it percolate around my head a bit. And the more I think about it, the more I really like the Sukka -> Tokka idea (and I don't want to kill off Suki since the kids all deserve their awesome Kyoshi warrior auntie in their lives, and also I want a Sukka kid to be besties with Iara [zuko and katara's youngest] so maybe she gets with someone else after she and Sokka split? I could be talked into Ty Lee/Suki actually, the more I think about it....), but obviously having a stable father figure and a Toph who is... not what LoK made her out to be will dramatically change the Beifong family dynamic.

That said, I think I actually have a solution. (I'm so sorry for what I'm about to do.) Toph has Lin with Kanto--and he passes away when Lin is two or three, which is why she has very few memories of her father. (Although none of this 'she doesn't even know his name until she's 50+ cause Toph didn't tell her daughters about their fathers' bullshit.) Sokka is there for her through it all (all of the gaang is, of course, but you know that it sometimes just hits different when it's someone you're also starting to fall in love with, especially when there are older and much more deeply buried feelings there that are now resurfacing, because at least in my version Toph was deeply in love with Sokka when they were teenagers, but he was in love with Suki and she also loved Suki so she didn't want to mess up anything about their family or the group dynamics by making her feelings anyone else's problem), they fall in love, get married and have Suyin.

(Sokka may jokingly refer to it as a shotgun wedding, but the truth is he wanted to propose well before he found out she was pregnant, his attempts just kept getting messed up in increasingly comedic fashion.)

Throughout all of this, Republic City has been established, Sokka is Chancellor, Toph is something of a defacto police chief--mostly because, at the time, no one else was willing to volunteer, and she jokingly offered to whip the law enforcement, but unfortunately everyone else at the meeting took her seriously. However, she is also the founder of the probending league, and basically her feelings about law enforcement are complicated and she actively discouraged her kids from joining the force which is part of why Lin did. How else do you have a teen rebel phase with a parent like Toph? (Which, in this instance, means tough and firm but fair, with a 'you break it, it's up to you to fix it' attitude and very little desire to actually control her daughters and their behavior.)

Ah, but here's the rub.

Suyin is ten years old when Sokka dies, and Lin is sixteen. I'm not sure how he's killed--maybe by Yakone, to tie it into my plans for Amon and book 1. (Note that I'm not sure when the Yakone bloodbending trial happened in canon, but it doesn't matter. The timeline I'm gonna build will be completely different post-comet, and I'll eventually write it all down so that I can keep things straight.) Which would incidentally provide excellent means of having Katara have a very personal stake in the Amon conflict, and perhaps color the fight between him and Iara, but I'm getting off track. And I think Sokka being killed by Yakone, and Toph being unable to protect or save him, or deliver her own brand of justice to avenge him (because Aang is there to stop her and.... shit probably got ugly, I suspect she didn't talk to Aang for at least twenty years after Sokka's death--and this isn't to say I think Toph is particularly violent or murderous, but in that moment, she absolutely wanted to kill the man with her bare hands, and however much she may have regretted it afterwards, she took a very long time to forgive Aang for stopping her in the first place), is what results in Toph stepping down as police chief.

She didn't withdraw from her daughters or fuck off into the swamp or anything (words cannot express how much I hate that part of her canon history), but she did grieve for a very long time. Lin, meanwhile, felt like it was up to her to keep her family together, while also feeling a desperate need to... prove herself, I think. And because her mother was so adamant that she not join the police force, that's exactly what she does. I think Lin completely misread Toph's intentions, too, and believed that the discouragement was because her mother didn't think she had what it takes, when in reality I think Toph was scared of Lin losing herself in the job like she herself had begun to, and eventually coming up on something she couldn't change or fix and making the same mistakes she had.

(I think Toph and Lin have communication issues largely because they are both headstrong and willful, but where Toph thought she was giving her daughters the room they would need to make their own way, what Lin desperately craved was direction and she felt like that was something her mother simply couldn't understand.)

Suyin, on the other hand, fell in with a bad crowd like in canon. I think that what she desperately needed was attention, similar to Lin craving direction, and Toph was trying so hard not to be her own parents that she went a little too far in the other direction and Suyin began to feel like it didn't matter what she did, her mom wouldn't care, or get angry, or discipline her, or anything. Lin and Suyin butted heads a lot growing up, too, especially after Sokka's death, because Lin tried to rein in her sister's behavior and this was met with resistance and derision because Suyin felt like Lin was trying to be both mom and dad and she was neither but her big sister would never admit to being just as lost as she was and it made her furious.

So when Suyin is sixteen, and Lin is twenty-two and new to the force, The Big Rift happens. Lin catches Suyin and her gang, tries to apprehend her, gets a scar on her face in the ensuing conflict. But instead of abusing her power and sending her problem child off to her mother before fucking off to the swamp to avoid the consequences of her actions, Toph tries to actually fix things. Suyin cools her heels in prison for a while, because she was paralyzed by guilt at the time when she hurt her sister (a few inches lower and she could have slit her throat), and was still there when Lin's backup arrived.

Uhhhhhhhhhhh..... I'm so sorry I rambled for so long, BUT THE UPSHOT IS: I think Suyin learned a bit about culpability and taking responsibility for her own actions, Toph realized that her daughters had different needs than she did at their age (and I think a lot of the problem was that grief clouded her own ability to connect with her daughters, and in trying to not be her own parents she lost sight of how to be the parent her own daughters needed), and Lin, I think, had to realize that she had never fully processed the loss of not one but two fathers and had turned to her job in order to avoid actually confronting the grief that had overshadowed her childhood.

However, she did not forgive Suyin, at least not right away--and she wasn't forced or expected to. Suyin understood that she crossed a serious line, she took her lumps and did her time, and no one shamed Lin for her anger. I think, as a result, she had less reason to hold onto that bitterness, and perhaps by the time the story actually begins, she and Suyin are on much better terms, though I haven't worked it out exactly yet.

UHHH yeah I went on for days lmao. All of this is subject to change, too, depending on the needs of the story whenever I get around to actually writing it all down, BUT these are my initial thoughts, at least.

[bohemian-rhapsody-in-blue]

hey uhhh... that Jet and Hama parallel in your tags... I am👀👀👀 if you’re up to talking about it skebejneje

AAAAHHHH thank you so much for the ask!!! (Referring to my tags on this post.)

Okay, so this is word-for-word what I wrote down after watching The Puppetmaster for the first time, and I just realized it has more to do with plot structure than character parallels but we’re just going to have to live with that for now. Here it is:

While in an unfamiliar place during their adventures, the Gaang is taken in by an initially-friendly person who provides them with food and shelter, but has a mysterious backstory. Sokka doesn’t trust this person, but Katara bonds with them instantly, especially after forging a special connection with them that revolves around the atrocities the Fire Nation committed against them both.

As the story progresses, the mysterious person offers to involve Katara in their adventure and teach her their special abilities/what they know, while Sokka, still suspicious, separates from her to investigate this person on his own. To the Gaang’s horror, he discovers that the person, having let their hatred for the Fire Nation consume them, is now regularly committing their own atrocities against innocent Fire Nation citizens in a bloodlusted search for vengeance. But it’s too late; Katara has already found herself involved in these horrific acts.

The person eventually gets their comeuppance at the hands of the Gaang, but Katara is still left guilty and morally conflicted over her connection with them and what she has now been taught. The episode raises questions about whether harming innocents for the crimes of an entire nation (which itself harmed innocents) is ever justified.

Which episode am I describing: “Jet” or “The Puppetmaster”?

OP of the post whose tags I originally commented on is absolutely right in saying that both episodes, and the characters they introduce, raise complicated questions regarding imperialism. Both Jet and Hama are traumatized and angered by their pasts and seemingly unable to move on. As this post (and I highly recommend reading the whole thing) suggests, they serve as visions of what could have been for, respectively, Zuko and Katara had either one let their anger or desire for vengeance consume them. But, importantly, neither Hama nor Jet is a one-dimensional caricature or stereotype: they have personality, pasts beyond just their tragic backstories, friends and allies. (Hama has Kanna and the other SWT waterbenders; Jet has the Freedom Fighters*.) While neither is by any means an entirely innocent or morally pure character, they can’t take all the blame for their actions, and neither can be reduced to either a ‘good’ or ‘bad’ person.

*Personally, Jet’s Freedom Fighters were one of the aspects of his character that made me like him more. For one thing, I’m a sucker for the found family trope, and the Freedom Fighters have that in spades. They genuinely seem to like and trust Jet (even if they don’t always agree with his actions—see Smellerbee & Longshot in Book 2), and he genuinely seems to care about them. For another thing, besides being, y’know, characters, they also serve as symbols of how Jet had to grow up too fast. Not only did he lose his parents at age 8, but now he has to be the parent to a group of lost children—and that’s a lot to put on a 16-year-old’s shoulders! One of many reasons why I am a Certified Jet Apologist™️.

One difference I believe Hama and Jet have is that Jet has a redemption arc, such as it is. By the time we see him, along with Smellerbee and Longshot, in The Serpent’s Pass, he’s actively showing remorse for his actions in Gaipan and trying to move past them. Of course, his arc isn’t at all linear—as his rage and paranoia at Iroh and Zuko for being firebenders shows—and it’s debatable whether he actually completed it. (I say he did, and his death in Lake Laogai was its final step—this post expands on that idea a little more—whereas the other post linked above argues that he didn’t, since he never quite moved on from his idea that firebenders = evil and his motivations for entering Lake Laogai were corrupt. Maybe his death just cut his arc short and he could have gotten over his prejudices if given the chance… See how these questions are complex and nuanced and can’t be reduced to a simple question of “is he good or bad”?) But the important thing is that the creators brought him back and expanded upon his role.

Meanwhile, to my knowledge, the last time we see Hama is that chilling last scene of The Puppetmaster. I wonder, had Hama been brought back at some point (I know there’s no logical place in Book 3 for it, but I’m speaking hypothetically) for an expanded role/redemption arc, even an incomplete one, what would that look like? Or am I being too optimistic—is bloodbending such a morally corrupt action that there’s no turning back from it, no possible redemption? Lots of interesting questions to discuss!

I hope you enjoyed this or at least found it coherent! Thank you again for the ask—I love talking about and analyzing ATLA. Okay, now I’m going to go listen to Master of Puppets by Metallica until I pass out.

[thejakeformerlyknownasprince]

Speaking about disability in fiction, would you say Toph from a:tla is one of the best written disabled character? Is there anything that could've been improved about her character?

DEAR FUCKING GOD do I love Toph.  I would humbly submit to have Lady Toph “The Blind Bandit” “The Runaway” “Greatest Earthbender of All Time” “Inventor of Metalbending” Beifong harvest my organs to achieve eternal life if such a thing were possible.  There are a ton of things that Avatar: the Last Airbender does really well when characterizing Toph, and a few I wish they’d done differently.  [PLEASE NOTE: I am nondisabled, so if I err, please tell me so.]

Is she one of the best-written disabled characters?

She’s certainly a damn cool character whose disability informs but does not define her.  I can’t really say if she’s “the best” or one of, because I haven’t read everything, but I can say that I really like her.

First of all, her story is intersectional AS FUCK.  Toph’s gender, her disability, and her social class are so inextricably linked that there’s no analyzing any single element in a vacuum.  She’s all about being tough and independent.  Partially that’s about being underestimated because of her disability.  Partially that’s about being commodified because of her gender.  Partially that’s about being privileged due to her upper-class upbringing.  All three interact to inform her identity.

“Tales of Ba Sing Se” shows that blindness bars Toph from certain aspects of femininity — she can’t perform the traditional motions of making herself up, attracting young men, being pretty and delicate — which causes her to embrace a more accessible masculine identity.  “The Runaway” shows that Toph enjoys femininity as well as masculinity, but that she struggles to build nurturing relationships when she’s concerned with appearing weak, and that that sometimes leads her to cross ethical boundaries.  “The Chase” and “Bitter Work” are all about how Toph values her independence above all else — because she’s had to struggle against her gender and disability influencing others’ perceptions, but also because she’s had the privilege to avoid helping others due to her social class.  In “The Ember Island Players” she loves being represented by a big tough strong man, but she also clearly associates masculinity with power in a way that becomes troubling when contrasted with Aang’s horror at being played by a woman.  Etcetera.

Even the whole Earth Kingdom’s role as a sort of middle rung of imperialism – less powerful than the Fire Nation, more powerful than the Water Tribes and Air Nomads — informs both the relative strictness of its gender roles and the ability of individual Earth citizens to subvert those roles.  Toph’s identity, like the identities of the other Avatar characters, is inextricably linked to her position in society.

Secondly, Toph has a lot of the features of a complex and agentic character, and her disability is neither ignored nor centralized.  She’s often right, as when she becomes the first person to trust Zuko and the only person capable of making Aang an earthbender.  She’s often wrong, as when she tries to justify theft with a “they started it” argument or belittles Sokka for being a non-bender.  She’s often somewhere in between, as when she chooses to let Appa get taken by sandbenders in order to protect her friends or gets into screaming matches with Katara over matters of procedure.

There’s also the fact that Toph interacts with certain environments differently based on her blindness, drawing attention to (in)accessible aspects of those environments the others wouldn’t have necessarily noticed.  She finds sand and wood flooring inconvenient, she hates navigating water and ice, and she initially avoids walking on metal.  Although she’s not a big fan of flying, she mostly adapts as long as her friends actually remember that she can’t navigate when they’re on Appa’s saddle.

When conflicts do occur with the environment, Toph puts the onus on the environments and on other people to adapt or help her to adapt.  She’s amused and annoyed when Sokka tries to fake correspondence between her and Katara, or stupidly asks why she doesn’t like libraries.  She rips the bottoms off of her shoes.  She calls attention to her inability to do things like scan the ground while flying when her friends are at risk of forgetting.  She plays into others’ assumptions to try and get onto ferries or get away with breaking the law.

Another thing I like: the art style for Toph avoids the trap of “draw sighted person, change eye color, call it a day.”  She doesn’t turn to face people most of the time when she’s talking to them, but also doesn’t seem totally clueless as to their relative locations.  She gets the lay of the land by stomping her feet or pressing a hand against the ground, not turning to “look” in various directions.  She doesn’t bother to keep her hair from blocking her eyes, because her bangs don’t interrupt any sight lines.  She’s neither a comically blind character who apparently can’t navigate at all with sound or touch, nor a dramatic “blind” character whose every action comes off as those of a sighted character.  Toph repeatedly mentions that she doesn’t get the value in sight, clapping back at the assumption that of course she’d want to be nondisabled.

[Image description: A screenshot from “The Chase,” which shows Toph shouting at Katara, with her face turned away from Katara.  Toph is pointing in anger, making it clear that she’s addressing Katara and that she knows Katara’s location relative to herself based on Katara’s voice.]

One last small but important victory for Avatar: it passes the Fries Test.  It has two or more disabled characters — I can explain why Zuko counts as disabled if anyone’s not sure — who survive to the end of the story without being cured, and who have their own narratives rather than existing primarily to educate nondisabled characters.  As a bonus, they have at least one conversation with each other about something that isn’t disability-related.  The Fries Test is meant to be a minimum standard for representation, much like the Bechdel Test, but it’s still nice to know that Avatar passes.

[Image description: A screenshot from “The Ember Island Players,” which shows Zuko and Toph sitting on the floor in a hallway of the theater, talking about the play and about Zuko’s uncle.]

Is there anything that could’ve been improved about her character?

If I ruled the world, or at least the Avatar writers’ room, I’d start with two changes.  One’s small-ish, one’s big and controversial.

The small-ish change: tweak Toph’s narrative to make her earthbending super-abilities less directly counter to her blindness.  As it is, she has shades of a superpowered supercrip: a disabled character from SF whose superpower primarily acts to nullify their disability, thereby giving them the lived experience of a nondisabled person for most or all of the narrative.  Toph is definitely not an egregious example — she’s not Daredevil, who can use his superpowers to read handwritten papers, navigate unfamiliar environments, “feel” colors, detect tiny gestures, and shoot guns.  She does embody experiences with blindness like disorientation when flying and frustration with hanging posters.  She just also has several instances of not experiencing blindness when she (as she puts it) “sees with earthbending.”  I’m not sure what that tweak would look like, precisely, but I’d like to see one all the same.

The bigger change: I’d cast a different voice actor.  Jessie Flower is, based on what little I can find on Wikipedia or IMDB, not blind or visually disabled.  Disability rights activists are right now fighting hard against the trend of “cripping up,” wherein nondisabled actors use mimicry or makeup to pretend to have disabilities on TV and in the movies.  Avatar doesn’t go that far, because it doesn’t have Jessie Flower onscreen in (for instance) contacts that mimic blindness.  However, it nevertheless does not cast a blind actor for the role.  The issue here is that disabled actors are almost never allowed to play nondisabled roles… and disabled actors are also almost never allowed to play disabled roles either.  By failing to find a blind voice actor, the show denied that opportunity to a less-privileged talent.

The Guardian compares the issue to the way that cis actors of the wrong gender are too-often cast in trans roles, men used to play female characters onstage, and white actors used to play black characters in American movies.  I never know how much those comparisons make sense, because among other things they completely ignore intersections of those identities.  But I also think that it’s sometimes the best way to help people understand why excuses like “but it’s haaaaaaarrd to find blind female actors of Asian descent” don’t hold water.

And here’s where I go from “slightly controversial” to “extremely controversial” and might have to enter Witness Protection.  Avatar is getting a live-action adaptation in a few months.  I predict that it will cast a nondisabled actor to play Toph.  And I predict that the same voices which (rightly!) raised such a cry against “racebent” white actors playing Aang and Katara will be completely silent on the topic of “abilitybent” actors playing Zuko and Toph.  I’m saying this on Tumblr partially to get this statement out there:

I am an Avatar: the Last Airbender fan who will ONLY support the live-action show if it casts disabled actors to play disabled characters.

I’m saying it partially because I hope to be proven wrong, either because a blind actress will be cast as live-action Toph or at the very least because Avatar fans will object when a sighted actress is cast.  I’m also saying it because I think that fans can and should protest responsibly when marginalized voices are erased by beloved works of fiction.  Will casting a blind actress require more “work” to make the set accessible?  Probably.  Will casting a blind actress perhaps necessitate more CGI for fight scenes than using a sighted one?  Maybe.  Will it be worth it to cast a blind actress anyway, so that a girl with the lived experience of Toph can portray her on screen and actually get the chance to break into an industry that bars most blind girls from participating?  YES.

[zuzuslastbraincell]

☕ Aang.

He's a character I don't see you talk about much, so I'm curious about you thoughts on him, his character arc, what you like or dislike about him, etc.

The short answer: Love Aang. He’s great! Feel like a lot of the dislike of his character (while fading, at least in the circles I’m in) is misplaced. People who think Aang didn’t make the right end game decisions don’t understand his character / miss the point, IMO. That said, dislike some of the character decisions especially r.e. Katara/Aang.

The longer answer: I really love Aang and I feel like the hate he receives from various parts of the fandom is very unwarranted, though I wonder if it stems from watching the show as a child his age and finding his playfulness unrelatable - like as a kid I might have found it exasperating but as an adult I find it very refreshing and it is so obvious to me that Aang is A Child, it informs how he behaves and his decisions massively, and I wonder if the dislike comes from the lack of perspective and being unable to view Aang as a kid, being kids themselves when these haters watched the show?

That said, all kinds of people do dismiss Aang as immature and it frustrates me to no end, because being cynical =/= maturity, a willingness to make difficult decisions that betray deeply held beliefs =/= maturity, and Aang’s decision to stick to his beliefs should always be viewed in tandem with the context that he is a victim of genocide, that genocide includes the destruction of a culture’s common beliefs and practices too, and whether those beliefs live or die in the future starts and ends with him.

Additionally, I feel like Aang does possess a lot of emotional maturity for his age, even if he has bouts of being immature (like, normal, honestly). Like he processes his anger in a way that is largely healthy, actually? I think that’s a thing most people don’t understand, they don’t see that as part of Aang, when really Aang processes his emotions like someone who’s had very clear healthy models for it. He does feel anger, and grief. When Aang tells Katara in the southern raiders episode vengeance isn’t the way, that’s something that he’s fought hard internally to believe in, that’s something that he’s learned.

Tying into that, I think an overlooked aspect of Aang’s development is how in season 1 Aang spent a lot of time looking for Fire Nation citizens who were good / who could be good, because the idea that the Fire Nation is fundamentally evil contradicts his world view (”the monks taught us all life was sacred”), but I think that was probably a perspective he clung onto as well as a way of dealing with his grief. Like, I feel like Aang has fought hard to reaffirm his beliefs in a world that seems determined to “prove him wrong”, surrounded with characters who largely don’t share or understand them & see it as naivety because they lack perspective and have only known war / understand the brutality of the opponent they’re facing on a personal level. I think we don’t see a lot of this explicitly, it’s largely subtext and often an internal debate -- Aang doesn’t have many people to soundboard these kind of thoughts off, there’s no one who is an air nomad or of a similar kind of upbringing around.

Tbh I feel that Aang is best in season 1, largely because his developments in later seasons also incorporate his feelings about Katara as part of his general development, and if I’m just completely honest with you all, I mean no disrespect to Katara/Aang folks you’re cool in my books but I’m just not sold by it at all. For example, because Aang’s journey mastering the avatar state involves him reckoning with his earthly attachments and the idea of letting go, and that conflict revolves around his feelings for Katara, and because I am not particularly sold by Aang and Katara, that impacts on how I view that whole arc. I love a good friends to lovers arc where the depth of those feelings extends to both friendship and romance but I feel like the way ATLA writes romantic arcs often involves a character suddenly looking at another with heart eyes and very little actual bonding to justify that sudden change, very few *journeys* or *arcs* that culminate in feelings (unrelated, but this is my theory as to why Zuko is shipped with almost everyone, because he literally has several life-changing journeys with other characters at the tail end of S3), and it’s fairly unconvincing / pretty flat to me? Especially since we do not get anywhere near as much an insight into Katara’s feelings in that regard? I get that romance isn’t always a grand arc or whatever but given that it’s tied to a lot of Aang’s S2 development, I think it ought to have more prominence.

If I’m honest, I also feel like Aang’s development regarding Katara and the Avatar State was incomplete, and that made a lot of his S3 development frustrating because in other aspects I think he came into his own and matured - usually in subtle ways, like his attitude in the Southern Raiders, but also we see him from being understandably upset about having to hide his identity, to incorporate aspects of Fire Nation dress into his final late S3 look - but in that aspect, his arc felt incomplete to me? This might be a poor reading of it, but to expand on how I see it, in S2, Aang is incapable of letting go of Katara until literally the most critical moment, when he has to -- at which point, he is struck down by chance. In S3, the concept of entering into the Avatar State being a matter of difficulty is literally not mentioned, so we can presume he’s come to terms with letting go of Katara - which directly contradicts the pushy behaviour he shows in Ember Island Players, the way he ignores her boundaries? And then that’s literally never addressed, Aang never apologises, Katara and Aang never have an important conversation resolving the conflict there, and in the end Aang gets the girl? It’s frustrating.

Like, the way I see it, “letting go” of Katara shouldn’t mean putting no importance on her - I actually like the idea of Aang not being willing to leave his friends behind, his compassion and care is important in this aspect. Rather, if I were in the writer’s chair, I would have it that “letting go” means a willingness to face rejection. Aang lets go of a romantic prospect of Katara - and acknowledges she can and might reject him, and that’s always a possibility, but opens his heart to her anyway out of trust (and when they get together, it’s not because he’s proven himself worthy, but because Katara wants to be with him). I think that would have been such a monumentally *powerful* message, especially in a late 00s cartoon, prior to the likes of Adventure Time and Gravity Falls quite explicitly deconstructing the idea of the male protagonist always getting with their crush (I feel like a vital context new viewers miss r.e. Katara/Aang is that the male protagonist would always always get with the girl in cartoons, it always happened, to the extent that female characters existed as much as love interests as characters in their own rights). I honestly don’t think it would even require that much in terms of change! I might show that in S3 Aang still has difficulty with the Avatar state at times - he can go into it at will, but not always - and that’s because he’s in the process of letting Katara as a crush go. I’d still keep the kiss in Day of Black Sun - tbh, I have no issues there, he thought he’d never see her again quite possibly, he’s impulsive, it makes sense - but I’d maybe highlight a slight awkwardness afterwards. I might even keep the awful Ember Island Players conflict - but crucially, I think Aang would have to learn from this. I think when Aang might realise he’s still struggling with the Avatar state as late as Sozin’s Comet episode 1, panic, realise he needs to internalise that belief more, and I think he’d leave Katara a note - including an apology for his actions before, for pushing her when she wasn’t ready, but explaining also, that he needs to go on a journey by himself to figure this out. Rest of Sozin’s comet goes ahead as normal, more or less. I’d end with Katara, maybe at the tea shop afterwards, talking to Aang and asking him why he went off by himself, explaining that she & the gaang would be there for him, he didn’t have to go on a journey alone. Aang would explain that he didn’t expect they’d understand, they’re not monks, and Katara explaining that maybe they wouldn’t, but he could *try*, that’s a risk you sometimes take (but concedes they could have been more understanding). And I think over that conversation it hits Aang it’s not about being alone. Everything’s connected. It’s about not clinging on. it’s about being willing to lose. It’s about trust. I think by the end, they agree to try and communicate better, and Aang then asks Katara out - mirroring “Do you want to go penguin sledding with me?”, similar kind of activity. He almost tries to over-explain and say ‘listen it doesn’t have to go anywhere’ but Katara just smiles and says yeah. And they leave to go on their first real date.

Anyway that’s how I *would* have handled it and that is what I think could be an interesting and compelling arc that wouldn’t take much adjustment to add. Aang is afraid of losing Katara, and realising that he can and might lose her is important.

.... that’s way more than I intended to write but yeah. I feel like a lot of Aang’s development ties in with his feelings for Katara and that’s where I take issue.

[blackasteriia]

A List of Reasons Why I Hate the ‘Sea Salt Family’

AKA It’s Sunday Tuesday and I’m back at it again at Krispie-Kremes

(Abuse tw; violence tw; salt tw; suicide tw)

I have mentioned, in passing, my problems with the prevalence of the Sea Salt Family in fandom and my problems with it. I’ve never written a comprehensive post on it before. It’s Sunday though, I have the salt, so let’s do it. 

The Sea Salt Family is roughly presented, but not explicitly laid-out, in canon. At the end of KH3, Xion, Roxas, Lea, and Isa are shown sharing ice cream on the clock tower together. Since the introduction of Xion and Roxas’ character, ‘sharing ice cream’ has been a declarative statement of friendship and camaraderie. It was the origin of their friendship. Thus, the inclusion of Isa is a signal of his admittance into the reformed friend group. The intention of this scene was to show the reconciliation and unification of these characters. To cement this, it seems that Nomura has bundled Roxas, Xion, Lea, Isa, and the Twilight Trio, into a shared plot. They are mentioned in Re:Mind, by Riku, as searching for Sora through Roxas and Xion’s memories.  

Common fandom interpretation takes this one step farther. The assumption is that Lea and Isa have adopted Xion and Roxas. This puts Lea and Isa in a parental role over the kids. Often times, this is done in a shipping context for Lea and Isa. Sometimes Lea and Isa have a good relationship, with two lovingly adopted children. Other times Xion and Roxas become contention points for the main ship-- Isa’s punishment for being a jerk is taking care of the kids. 

Fandom does take into account that the canon scene itself in KH3 is flawed. Lets overview Lea and Isa’s relationship, with both of the kids. 

Roxas spent the majority of 358/2 Days oblivious to the machinations going on around him. However, he identified a rift between Axel and Xion that developed in the midpoint of the year. He recognized that Axel had done something to estrange her and by the end of the game, blamed him for it. He was also angry at him for attacking Xion the first time. When Xion ran away for the second time, Roxas confronted Axel and forced the truth. Axel had been lying about Xion --sometimes intentionally to assuage Roxas’ concerns-- and then attempted to justify his actions to Roxas.The revelations of Axel’s lies --and outright manipulation, diverting Roxas from finding the truth-- causes Roxas to leave the Organization. Axel later attacks Roxas (twice) when Xemnas orders him to do so. At this point, Axel makes no attempt to find an alternate solution. Axel is enraged at Roxas for leaving and even forgetting him (which is a weird thing for an adult man to feel about a child, I might add). He is mocking of Roxas’ confusion in the data Twilight Town. Axel then attacks Roxas with the implicit intention to kill Roxas. Thus, we see that Axel’s relationship to Roxas is manipulative and built on lies, instead of trust. Axel also shows little regard for Roxas’ autonomy (”You’re coming with me, conscious or not.”). Roxas knows that Axel will lie to him. Roxas knows that Axel will assault him. If Roxas enters the post-KH3 relationship with no reservations then he is an oblivious moron. 

When it comes to Xion I do not give Axel the benefit of the doubt. Axel is introduced to Xion, by Roxas. At the beginning of their friendship he does not see her face. He becomes aware that she is a replica but decides to give her a fair shake, due to his experience with Repliku. Eventually, he does see her face. They seem to get along for the first part of the game. However, when Xion goes to Castle Oblivion to learn the truth about herself-- Axel moves to block her. He gaslights her (’there’s nothing to see here’) and grabs her to stop her (a violation of her physical autonomy btw). She goes on into the castle and Axel does not mention the incident to Roxas (a lack of transparency and honesty in relationships). Xion is missing for almost a month. She returns, speaks with Roxas (who also grabs her and violates her physical autonomy smh), and is then attacked by Axel. Axel kidnaps Xion and returns her to the Organization against her will. Xion did not want to return to the Organization. Roxas requests that she return with him and she moves away from him. Before Axel attacked her she was going to leave. (Later, Nomura attempts to feebly justify Axel’s behavior by saying Xion is glad he did this. We’ll call that Xion attempting to assuage Roxas’ worries). Xion later goes to Axel for advice about what to do. Axel implies that she’s ‘stealing more than her share’ from Roxas. We are, as a reminder, talking about Xion killing herself here. Later, Axel lets her leave, and then still follows Xemnas’ order to attack her and kidnap her again. I do not believe there is any love loss between Axel and Xion. He betrayed her, gaslit her, attacked and assaulted her, kidnapped her (twice), and showed a cruel disregard for her autonomy. There is no reason for her to trust, or even like him. Their ‘friendship’ ended around day 255 in Castle Oblivion, and any attempt for Nomura to convince you otherwise is deliberate attempt to write over the real trauma that Axel caused her. 

Saïx and Roxas have few interactions. However, I read Roxas and Xion as child soldiers. They are slaves, they are working for no payment. Saïx is the man in charge of them. He hands out the missions. We are shown that Saïx primary concern is their efficiency in collecting hearts. Roxas and Saïx interactions include Saïx telling him what his mission is, and how to prepare. Saïx, however, outright pits Roxas and Xion against each other. Even at one point, attempting to have them murder each other. (If you read the manga, and want to consider it for analysis, Saïx even attacks Roxas). Their relationship is cold, hostile, and interlaced with the knowledge of Saïx obvious emotional abuse of Xion. No reason for Roxas to trust, or even like, Saïx. 

Take everything above about Saïx and double it for Xion. The profesional and cold demeanor of Saïx is stripped away to reveal an openly hostile, cruel personality. Saïx insults and degrades Xion (”You were a mistake we never should have made”.) Xion refers to him with fear and wariness, often fearing his retribution for failures. He misgenders her and disregards her personhood. He does this out of a self-stated jealousy. He sees Axel growing close to the kids and then lashes out at the easy targets. Saïx outright abuses Xion, and the threat of harm is as effective as the actual action of doing harm. Saïx wanted Xion dead, and as best as I can tell, she knew it. I have no reason to believe that his opinion of her would change from 358 to KH3. It does not make sense that Saïx after KH2 would attempt to ‘save’ Xion. He doesn’t remember her and he wouldn’t remember her all the way until the Keyblade Graveyard. Vexen’s notes would not include Xion’s personality or any of her relationships, she was, at best, two weeks old when he left for Castle Oblivion. Saïx is not shown interacting with Xion in any manner in KH3. In fact, the ‘Xion’ introduced in the Keyblade Graveyard is not Xion. Xion is in Sora’s heart. So, not only is their relationship confusing in KH3, it’s also not meaningful. Vexen mentioned Saïx wished to ‘atone’ but we never hear Saïx true intentions from the horse’s mouth. Or, if he just did it to make nice with Lea. He still refers to the kids as ‘Lea’s friends.’There is no established development between Xion and Saïx proper. Xion would have no reason to believe that Isa no longer wants to kill her, and Isa would have no reason to no longer want to kill Xion. 

Despite all of this, Nomura wants us to believe that all of these characters are reconciled. The text offers little to believe that this is the case. There is not a single scene where any of Isa and Lea’s past behavior is addressed, or an apology made. Nomura’s reading of his own text fails to recognize the abuse and trauma that he wrote Xion and Roxas’ experiencing. He has a fundamental lack of understanding of the consequences and psychology of his own characters. Furthermore, he believes that the friendship they built in the Organization stands on its own. Even though Axel: gaslit, assaulted, kidnapped, and manipulated both. For example, Nomura reads his threat to Xion (”No matter what, I’ll always bring you back.” = ”I will always return your to your abusers, regardless of your wishes, even if I have to assault you to do so.”) as a promise and declaration of friendship. Why else would Xion tell Roxas that Axel kidnapping her is a good thing? Nomura believes that the Organization -- even though we’re talking about the group of people who abused, enslaved, and murdered them-- is good for Xion and Roxas. Why else would the ‘symbol of their friendship’ be the Recusant Symbol in Re: Mind? Thus, their friendship with Axel is good for them. Why else is it romanticized in KH3? Therefore, there is no reason to confront or discuss previous acts of abuse, manipulation, gaslighting, or assault. 

The story of 358/2 Days is not a story of two children shaking free of the shackles of their abusers and oppressors as they grow into their own, independent, unique personalities. It is a story of two children who are abused and manipulated by the adults in their lives. Who are then murdered and discarded as soon as they hold no use for the plot. Xion’s entire character is written with the intention to motivate Roxas to leave the Organization. That is why 358/2 Days was created as a game. That is why her character was introduced. The systematic stripping of her autonomy and personhood is present in the text itself, and the meta-text. She is fridged, and then that death is milked for man pain of Roxas and Axel. Nomura’s own sexism created and destroyed her character. So, much to the point that when fan consensus demanded she be brought back: he gave her no lines and no personality. He couldn’t even muster the spine to give her an original moveset for her Re:Mind data fight-- she’s just a copy of Roxas. That’s all she is to him and that is all she will ever be to him. 

And the fandom seems, for the most part, to be in concurrence with Nomura. We have asked Xion and Roxas to be in a healthy relationship with the two adults who have overtly abused them. The problem is not the writing of the Sea Salt Family. That trope, on its own, is fine. The true problem is the fandom’s failure to address the abuse in the Kingdom Hearts story. 

 Saïx actions, as poignant as they may or may not be in the rescue of Xion and Roxas, do not absolve him. Saïx used his position of authority and power over them to cause them tangible harm. Emotional abuse hurts as much as physical abuse and the effects are long lasting. Especially, when we know that Xion and Roxas were completely subject to Saïx. As far as Xion was aware, if she disobeyed or failed him-- her life was forfeit. What Saïx did in KH3 was take the first step of reconciliation. He fixed his most obvious mistake which included being complicit in the murder of children. Good for him. Now, he has to make tangible changes in his behavior. He must make apologies that shows he understands what and how he was wrong. This apology should be voluntary and not forced by Lea, or whittled out of him by the kids. He must take responsibility for his actions and preform further restitution. He can’t shove blame on the kids, he can’t say ‘Xemnas made me do it.’ No, Saïx caused them harm, and he has to be responsible. Anything less is in an incomplete, false apology that does not match the severity of his actions. And even if he executes a perfect apology, guess what?

 Xion and Roxas do not have to feel grateful to Saïx. They do not have to forgive him. They do not owe him anything. He was their abuser. If they do not feel ready to forgive, they don’t have to. Furthermore, forgiveness and healing is a process. One and done will not realistically fix the level of trauma that these children have experienced. I have seen the expressed attitude that of course Xion and Roxas would forgive Isa. They’re good kids! To which I ask, would bad kids not forgive their abuser? Xion and Roxas would still be good kids, even if they don’t forgive the man who abused them. That’s not how this works. They are the victims here, they have been done harm, and they deserve the space to heal. If they do not want Isa in that space, then that is their right. Maybe, Roxas and Xion decide to forgive Isa, maybe it takes time, maybe they never do. It depends on how they work through their pain and trauma. Of course, repeat all this with Lea. Because as much as the fandom likes to give him a free pass for his ‘good intentions.’ Those ‘good intentions’ still hurt Roxas and Xion. You could say his actions are justified given his circumstances. That does not change their impact. Xion and Roxas know --based on Axel’s own behavior-- that he will throw them under the bus if it’s convenient. They have not met Lea. They do not know him. They have no reason to trust him. It is Lea who must do the work to fix that. Not Xion, not Roxas, it is Lea who has to prove himself trustworthy again. 

It’s alright to draw Xion, Roxas, Isa, and Lea having ice cream together, or living a happy life. However, it is also necessary to address the problems. How does Xion feel living with Isa, who misgendered and emotionally abused her? Does Roxas feel at all threatened by Lea, knowing that he once attacked him? How did Lea and Isa work to address their mistakes, and reconcile with the kids? How are they addressing the real trauma that Xion and Roxas have experienced, especially the stuff at their own hands? Most depictions of ‘The Sea Salt Family’ skip past all the hard work and jump to the fun part. We’re shown Lea ‘forgiving’ Isa, when it is not Lea’s place to do so. We’re shown Lea bringing Isa, Roxas, and Xion, into his home, with little regard for how this may affect the kids. I feel as though in most depictions, Xion and Roxas are accessories to Isa and Lea’s romantic relationship. Another point of conflict or a source of fluff. This ignores the autonomy of Xion and Roxas, it ignores their struggles and character. Worse yet, it echoes Nomura’s own erasure of their trauma. Don’t write Lea and Isa adopting Xion and Roxas if you’re not prepared to talk about everything that comes with it. 

Also consider that Xion and Roxas are extremely vulnerable. They have between them, total, two whole years of experience. They have never gone to school. They have never had friends outside of the Organization. (The Data Twilight Trio are not their actual ‘friends’ and Nomura makes no sense, I’ll die on that hill). I cannot state how easy it would be for Lea or Isa to continue a pattern of abuse with them. You say, Lea and Isa would never do that! To which I say, they have done that, and we have little canon proof that they wouldn’t do that. 

Are you catching my problem here? 

Do you see why having Roxas and Xion get a happily ever after with their two abusers is not a good idea? Because Nomura did not write a true redemption arc for either Isa or Lea, we do not see any fundamental changes in their character. Axel has been showing willing to commit cold blooded murder. Can you show me how he is now prepared to take care of two extremely vulnerable, traumatized, and abused children? Maybe, in your own writing you don’t think Lea is prepared to take care fo the kids. Okay, that’s fine, there’s some nuance-- but do you still write him taking care of them? Why do you think that is the best situation for Xion and Roxas? Because they have nowhere else to go. How is that acceptable? Knowing that the two children who have been abused have so few resources available to them that they have no choice but to stay with their abusers? Maybe, as a fandom, we need to stop caring so much about Isa and Lea’s feelings, and start caring about their victims. 

I don’t want my reader to leave this essay and think, ‘I can’t write Sea Salt Family.’

You can write Sea Salt Family, but you have to order some nuance. 

Think about the best Redemption Arc in living memory: Zuko. Zuko was shown kidnapping and attacking Katara in Season 1. Yet, I am perfectly fine with Zutara as a ship, why? 

1. Katara is shown capable of standing-up to Zuko, defending herself, and challenging him. In Siege of the North Part 1, she is shown equal to, if not superior to, him in skill and power. Katara can kick Zuko’s ass and he knows it. By the end of Season 1, there is no longer a power imbalance between them. Abuse requires a power imbalance and Katara and Zuko are shown standing on equal footing.

2. Zuko and Katara then have a change in their relationship. Zuko has his change of heart in Ba Sing Se. In the crystal catacombs he shows empathy to Katara that she responds to. He even takes this point to issue his first apology. However, he betrays this budding trust by following Azula in attacking Aang. 

3. Zuko reconciles with Katara and builds a friendship with her. This includes Zuko apologizing for his past actions. But also doing what he can to fix his mistakes. He works to understand and listen to her anger and pain. He helps her find the man who killed her mother, on her request. He allows her to take the space and time she needed to address her trauma. Not just what he did to her, but what the fire nation did to her. He shows a clear change of behavior and remorse for his past actions. Katara and Zuko, by the end of the series are friends who trust each other. I can believe it because of the intentional work and time the show put into the relationship. 

Now look at the above. You tell me where Isa and Lea did all that in canon?  Think about point 1, Katara and Zuko are pretty much the same age, as two years of difference between adolescents is not a significant age gap. Xion and Roxas, are literal toddlers, and Lea and Isa are in their late-twenties. There is a natural power imbalance between these characters caused by age and experience. Which means it’s even more on Lea and Isa to take responsibility. Furthermore, what about point 1 or 2? Xion barely has any lines in KH 3. We do not hear her story, we do not hear her experience, and we do not hear her accepting the apology Lea did not make. Canon is flawed in its execution of the Sea Salt Family. Fandom has a real chance to step-in where Nomura failed and succeeded. Yet, over a year since KH3′s release, I have seen few attempts to do so. 

Abuse in relationships can be addressed. Abusers can take responsibility, apologize, and make amends for their actions. I do believe that Xion and Roxas can forgive Lea and Isa, if and only if, Lea and Isa earn that forgiveness. I believe that in theory the Sea Salt Family could be a wonderful example of found family, forgiveness, love, and healing in media. However, in practice, most examples of it fall short. The challenge there-in, is to write and portray the nuance, complexity, and triumph of a real relationship. Not a superfluous, weak, or shallow one, that looks pretty and is heartwarming, but instead a deep story, that is deserving of the characters it attempts to represents. 

[burst-of-iridescent]

atla live action thoughts: episode 2

SPOILERS AHEAD

tw: opinions

things i liked:

love, love, love the depth they're adding to suki here. it feels as though they've drawn on the bits we get from the original and deepened it - it makes total sense that suki would feel stifled after having been trapped on kyoshi her whole life, and it adds more weight to her being inspired by sokka to leave kyoshi and go to ba sing se in the future

really enjoyed maria zhang's performance as suki. she brings the fierce strength, but there's also a softness and vulnerability to how she plays the character that's really nice to see

as much as i love suki kicking the sexism out of sokka, toning down the overt misogyny was a good idea, especially since it pretty much disappears from sokka's arc after this episode. i think they did a good job addressing the spirit of the original in having sokka try and show off to suki only to be severely humbled and still choosing to better himself by going back to learn from her

aang and katara laughing at sokka's horrendous flirting... biblically accurate book 1 trio dynamic

i wasn't sold on iroh in the first episode but paul sun-hyung lee 100% won me over here. the scene where he tries to convince zuko to eat quailpole egg felt right out of the cartoon lmao. i do like that this iroh seems to be trying to steer zuko to the right path earlier and more obviously

thank GOD aang still seems to be affected by what happened at the southern air temple. i love the scene where he was hesitant to train because the only person he'd ever trained with was gyatso. going from discovering genocide to riding the unagi was always a major tonal whiplash in the cartoon and it barely worked in animation so i'm glad they're giving aang's trauma the weight and respect it deserves in live action

the action and bending continue to impress, as do the visuals and cinematography. the show is just so visually beautiful to watch and it feels like a fantasy world take notes percy jackson

things i disliked/am conflicted about:

don't really get why we're delving into kyoshi so deeply here. it's not a bad change but neither do i see the need for it when we could've spent the time on other things. if anything, the avatar who should be more fleshed out at this point in the story is roku

katara receiving the waterbending scroll from gran-gran instead of stealing it... i get it, but i also don't love it. it really spoke to katara's desperation and will to become a waterbender that she stole from pirates just to get a chance to learn, and it also highlights the tragedy of what happened to the southern water tribe benders that she had not a shred of her culture or heritage left to guide her

i don't think sukka had to be pushed so heavily in this episode lmao. once or twice was fine, but it was starting to get a little cringe by the end. also not a fan of them kissing at this stage, especially if they're keeping the yue/sokka romance. maria and ian do have pretty good chemistry though

why are we going to the north pole because aang had a vision of them being in trouble?? wasn't needing to learn waterbending enough?? i don't mind them foreshadowing the ending battle but aang needing to learn the elements is the driving force of the show and it doesn't feel like we're getting that here

why is zhao... like that. there is no WAY animated zhao would've ever proposed working with zuko. this zhao feels a lot more like a long feng or a littlefinger than the reckless, hot-headed original who was meant to be a foil to zuko. the whole reason for introducing zhao is to show us that zuko is not the worst of the fire nation by a long shot, but between the two in the live action zuko still feels like the more unlikeable one and that's worrying. i hope we're still getting the zuko v zhao agni kai bc i have no idea where this storyline is heading

aang can only talk to the past avatars in the avatar's shrine? i can foresee this causing issues later on in book 2 and 3, if they happen

i'm guessing the zuko/katara "fight" here is supposed to replace the "i'll save you with the pirates" (RIP you were always gonna be too iconic for netflix) but it just feels out of place. what do we really get from this scene that we didn't know before? in the original scene, this is the moment we see katara master a new waterbending move AND use it in a fight but she's already bending earlier in the episode so it doesn't have the same effect. zuko seeming ready to burn katara while she's cowering and defeated also doesn't feel like something zuko would do. the dude spared zhao, of all people.

overall episode rating: 7/10

[secretlyatargaryen]

Tyrion and Zuko: The Good Bad Guy, The Bad Good Guy

I’ve never seen anyone compare Tyrion Lannister and Zuko, but the parallels seem so obvious to me. I know there’s been a lot of comparisons in fandom to Zuko and his arc and a lot of discussion of what makes a good redemption arc and I’m not necessarily talking about this from that perspective, because I don’t really think Tyrion is on a redemption arc (and also reject the idea that I’ve seen bandied about that he is on a “villain” arc or that his arc is in opposition to his brother Jaime’s, with Jaime as the one who is usually seen by fandom as set up for redemption.) But I do think the parallels between the two characters are striking. I don’t think they’re 1:1 and even many of the parallels I make are not intended to be exact, as these two characters have narratives that are structured differently, and of course there are differences based on medium and target audience between the two series.

This is part one of a series of posts on these two characters, and this part will focus on how these characters are positioned structurally by the narrative.

Spoilers for both series to follow!

The biggest, most immediate difference between Tyrion and Zuko is that Zuko is positioned as an antagonist at the beginning of the story (although not necessarily a villain), while Tyrion is not antagonistic to the identifiable heroes at the beginning of AGOT, and is in fact the only Lannister not to be positioned that way by the narrative initially. In fact, part of this meta and part of my purposes for comparing them is to argue that Zuko’s narrative arc is not a straight line from villain to hero, which makes him very similar to Tyrion and his narrative positioning as the “good bad guy, the bad good guy” as Peter Dinklage says of his character on Game of Thrones. Even though Zuko’s mission at the beginning of the series is antagonistic to Team Avatar, he is still presented as a POV character with whom we are meant to sympathize, if at first only through sympathetic characters in his story like Iroh and characters who act as antagonistic in his own story, like Zhao and later Azula.

Tyrion also is presented to us as on the “bad side” of the narrative. He’s a Lannister, and many of the immediately sympathetic characters dislike and distrust him. Yet he is positioned sympathetically almost immediately as seen through characters like Jon Snow and Bran, and in contrast to his brother and sister.

Zuko and Tyrion also are positioned similarly in the narrative in relation to the way they are paired with and against the other characters in the story. Heroic narratives often make use of the Rule of Three, and one way in which this is shown is in presenting the main characters of the story as a triad. This type of narrative will have a protagonist, a deuteragonist, and a tritagonist. Usually the protagonist and the deuteragonist are male, and serve as foils and shadows of each other, and the third protagonist, or tritagonist, is a female character. You could argue about who takes the second and third position but it’s inarguable that in Avatar: The Last Airbender (further referred to as ATLA), these characters are Aang, Zuko, and Katara. In A Song of Ice and Fire (further referred to as ASOIAF) these characters are Jon Snow, Daenerys Targaryen, and Tyrion Lannister. This is also why it’s often theorized that Tyrion is the third head of the three-headed dragon that Dany and Jon are both part of, despite not having any Targaryen blood.

The other narrative structure that ASOIAF uses with regard to the characters that mirrors ATLA is what George R R Martin coins “the five key players” in his original manuscript of ASOIAF:

Five central characters will make it through all three volumes, however, growing from children to adults and changing the world and themselves in the process. In a sense, my trilogy is almost a generational saga, telling the life stories of these five characters, three men and two women. The five key players are Tyrion Lannister, Daenerys Targaryen, and three of the children of Winterfell, Arya, Bran, and the bastard Jon Snow. (source)

I have theorized from what he says here that when Martin originally conceptualized his story, he intended for Tyrion to be younger than he is when we see him in the series, as Martin says that the five central characters will “grow from children to adults,” and Tyrion is already an adult as of his first chapter in A Game of Thrones. However, the fact that Tyrion is quite a bit older than the other four is thematically important. Tyrion is a character who, when we see him at the beginning of the story, has lost his innocence and become embittered by an abusive childhood and a lifetime of cruelty directed towards him because of his dwarfism. Yet Tyrion, thoughout the series, often relates to the child characters specifically because of that lost innocence. He offers help and advice to Jon, Bran, and Sansa throughout the series, and as of ADWD is on his way to join Daenerys.

Similarly, Zuko is positioned against the four main child characters of ATLA that make up Team Avatar, Aang, Katara, Sokka, and Toph, and has moments where he relates to them even before he seeks to join them. And although Zuko is only sixteen and very much a kid (which becomes even more apparent when he joins the gaang), and Tyrion is an adult, he is still a young man and his relationship to Jon is something like that of an older brother.

Zuko and Aang’s relationship could be compared with that of Jon and Tyrion. Jon and Aang offer friendship to someone who they should consider an enemy, and Tyrion and Zuko end up becoming unexpected mentors to the younger boys. In both stories, this serves to highlight the tragedy of how war pits people against each other and what each of these characters has lost.

Aang to Zuko: If we knew each other back then, do you think we could have been friends, too?

-S1E13

Even after ADWD and all the war and strife between Stark and Lannister, Jon still considers Tyrion his friend. Obviously, we do not have the ending of ASOIAF to compare to ATLA, but I find it an interesting parallel, nonetheless.

Another thing that makes the characters similar on a structural level is the use of visual symbolism to show the characters’ internal struggle and duality. This is a clever and immediate way for the audience to understand that this is a character who we are meant to see as morally complex. Visual symbolism is more obvious in a medium like animation, and the specific piece of visual symbolism is something that was downplayed in ASOIAF’s television adaptation, so it might be less apparent, but I’ve talked before about how Tyrion’s heterochromia is a visual symbol of his dual nature as a character and his struggle with his identity.

Similarly, Zuko’s scar functions as a symbol of his duality. And although Tyrion also has a dramatic facial mutilation to compare Zuko’s burn scar to, I am comparing Tyrion’s heterochromia to Zuko’s scar instead because of the symbolism associated with eyes and seeing.

It is often said that “the eyes are the windows to the soul,” and the reason for this is obvious. Often we look into another person’s eyes to get a glimpse of who they are, to understand and empathize, to connect and hope they connect with us. Therefore, in fiction, eyes can often tell you a lot about a character’s identity. Having a scar over one eye is an immediate signal of Zuko’s conflict from the moment he is introduced to the audience. His stated goal from episode one is to capture the Avatar, but as the series goes on we see what this goal really is: an impossible task given to him by his father because it is impossible. Therefore, Zuko’s desire to regain his identity as prince of the Fire Nation is put into question. And what better way to represent a conflict with Zuko’s identity towards the Fire Nation than with an injury caused by fire? I’ll talk much more about Zuko’s scar in part two because this is an extremely important part of his narrative.

Tyrion’s heterochromatic eyes function in a similar way, and mirror the way Martin uses color symbolism in ASOIAF. Tyrion is described in the books as having one green eye and one black one, a fact that was not included in the show save for one scene in the pilot, and was eventually discarded, as were Dany’s purple eyes, because of the difficulty colored contacts posed for the actors, and because, as I suspect, it was decided that it was not enough of a noticeable detail to be worth the trouble. It’s a lot easier to get away with things like this in animation (and Zuko’s scar doesn’t work in a live action series for similar practical reasons), but Tyrion’s “mismatched” eyes are a detail often mentioned in the books. Tyrion’s green eye is the eye color he shares with his brother and sister and father, and is known as a distinctive Lannister trait, representing their physical beauty and perfection. And like Tyrion’s disability, his heterochromia is an imperfection and so not tolerated in a House that prides itself on perfection. His black eye, in contrast, while often called his “evil” eye and is a cause, in addition to his dwarfism, for others to treat him like a pariah, brings him closer to who he is as a person separate from his family, as dark eyes represent earthiness and intelligence.

Zuko’s scar also marks him as other the way Tyrion’s heterochromia marks him. It is often called attention to by characters in the series. In the first season it is often used to make him look frightening. Yet it also marks him in the eyes of the audience and the eyes of other characters as a victim of the Fire Nation and a survivor. In this way, the meaning of Zuko’s scar becomes flipped and it is his unmarred side that links him to what appears on the surface to be the order and perfection and superiority of the Fire Nation, but which, just like Zuko’s face if we are only looking at it from one side, hides a warped horror.

In part two I talk about how these two characters have similar trauma and conflict with relationship to their families and how that shapes their narratives.

[havendance]

The Gaang as MASKS Playbooks

(Because I am nothing if not a creator of niche content when I actually make stuff.)

This is for the Alternate Universe where they’re all superheroes because I love both MASKS and Avatar and I have opinions that I’m going to share. There’s at least two potential playbooks for each character because there’s a lot of possibilities and different playbooks can focus on different aspects of the characters. Plus, more option is always good. 

Anyway, without further ado (under the cut because this got long, I have a lot of thoughts on this matter apparently) the Gaang as MASKS playbooks:

Aang

The Legacy - This is the one that makes the most sense to me and the one that I feel most reflects Aang’s core internal conflict in the show. The legacy is all about bearing the weight of previous generations and their accomplishments and actions. Aang is just the latest in a long line of heroes known as The Avatar who can wield all four elements. For the portion of the playbook that’s about interacting with previous members of the legacy, you could either go with him talking with the past lives like we see in the show or, alternatively, the past couple Avatars could still be alive and kicking. Either way, they’re still watching what he’s doing and trying to push him in what they think is the right direction.

The Nova - This one fits a little less but could still work. The Nova playbooks’ about having a huge amount of power that you can’t necessarily control. For the most part in the show, we don’t see Aang worrying about not being able to control his bending, but this playbook would play more into his fear of losing control in the Avatar state and his worries about hurting someone with firebending.

The Outsider - Okay, this one is a bit of a stretch since the playbooks’ weighted in favor of the hero being an alien or from another dimension. But! I feel like you could definitely hack the playbook to accommodate Aang just being from a hundred years in the past as well if you want to play with that aspect of canon Aang. This playbook would definitely lean more into the whole ‘a lot has changed in a hundred years’ thing. (The Innocent playbook is explicitly from the past, however, it also has a future, supervillain version of yourself running around which, while could be cool for Aang, also deviates a lot from canon

Katara

I’m going to be honest, Katara was the hardest one for me to come up with. None of the MASKS playbooks’ particular flavors of teenage angst really jive with Katara’s drive and passion to help people and make the world better after it hurt her. I’m going to toss out a few options here, but if anyone else has any better ideas here, feel free to add on.

The Legacy - Katara as this playbook would really play into her status as the last Southern Waterbender. It’d take tweaking of the playbook but you could shift it so it’s about this legacy of heroes and more about the legacy of her culture. So it’s less about the outward pressure to uphold the legacy and more about the inward pressure from herself to uphold it.

The Protege - The Protoge playbook has a specific mentor who’s trying to shape the hero into their vision of how a hero should be. Using this playbook, you could definitely really examine her relationship with Pakku or Hama. However, it’d definitely be exploring more of a niche of Katara than her overall character.

The Soldier - Once again, this recommendation is based less on canon and more on stories that would be potentially interesting to tell. The Soldier playbook focuses on the relationship between a hero and the larger organization that they’re a part of (the generic on the game gives is a SHEILD equivalent). I could see Katara being a passionate member of a similar organization (possibly one White Lotus themed since this is the Avatar version of MASKS) and trying to change the world through that. I feel like this is one where Katara’s character could definitely shine, however, it’s definitely a setup that doesn’t have a lot of basis in canon so if you were wanting to play Avatar more straight in MASKS it wouldn’t work as well.

Sokka

The Beacon  - Sokka is a textbook beacon. The beacon is a low-powered hero who’s in the heroing business because it’s fun and exciting and a lot of their angst draws from the fact that they aren’t really sure if they belong in a world of superpowered individuals. Sokka’s got his boomerang, he’s got his sword, and he’s got his tactical mind. All of his friends are like crazy powerful. He’s the Beacon.

The Joined - The joined is a playbook that shares a lot of the material of another playbook; the two characters have a close relationship. Now, I’m not saying that Sokka’s just playing second fiddle to Katara. What I am saying is that it was Katara’s idea to become a superhero in the first place and she dragged him along with her into it. Did Sokka want to be a hero? No, he want to stay home and focus on taking care of his family. He didn’t want to be the Painted Dude or whatever Katara said his hero name should be. But does his sister listen to him? No.

Suki

I, unfortunately, have less to say about Suki. We should’ve gotten more of her in the show, that’s what I’m going to chalk it up to.

The Protege - Okay. I will admit, this one is purely what I think would be cool and isn’t actually based in canon. But imagine: Suki as the protoge of Avatar Kyoshi who’s still alive, still kick ass, and still very opinionated. Can’t you see the glory? The potential?

The Soldier - This playbook would probably reflect her most accurately. She’s a member of the Kyoshi Warriors first and foremost in the show and her interactions with the Gaang are always affected by that. In a superhero setting, I could definitely see her and the other Kyoshi warriors being some sort of superhero squad that works throught the SHEILD equivalent

Toph

The Janus - The Janus is the spiderman playbook. You’ve got a mundane life, you’ve got a secret identity, and you’ve got to balance them. Toph is rich heiress of the Bei Fong family by day, and notorious vigilante The Blind Bandit by night. This is the perfect playbook to explore the dual life Toph led before she straight up joined the game. Her parents are super annoying, her life’s a drag, at least as a hero she can be free and who she really is.

The Delinquent - The Delinquent is, in essence, a rebel. Try and tell me that that’s not Toph ‘Let’s break some rules!’ Bei Fong. I mean, just look at some of those playbook moves: Troublemaker, I don’t care what you think!, Team? What Team?, Mary Contrary. Those are such Toph moves.

Zuko

Okay, Zuko has a lot of possibilities. I’m going to blame it on the sheer amount of angst that boy has packed into him.

The Soldier - Okay. I know that I’m using the soldier a lot (it’s because they’re all child soldiers) but hear me out. This would be Zuko if you wanted to play with him going through his redemption. In this case, the Fire Nation wouldn’t super obviously supervillains. They’d probably be some sort of organization that looks outwardly good but is secretly fishy. Ozai’s at the top and of course Zuko’s loyal to them. They’re the good guys. (They aren’t.) The soldier isn’t specifically about breaking away from your organization but it definitely can be.

The Reformed - This playbook fits post redemption Zuko like a glove. The Reformed playbook is one where you were specifically a supervillain previously. You’ve done villainous things, but now you’re a good guy and it’s complicated. I don’t think I really need to explain why this playbook is Zuko. It just is.

The Janus - This is for all of you Blue Spirit!Zuko needs. Look, his life sucks, his Dad’s a jerk. There’s way too much expected of him. At least he can put on this Blue Spirit mask and go out and do vigilante stuff.

The Scion - I’m going to be honest, I’m not super familiar with this playbook but I feel like I have to mention it because it’s about being the child of a supervillain. So I’m tossing it out there. Other people who actually know about this playbook can talk about whether or not it actually fits Zuko.

Bonus:

Mai - The Beacon. She’s the least enthusiastic Beacon you’ll ever meet, but look at her and tell me that she’s not in this because being a hero is the most interesting thing that’s ever happened to her. Her life was so boring before Ty Lee walked up to her and was like hey, let’s be vigilantes together. She’d never admit it, but she loves being a hero.

Ty Lee - The Star. The Star playbook is all about being flamboyant, showy, a celebrity. Being a hero is what separates her from her sisters and she’s going to milk it up. She’s still non-powered for the first part, only having her martial arts and auras, but she knows how to play it up. She definitely has a huge social media following.

Finally, The Outsider playbook could work for any of the characters if you just want to play it straight as a character from the Avatar universe getting dragged into this alternate world of superheroes.

Feel free to discuss and share any ideas you have!

[zukkatrash]

im pretty sure nobody wants this content but:

aged up, no bending atla x fallout 4 crossover!!!

(spoilers for some atla and fo4 stuff obviously, and in sukis part i rant abt the ending where ur against the brotherhood, so major spoilers for that too)

lets start with katara

katara is a minuteman, no lets be real shes the goddamn general, preston took one look at her and immediately knew she'd protect the people of the commonwealth with all she had

elder maxon is actually scared of her, which is why he refuses to let her on the prydwen so none of his underlings see him fold under her stare

shes probably the first minuteman that hancock like actually truly respects bc he knows shes 100% abt the ppl and goodneighbors motto is literally "of the people for the people"

katara is a probably a bit conflicted about him at first bc u know hes a bit ruthless for her taste, but she can see his heart's in the right place

she definitely helped marcy long with her grief and turned her anger into smth productive, aka marcy is now probably a high ranking minuteman

sokka

def a railroad agent (i read alchemy, sue me)

him and tinker tom are the best buddies and yes sokka got convinced to drink his weird serum thing, stop bringing it up!!

god just the crazy inventions those two would cook up, they'd probs scare the shit out of the institute

on topic of the institute, theres probably like at least one abduction attempt from them a month but hes not only smart but a badass too

hes also one of the only people dr. amari is actually nice to and will routinely rescue him from irmas relentless flirting

he definitely fanboys with kent collony over the shroud

i feel like deacon would drive him mad, because on one hand he gets the secrecy and that he doesn't want anyone to get too close but also deacs, my man u cant shut everyone out with ur lies

okay now im thinking abt them bonding over their dead gfs and am sad

when he meets nick he has to hold back soooo hard to not ask invasive questions, bc nick is basically a walking insight into the institute, but hes alao a person who sokka respects and really doesn't wanna be an ass to

toph

also with the railroad(but shes a heavy ofc), probably mostly bc shed get more action there

sokka and tinker tom def made her some really cool gadget à la seismic sense so shes still a BEAST

she can also hear a raider ambush/lurking wildlife before anyone else and if shes not with anyone who needs to avoid that kinda stuff she pulls out her trusty missile launcher and makes quick work of her enemies

probably participates in cage matches at the combat zone and raiders shit their pants when they see her

toph is either dating glory or cait or both, cant decide, just badass wlw

or maybe fahrenheit 🤔, i mean the only refrence of tophs type we have is that she mightve had a crush on sokka who is not only strong but smart and u cant tell me fahr isnt smart, she might only have like 5 lines but at least one of them is abt chess which is a common shorthand for intelligence and she is undoubtedly a badass so yes toph and fahr! never thought id think of those two as a ship but here we are haha

zuko

is the silver shroud, you can't change my mind he's a righteous theatre kid ofc he's the shroud

suki

also a minute man, probably kataras second in command

shes the one training the minutemen at the castle

danse tried so desperately to recruit her but suki is too smart to fall for the bos' bullshit

probably plays into his whole spiel tho to get an inside look at the bos and takes them down from the inside

and not by blowing the ship up wtf there are kids on the prydwen what the fuck why cant u get them out beforehand??? why is that the only option to get the bos out of the commonwealth???? they steal poor farmers crops ffs i want them gone! WITHOUT killing innocent children that are being indoctrinated what the fuck

aang

im actually having a really hard time to imagine aang in fo4 bc u know its a biiit violent for a pacifist monk but i really dont wanna just make him a farmer or some boring shit, its just that stuff usually needs killing in some way in fo4

okay nvm i can def picture him on the island mediating that whole conflict between arcadia, the children of the atom and far harbor

oh god aang finding out how dima kept the 'peace' would be a brutal fucking scene, i dont wanna spoil too much if possible but aang would def feel really betrayed by dima

i can see aang arriving at the island and really trying to make everyone understand that dima only wants arcadia to be safe and left alone and i have no idea how he would actually deal with dima once the truth comes out but fuuck, bending or not aang def entered the avatar state there

but just to be clear he still protects arcadia, just bc its built by smn who thinks the ends justify the means doesnt mean that synths dont deserve to live in fucking peace for once

also aang would absolutely adore erikson and his puppies ^^

but back to the commonwealth

aang would for sureee advocate against the mind wipes the railroad makes and try to find other ways to help synths

he probs cannot deal with desdemonia saying that erasing the synths memory and identity is the only way to keep them safe, aang knows what loss means and he wont stand for it

and i can see him do a lot of the actual building in the settlements and helping all those small communities to flourish

now for the crack, as in i dont think this is in character but i thought of it so now yall have to read abt it:

the fire nation is in nuka world, also there is no overboss per se bc except for like 3 lines we know nothing of colter

ozai leads the operators, but also kinda everyone, so basically the overboss

post breakdown, pre redemption azula leads the disciples

zhao leads the pack bc like mason hes an animal and i hate him ^^

gage is dead bc unfortunately ozai isnt dumb, altho ozai was dumb enough to underestimate zuko when he literally told him his plan to join the gaang, but then again gage didnt like colter bc he didnt get shit done and unfortunately ozai does get shit done so gage is probably delighted :(

if anyone actually read this and wants to add on pleaseee do!!!