#TEAM AVATAR — RELATIONSHIPS

[weaponizedducks]

platonic relationships are so much more important to me than romantic relationships. maybe i started it for the gays but it stuck with me because of the found family, the mlm wlw solidarity, the friendships, the bitchy friends, the FOUND FAMILY of it all

[the-genius-az]

What do you think of Azula with the Gaang? And how would Azula get along with them? What things do they mutually share?

Thanks for the question, Amor!

With Aang.

I think they both share how they were child prodigies who suffered from loneliness when they were called the best, you know, the master of the blue flame and the avatar.

They also share how they both don't have parents, although Aang had his teacher (I forgot his name) as his father figure, but he wasn't really his father. meanwhile Azula didn't really have a parent/ mother figure, or at least they didn't act like that.

They are both nobody's children. And I feel like they would get along well, they would both teach each other how to improve as a person and control their elements better.

With Katara.

They both suffered the loss of their mothers from a very young age, although Azula never really had one.

They are also prodigies, the best in their fields, with annoying older brothers.

I like to imagine that they would get along and both would team up to annoy their brothers.

With Sokka.

They are geniuses, or at least Sokka is better than average.

I bet they'd both get along because they're nerds, and they both have a greater sense of loyalty than each other.

but I like the headcanon that it's an adopted older brother/adopted younger sister relationship.

With Suki.

They are born leaders, they both share the desire to fight for others and are very protective of their loved ones.

They would get along if there wasn't a war, or maybe they would be sparring partners after the war.

And finally with Toph.

They both share loneliness and abandonment by their parents, although neither of them would talk about their problems, at least until they are going through a difficult time.

And they would be the explosive dynamic duo, although obviously Azula would be the most responsible and think logically, but sometimes she forgets and becomes just as chaotic as Toph.

Without a doubt Toph is Azula's bad influence.

And I think the one who would get along best with Azula would be Aang, they both share many things in common.

[avat4rkorra]

tag drop.

[melzula]

well since requests are open i wanted to request a zuko fic?

zuko x waterbender reader in which someone from team avatar walks in on them kissing?

i feel like it’d be funny idk lol 😂

a/n: i love this trope it’s so funny. also it’s like subtly mentioned reader is a water bender since i didn’t wanna just shove it in there awkwardly. anyway hope you enjoy!

summary: a private moment between you and your boyfriend is interrupted by your unsuspecting friends

“Are you sure no one saw you come in here?”

“Yes, I’m sure,” Zuko says with a huff after closing the flaps of your tent. “You know, I’m starting to think you’re embarrassed to be seen with me.”

“You know that’s not true,” you argue with a frown. “I just enjoy having some privacy. I know those guys are going to make a big deal about us being together, and I just want to enjoy our relationship without having to deal with any prying eyes.”

“I know,” he admits with a sigh. “I’m just tired of sneaking around. Do you know how difficult it is not to kiss you or check on you after a fight with my sister? It’s torture.”

“It’s just until the war is over. There’s a lot at stake right now, and it would be a weird time to come clean. It’ll be over before you know it.”

“I hope you’re right,” Zuko murmurs with a frown, one that immediately melts away at the feel of your arms wrapping around his midsection. It’s hard to be upset when you’re smiling up at him with the purest look of adoration in your eyes. Despite everything, all of his flaws and mistakes and cruelty, you love him, and it fuels the warmth inside of his heart knowing he has someone like you. Maybe he would have joined the Avatar and his friends sooner if he knew it would lead him to you.

“At least we’re finally alone,” he notes with a faint smile before leaning down to press his lips against your own in a long awaited kiss. He hasn’t been able to give or receive affection all day, and it isn’t until now with your chest pressed against his own that he’s finally able to truly feel relaxed.

Unfortunately, you’re both too engrossed in each other to notice the rustling of your tent flaps as Sokka and Toph let themselves in without a second thought.

“Hey, y/n, Toph and I are gonna head into town, do you want to- oh, gross!” He cries after catching Zuko and yourself mid lip lock.

You both jump at the intrusion, knocking your head together on accident and groaning in unison at the impact.

“Sokka!” You cry out in embarrassment. “Monkey feathers, don’t you knock?!”

“It’s a tent! There is no knocking!” He yells back defensively, equally as upset as you are. “I can’t believe you guys were kissing!”

“We weren’t kissing,” Zuko argues, his face red with embarrassment. “We were… hugging… with our… mouths?”

“Oh, spirits,” you groan, your palm hitting your forehead in embarrassment at Zuko’s horrible attempt at lying. For a Prince, he has a terrible way with words. You’d think all that time spent with his Uncle would make his vocabulary more eloquent.

“If Toph could see she’d be very upset right now!” Sokka scolds, but the girl beside him simply shrugs.

“Actually, this works out great for me. Katara owes me five gold pieces now,” she says with a grin.

“You guys knew they were dating and didn’t tell me?!” The water tribe boy says in offense.

“I had a hunch, but Katara disagreed, so we made a bet.”

“Enough already! This is mortifying enough as it is,” you groan impatiently. “Sokka, we’ll talk about this later. For now, I need both of you out!”

After getting the two to leave the tent, you shut it closed with an irritated sigh. You’re absolutely humiliated, and you don’t think you can show your face to your friends ever again.

“So much for keeping it a secret,” the fire bender mutters.

“You,” you say with an accusatory finger pointed at the Prince, “need to learn how to lie better.”

“I know,” he admits meekly, awkwardly scratching the back of his neck. Sighing, you open your water pouch and tend to the growing bump on his head from your previous collision. You can’t stay mad at him when he looks so flustered and sweet, so instead you merely throw your arms around his neck and pull him back in for another kiss.

You can focus on coming clean later. For now, you just want to enjoy your moment of peace with the boy you love.

| zuko tags: @thebluelcdy @royahllty @the-firebender-girl @ilovespideyyy @yiyibetch @eridanuswave @lammello @a-monsters-love @knaite-solo @taeeemin @lora21

[floatyflowers]

The second wife| Dark! Ozai x Wife! Reader x Platonic Dark! Zuko and Azula

Ozai murdered your husband and your baby to take you as a second wife.

Of course, he has done it secretly so he doesn't appear like the villain in your eyes.

You were the handmaiden and younger sister of his first wife, and the one he wished to marry in the first place.

So, when Ursa runs away, he marries you against your will.

Even though the marriage was forced, right after your husband and child's death, yet you held no ill intention towards your nephew and niece.

Zuko is quick to accept you as you are his aunt whom he trusts.

While Azula didn't know how to act around you, thinking that you viewed her in the same way her mother did, a monster.

But you made sure to include her in everything along with Zuko.

The healthy relationship you had with Ursa is the same one you wish for Zuko and Azula to have, one full of love and respect.

But Azula always tried to push Zuko out of some activities, she claimed 'it is a girl's thing'

"Mother should only brush my hair because I'm a girl"

Meanwhile, Zuko clings to you, telling you everything he knows, or sought knowledge about it.

Meanwhile, you hate Ozai, he is just unlike...your first husband.

Ozai is beyond redemption in your eyes.

And many days, you avoid him.

However, one day, you and Ozai were fighting about political matters and Zuko intervened to defend you.

"Stop yelling at mother, she has done nothing wrong!"

You only placed your hands on Zuko's shoulders, fearing that Ozai might hurt him.

But the glaring competition between the son and the father only ended in Ozai leaving.

Unfortunately, Ozai did not let that slide when Zuko cut in one of the political meetings.

He challenged him to an agni kai.

Something that Azula was excited about.

You tried to plead for Zuko's case.

But that made Ozai more determined.

And on that day of Agni Kai, Zuko was left defeated with a scar as a reminder.

And then banished from the fire nation for not wanting to fight his father.

But you kept sending him letters from behind your husband's back.

At first, Zuko swore to capture the avatar so he can be accepted back as an heir and into the arms of his aunt, you.

But after joining the team avatar, he swore to defeat his father and save you.

[asongofstarkandtargaryen]

When I say that my favourite atla ship is Zutara people assume that I dislike Aang. But that couldn't more further than truth. I love all the kids in team avatar.

I really like Aang, I just don't find his relationship with Katara romantically interesting and therefore I don't ship them.

So if you like both zutara and Aang please like or reblog this post. I want to see how many of us share this mentality.

[harunayuuka2060]

Ortho: Hello, Mr. Leviathan!

Levi: Hello, Ortho-kun! *chuckles* Good morning!

Ortho: Are you here to play with my brother?

Levi: Yes. And I also need to talk to him about something.

Ortho: In that case, I will wake him up.

Levi: Eh? Why? Is he not awake yet?

Ortho: Well, you played games with him until 4:07AM.

Levi: *awkwardly smiles* Sorry...

Ortho: It's fine! But please try to decrease your game time. My brother is still a human and his health is important to me and everyone else here in Ignihyde.

Levi: Yeah. I'll keep that in mind.

Idia: Huh? Leona has teamed up with Belphegor? What does that mean?

Levi: You know what it is!

Idia: Yeah, I get you. But I don't think it would be ideal for the Prefect to add another lover to their existing number of husbands.

Levi: Do you honestly think that is the case?

Idia: What?

Levi: Seven avatars of hell, the future king of Devildom, the demon butler who can manipulate time and space, the most powerful sorcerer, one archangel, and one reaper wife who likes to set up traps.

Levi: And on top of that, there are two who are crushing on them from both Devildom and Celestial Realm.

Idia: ...

Idia: Geez.

Levi: Right? And I can't blame them because MC is so amazing and you couldn't help but to love them—

Idia: Time, time!

Levi: Huh?

Idia: You're not helping your case, Levi. Every time you say MC is amazing, the listener will be interested and it would urge them to know them better, to form a relationship with them.

Idia: And with the way you rant right now, it seems to me that you are recruiting me to be their boyfriend.

Levi: If you can't beat them, join them.

Idia: Noo! MC is already tired with all of these things! They don't need another socially-awkward gamer lover and a lazy lion prince!

Idia: Give. Them. A. Break!

Levi: ...

Levi: Idia-kun... You really care about MC... *sniffles* *smiles* Are you sure you don't want to be their boyfriend?

Idia: Ask someone who's more willing and wouldn't mind sharing a relationship with a bunch.

Levi: If you're referring to that dragon guy, no way. Nuh-uh. I don't like him.

Idia: Malleus? Why?

Levi: He's got a long lifespan.

Idia: ...

Idia: Wait.

MC: *has finished the necessary steps to become a noble and has gone straight to their third year's class*

MC: *didn't notice that they're still wearing their formal demon outfit*

The third-years: ...

MC: Do you have any questions before we start this class?

Trey: *raises his hand*

MC: Yes, Trey?

Trey: Um... Are you forgetting something?

MC: Hmm... No. I think I have everything here.

Trey: O-Oh... Haha... Okay.

MC: ...

MC: What are you all staring at? *raises an eyebrow*

Rook: *raises his hand*

MC: Yes, Rook?

Rook: Beauté, Trickster! Admirably sinful even!

MC: Huh?

Lilia: *who's giving Malleus a teasing look*

Malleus: *his cute, little expression while staring at them*

MC: Cater, why didn't you tell me that I looked weird earlier?

Cater: I was busy admiring your pact marks.

MC: You were staring at my leg?

Cater: And shoulders. 😩🙏

MC: ...

MC: Did I really look that good?

Cater: Yes, bestie~ We almost kneeled in front of you.

MC: ...

MC: You're exaggerating.

Cater: But it's truue~. *chuckles*

[linkspooky]

DOOMED SIBLINGS: THE TODOROKIS VS. THE FIRE NATION ROYAL FAMILY

I received an ask in my inbox about how Zuko doesn't owe Azula any forgiveness. Truthfully I wasn't even going to respond because this isn't an avatar blog, but then I watched this video.

Not only do I disagree with the basically everything in this video, but I am going to make the argument that both Zuko' and Azula's arcs are both incomplete with the way the show left the two of them in the final showdown.

In order to make my argument I'm going to compare Azula and Zuko's relationship in avatar to Shoto and Toya's relationship in My Hero Academia and use the latter as a more positive example.

Unnecessary Redemption Arcs

The common fandom opinion I want to argue against is this idea that Azula's ending is a perfect tragedy, and therefore doesn't need to be expanded upon. There's also a sentiment that redeeming Azula would somehow ruin the impact of this perfect tragedy.

I'm about to argue against both of these points.

Azula's arc doesn't work as a tragedy.

Because of this her arc is unsatisfying and unfinished.

I'm going to address the first bullet point but before that let me add another disclaimer. The reason why I think Azula's arc isn't an effectively written tragedy isn't because I like Azula.

Before we even get into the My Hero Academia comparison let me bring up something completely different. I do like Azula, but I like Terra Markov from Teen Titans a lot more and I would not change a thing about her tragic end.

AZULA'S ARC IS NOT A WELL-WRITTEN TRAGEDY

Terra in the comics is what a lot of people accuse Azula of being. She is stated in the text and by her creators to be an unfeeling sociopath. She was also never intended by her creators to be redeemed.

[About Terra] The very first time we see her, she’s trying to blow up the Statue of Liberty. It’s just that all the fans assumed because we went out of our way to make her cute — but not too cute, with the buck teeth and everything — everyone would assume that she was gonna become good by the end and that was never the case. First thing, we made a promise that day that we would never renege on our view that she’d never become good. It’s sometimes hard to do that with characters you like. You want them to become good or something like that. But we never liked the character enough—because we knew what we were doing with her—we never allowed ourselves to fall for the character. Because that’s bad. That’s bad storytelling. You’re doing what you want as a fan at that particular point, not as the creators. T

Now let me clarify, both creators of New Teen Titans say some nasty things about Terra and don't recognize her sexual abuse, but here's the thing. You don't have to read a story 100% the way the author intended, sometimes the story says one thing and the text says something different.

I am going to use Judas Contract as an example of a story where the character from the start was never intended to be redeemed and why that's a positive in this case.

Terra is a teenage girl, the bastard daughter of the king of Markovia and a random American woman who presumably has had no stable home her entire life because she's working as a mercenary at fifteen. She teams up with a man that is in his mid fifties and even starts a sexual relationship with him (this is statutory rape she cannot consent) and Deathstroke uses her to infiltrate the Teen Titans and learn as much as possible.

Terra is sent to live with the team and spy on them for several months. The whole time she only ever engages with them in a fake spunky persona, and never shows her real cutthroat self. She leads Beast Boy on in a fake romance to make him trust her and secure her place on the team. The way you'd usually expect this arc to go is that Terra would grow fond of the team and be torn in her loyalties.

Yeah, that never happens.

Terra loathes the Titans. In fact she's developed a superiority complex about her meta human abilities and she doesn't understand why anyone would use their powers to help others. She despises the concept of superheroes in general, and because of that never bonds with any of the Titans. Her feelings never change from start to finish, because her creators intentionally wrote her as a character that can't be redeemed.

Terra is written to be a psychopath, but even with that intention in mind there are scene that shows a greater range of emotions. She has what could amount to a trauma flashback when Beast Boy too aggressively flirts with her and tries to kiss her and she reacts violently, trying to bury him under the earth.

Let's go ahead and interpret Terra as what is used as the fictional definition of a "sociopath" that is someone who feels no bonds with other people, someone with shallow emotions and someone devoid of guilt. Even if we interpret her that way, her story is still meant to be read as a tragedy.

Terra succeeds in her mission of infiltrating the Titans. Slade captures most of them, and the only remaining member Dick Grayson goes missing. Dick Grayson then unites with Slade's son Jericho, and the two of them team up in order to rescue the rest of their friends.

Even after all she's done the Titans try to make pleas to Terra during the final battle, which she not only rejects but responds to with violence. Which only confirms what I said above, Terra never grew to love them, she never regretted her actions, she only ever engaged with them with lies.

(Terra always lies, Terra always lies, Terra always lies).

Terra is declared by Raven to be devoid of emotions: "Her thinking is unlike ours. She feels no true love or hate. Her soul is corrupt. What she does is done without remorse."

Even after Raven declares this, however she still pleads with Terra to stop because she's going to hurt herself. Terra feels Slade betrayed her because he favored his son Jericho over her, so she decides to take both Slade and the Titans down. As the Titans fight her she begins to mentally fall apart ignoring their appeals to her and lashing out at everything around her. Eventually she makes one last attempt to everything around her, but the Titans escape and she only manages to bury herself.

At no point in the fight do the Titans give up on trying to reach her even as she's loudly screaming how much she hates them. Even after she's buried and it looks like she's dead, Gar and Donna both try desperately to dig her up on the slim hope she's still alive. When they find the body they even give her a funeral afterwards, even though they all think that Terra was beyond redemption.

Even the prose narration that accompanies her death is incredibly melancholy and bemoans her fate, at the same time as it calls her a outright sociopath.

There's no reasoning with her now. However slim, whatever sanity Tara Markov possessed is gone. Now there is only primal hatred! Hatred born, nurtured, and fanned. Hatred that festers and grows without care, without feeling, without plan. her pursed lips part and the sounds which echoes force are garbled and inhuman. Hot, boiling blood gushes wildly from the earth's open wounds, its skin fractures and cracks, and if a world could cry, it surely would. Her name is Tara Markov and she is little more than sxiteen years old, and due to the fault of no one but herself she is insane. No one taught her to hate, yet she hates without cause, without reason. No one taught her to destroy, yet she destroys with glee, with relish. Don't look for reasons which do not exist, plainly Tara Markov is what she is, and she has taken a great power and made it as corrupt as she. Hers was the power over the earth itself she could have brought life to deserts, hat to the frozen tundra, food to sraving millions. She could have damned raging rivers, and tunneled water to packed lands dry and dead. her powers were limited only by the mind which controlled them. A mind which sought not hope, not love, not life, but death.

If you go with the text that she is just a sociopath beyond redemption who hates and hates and hates for no reason, the narrative still mourns her because a sixteen year old with her whole life ahead of being consumed by hatred and then dying because of it is in fact sad.

If you read into the subtext then you can argue that the events of the story, contradicts what the narration is telling us. Terra is being sexually groomed and groomed as a child soldier by a man who is much older than her, even if she thinks he's a partner he clearly has all power in the relationship.

If you think about it that way then Terra is the ultimate bad victim. She doesn't cry and call for help as a victim of sexual abuse, instead she tries to claim power for herself, she manipulates, and she destroys any chance she had for a genuine relationship because she only sees all relationships as transactions she can gain or lose from.

Even if you only go with the first interpretation, the narrative still remains tragic because the Titans themselves did not want to give up on her, they did not want to watch this sixteen-year-old girl destroy herself. They never stop reaching out for her and it doesn't work, because there was no way out for Terra but death.

Here's the thing I don't think Terra's status as a sexual victim automatically means an ending where she dies is offensive. It reflects a reality that victims like Terra often go unseen because they don't present their victimhood in palatable ways, and by the time anyone notices it's far too late. Sometimes tragedies are meant to reflect a reality where many people do not get saved.

There's two reasons that Judas Contract works as a tragic story. Number one the creators planned Terra's ending right from the beginning. Which meant they never gave her any moment where she shows that she's redeemable. There's no genuine bond between her and the titans, no wrestling with the guilt of her actions, nothing.

Number two, Judas Contract is Terra's story from beginning to end. It begins with her betrayal of the Titans, and ends with her death. The death is also brought upon herself by her fatal flaw her hatred, which is what makes her the protagonist of a tragedy. Tragedies are stories where heroes are undone by their flaws. Terra also goes out on her own terms. She buries herself underneath her own rocks. Her death is a direct consequence of her inability to let go of her hatred. Terra's not fridged for anybody else's arc, she retains her agency until the exact moment of her death.

To simplify into bullet points, Judas Contract works because:

The creators thought out what they wanted to do with Terra.

Judas contract is Terra's story.

Now, getting to the part where we actually talk about Avatar, and I start complaining about that awful, awful video.

AZULA'S ARC IS NOT WELL THOUGHT OUT

I just went on a long tangent on how Terra, a character written to have no redeemable qualities can still be tragic. How the creators marked her as clearly doomed from the start, and how she brought about her end on herself, how there no redemption for Terra. How this girl had no real chance, and how regardless of the fact Terra is a lil baby sociopath her fall is still tragic because of how well structured the tragedy is surrounding her.

It's awful to kill off a sixteen year old victim of sexual abuse, but the ending just fits because Terra represents a certain type of bad, unsympathetic victim who doesn't get saved.

Azula's arc isn't as well structured. The ending does not fit. I'm going to start by refuting some points in the awful, awful video I did not like.

"Maybe it's okay if Azula's story ends where it does in the series we would separate how we would treat a real 14-year-old girl from a villain in a series, ad that's why any redemption arc isn't need i a story after all. A character needs of deserves a redemption arc when it becomes the most meaningful way to explore their character and place in the story, but a character deserving redemption usually comes before the story really needing it, and I don't think Azula's done anything to deserve it yet. They've got to exhibit some willingness and action to change..."

So the main reason I'm using Terra as my first example is because Terra is the kind of character that Hello Future Me is describing. Terra was written with the specific intention she'd never experience a change of heart, all of the friendships she makes with the Titans are fake, she very loudly experiences no remorse, or even self-reflection over what she is. Terra's pretty proudly a monster and she never experiences any kind of self-doubt or regret over what she's become.

I can disprove right away Hello Future Me's blanket statement (with no actual cited examples, just trust him guys) that Azula never did anything to hint she may deserve redemption. That suggests Azula is an entirely selfish character who uses, manipulates and thinks she's right and worst of all is comfortable being the way she is, and therefore incapable of doing the self-reflection necessary for change.

Azula does show the capacity to do selfless actions several times in the narrative, and even consider the feelings of others. There's the apology scene with Ty Lee and the way she interacts with her friends in general with the Beach where when she's not fighting in a war or trying to complete a mission for her father Azula 1) interacts with her friends in a normal way and 2) seems to express a desire to experience normal relationships not the hierarchical ones she's experienced all of her life.

However, that's not the example I'm going to use as her save the cat moment. I generally intend to interpret that as a sign that even though she treats Mai and Ty Lee as subordinates and that power she holds over them eventually leads to them leaving her, their friendship isn't just Azula abusing them and lording her authority over their heads 24/7.

No, Azula's save the cat moments all revolve around Zuko. Which is funny, because the entire fandom seems to regard Azula as Zuko's evil little sister who exists to do nothing but torment her.

The first and biggest is Azula deciding to bring Zuko home in Ba Sing Se, and telling a lie to her father that he was the one to slay the avatar.

Ozai: I am proud of you, Prince Zuko. I am proud because you and your sister conquered Ba Sing Se. I am proud because when your loyalty was tested by your treacherous uncle, you did the right thing and captured the traitor. And I am proudest of all of your most legendary accomplishment: you slayed the Avatar.

Zuko: [Shocked.] What did you hear? Ozai: Azula told me everything. She said she was amazed and impressed at your power and ferocity at the moment of truth. [Inspired partly by this post]

Now the show seems to regard this action as Azula being an evil temptress who is there to tempt Zuko back to her side with everything he thinks he ever wanted.

That's only if you regard it from Zuko's perspective.

Think for a moment from Azula's perspective. Number one, Azula is someone thoroughly indoctrinated into Fire Nation propaganda who measures her self-worth based on 1) military achievement and 2) her father's approval and assessment of her talents. In Azula's own logic (wrongheaded as it is) she's helping Zuko. She's bringing him back home with his place in the line of succession restored and his father's approval.

Azula doesn't benefit from this gesture at all, in fact if her father discovers the lie she has as much to lose as Zuko does.

Now Zuko insinuates that Azula only brought Zuko along and told her father that he was the one who killed the avatar so she could let him take the fall if the avatar turned out to be alive.

However, if you look at the actual order of events that doesn't make sense. Azula saw the avatar die, she didn't know about the spirit water, and therefore had no way of knowing Aang could come back. In fact, it's Zuko who 1) knew about the spirit water and 2) decides to keep the spirit water and the fact the avatar might have survived a secret that is throwing Azula under the bus. After all she has as much to lose as he did and instead of sharing that information with her he decides to keep it all to himself.

Now Azula does imply that if the avatar were to turn out to be alive all of Zuko's glory would dry up, but this is only after Zuko 1) throws accusations at her and 2) makes it's pretty clear he's lying to her putting her on the defensive.

This is also a scenario where Azula doesn't have much to gain by bringing Zuko back, if you look at it from her perspective. If Azula just lets Zuko rot in a ba sing se prison, then her claim to the throne is secure. With Zuko back he's restored in the line of succession. She also, when making the decision to invite Zuko to her side probably didn't need him for her plan to succeed.

There is a dramatic moment of Zuko choosing to side with Azula over Katara which turns the tide in Azula's favor, but Azula can't see into the future and therefore wouldn't be able to predict that happening. If you look at it from Azula's perspective she 1) successfully infiltrated the city, 2) already had the Dai Lee in her pocket. She likely already thought she had the city secure at this point so her decision to extend a hand out to Zuko is therefore likely motivated by selflessness instead of self-interest.

That's important because usually when Azula usually only gives her help to others if it also benefits her in some way. Azula might genuinely see her recruiting Mai and Ty Lee to her side as a member of the royal family extending her favor and giving them status and security in their positions but it has the underlying motivation of 1) she keeps them in a position to beneath her and therefore in her complete control.

Azula will interact with Mai and Ty Lee like friends on the surface, as long she maintains control over them, but if they do anything to something that displeases her she'll do anything to regain her control.

Mai: I thought you ran off and joined the circus. You said it was your calling. Ty Lee: Well, Azula called harder.

This is set up in Azula's very first interaction with Ty Lee. Azula greets her like an old friends, Ty Lee even seems happy to see her, but the second Ty Lee tries to say no to her Azula goes to extreme lengths to "persuade her". Azula's friendship with Mai and Ty Lee is an abusive friendship because there is a power differential and even if Azula feels genuine affection for them both it's clear they're not allowed to say no. Mai and Ty Lee are put into positions where it's in their best interest to please her, and live in fear of the consequences if they don't do just that.

Here's the thing, I'm not arguing that Azula didn't deserve any consequences for her actions. I'm arguing that the setup doesn't match her eventual ending. Azula is set up to have Mai and Ty Lee leave her from the very first scene that Azula interacts with Ty Lee. It's satisfying because the set up matches the pay off.

It's also tragic because it's Azula continuing the chain of abuse. The video isn't entirely wrong (which is why they came to the wrong conclusion frustrating).

Azula's fall is about how differenting parenting styles can a child. Ozai's affection is exchanged for being useful. Something Azula would go on to repeat with her friends, whereas Iroh's affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

It's like... there it is it's so close. Here's the thing, Azula is set up for a tragic falling out with Mai and Ty Lee (and one she deserves) but the set up is different with Zuko. Azula's save the cat moment revolves around Zuko, and her genuine attempt to bring her brother home.

Yes, the first time Azula interacts with Zuko in season 2, she tries to take him home by force. However, by the ending of the season Azula's perspective on the matter has obviously changed because she begins by trying to bring him back as a prisoner, and by the end of the season invites him back as an equal.

There's no moment in Season 3 where Azula treats Zuko the way she does Mai and Ty Lee (unless Zuko provokes it first and puts her on the defensive) in fact most of her interactions are either them interacting normally (such as when Azula goes to find Zuko at their old beach house because she knows he'll be there and advises he leave instead of dwelling on their depressing memories) or Azula deliberately trying to look out for Zuko such as when she advises him not to go visiting with Uncle because it'll make others suspicious.

On the other hand, Zuko never at any point looks out for his sister the way Azula is demonstrated looking out for him. He doesn't say, try to tell her where he's going on the Day of Black Sun, or try to convince her the fire nation is wrong. There's a scene in the later part of Season 3 where Zuko is watching Azula fall to her death while sitting on a flying bison and not only sits there and does nothing about it, but sounds disappointed when she doesn't hit the ground and become an Azula Pancake.

That's pretty much the opposite of a save the cat moment. It's a "let the cat fall to their death" kind of moment.

Yes they were enemies at that point, but Zuko's the one who's supposed to learn that affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

How exactly is he doing that in this scene?

The thing is... this setup doesn't have to be bad. Of course Zuko has trouble has trouble empathizing with Azula, he doesn't even think about sending a letter to Mai, Zuko's shown at this point to be like a healing abuse victim who's understandably focused on himself.

This in fact could be excellent set up with step 1) learning what genuine love and forgiveness is and 2) demonstrating those two things by applying it to others.

However, that's not where we got. We got Zuko watching his sister have a complete emotional breakdown, crying and screaming while chained to a grate and looking somewhat sad.

And once again to bring Terra into this, Terra is what Stay at Home and parts of fandom argue that Azula is. Terra screams at the top of her lungs how much she hates the Titans, how much she was always lying to them, and the Titans STILL try to reach Terra with words, try to de-escalate the conflict, when she's about to bring the rocks falling down on herself warn her she's going to hurt herself, and then when she's buried under rubble try to dig her out begging for her too still be alive.

Terra who's intentionally created by her writers to be as hatable as possible, is shown more compassion by the heroes in her ending than Zuko ever does to Azula. They also give Terra multiple opportunities to change until literally the very last minute, which Zuko doesn't do either.

What's set up is Azula has this save the cat moment with her brother, that Zuko is pretty much the only person she doesn't treat like a subordinate in the story (because she just like Zuko has a craving for familial love she tries to earn from her father). However, her ending with Zuko just taking her down doesn't fit that setup.

Azula's ending only fits if you consider her arc entirely from Zuko's perspective, which is the underlying issue. Azula's not the protagonist of her own tragedy, she's a plot object that's used to benefit Zuko's arc.

Azula's is written to have a downfall, the same way that Zuko loses everything at the ending of season 1 b/c of his inability to give up on the obsessive search for the avatar (and his father's love with it). Azula is written to be left by Mai and Ty Lee (this is the strongest point of writing when it comes to her since it comes from the beginning).

However, she's not written to be left completely alone and insane with the only empathy being shown is that her brother looks kinda sorta sad. That's only good if you view her as an object to further Zuko's arc, because isn't the ultimate culmination of Zuko beating his sister who has always been ahead of him at life? Azula needs to torn down completely without even some small glimpse of a hope of recovery so Zuko can be built up even moreor at least the writers of avatar seem to think so.

However, even Azula just existing for Zuko's growth and character development doesn't have to necessarily be a bad thing. This is where we get to MHA, which does the tragic siblings and the final Ag Ni Kai about 1000 times better with Shoto and Dabi.

THE GOOD

The comparisons between Shoto and Dabi to Zuko and Azula are made pretty often by the fandom. Shoto has a scar, Dabi has blue flames. Shoto has an arc about healing and learning what it means to be a hero, Dabi's arc is about self-destruction.

Dabi's not the center of his own story, he exists to foil Shoto and help Shoto reach the endpoint of his character development however that's not necessarily a bad thing. These are both two pairs of tragic siblings, the main difference is that MHA doesn't feel the need to tear down one sibling in order to build up the other. In fact, the final step to Shoto's arc is HELPING Dabi, not PUTTING HIM DOWN.

Not only that but the decision to help Dabi is a decision that Shoto makes on his own, and him going against the tide of a society that has already given up on Dabi and would much rather have Shoto shoot Dabi like a mad dog. Which makes the decision to do so even more powerful and emblematic of Shoto's growth.

Now you could say that Shoto and Zuko are too different to compare their arcs, Zuko has a redemption arc, and Shoto has what most people would probably term a healing arc. Shoto starts out the series as a hero.

However, this is what annoys me about the redemption arc debate. A redemption arc is really just a normal character arc. However, calling it redemption drags things like morality and forgiveness into the debate. if you take remove the discussion about moral philosophy both Zuko and Shoto have character arcs where they start the story defined entirely by their home situations and their father's abuse (hence why they have big obvious scars on their face), recover from their trauma, and go on to find an identity outside of their father and form healthy non-abusive connections with others.

In fact I'd see the theme of both arcs are the same, to literally find balance within themselves. Shoto is divided quite literally into right and left sides, fire and ice, and even seems to view himself as half of his father and half of his mother. Zuko is someone who's permanently marked and dishonored by the burn scar on his face. He suffers from an internal imbalance as well. Iroh says that Zuko is the descendant of both Roku and Sozin and therefore both pathways are open to him (but wouldn't that apply to Azula too). Zuko says to his father that the fire nation has destroyed the balance to the world and he's going to leave to assist the avatar in order to fix it.

Shoto's balance isn't just about fixing his internal trauma though, it's also about finding a balance between his family which has defined his entire life up until this point, and his desire to become his own hero not the hero his father groomed him into.

It's why the culmination of his arc is Shoto reaching out to save his family member Toya, because it's the ultimate balance in wanting to heal his family, and also the kind of hero he wants to be, someone who saves and brings peace to others instead of just violently putting down villains. He can bring peace to his family and become his own hero in one action.

However, let's go back to the beginning of Shoto's arc, because saving Toya as an endpoint to his arc is set up pretty early on.

Shoto's arc begins with Deku, a stranger breaking down Shoto's walls as an outsider in order to allow him to look past his own trauma and recall for the first time what he wanted outside of his resentment towards his father. This sets up the idea early on for Shoto that sometimes you need outside interference, help you didn't ask for, especially when you can't see outside of your own problems.

What Deku brings about ultimately is a change of perspective, Shoto's so hurt by the memory of his mother throwing boiling water in his face and everything that came after that he can't recall the memory of her telling him he could be who he wanted to be.

But, you want to be a hero right?

Shoto takes away two things from this arc, sometimes you need help even when you're not asking for it, and sometimes a change in respective is required in order to take the first step forward.

He goes to demonstrate these things multiple times, but here's two exaamples. The first Shoto demonstrates immediately after the tournament arc. When Iida is about to go down a dark path and commit a revenge killing on Stain. When, as a result of that IIDA is paralyzed and about to die in an alleyway, it's Shoto who both notices Midoriya and Iida are missing and shows up in the clutch. He's practicing the same thing that Deku taught him in the last arc: Giving help that's not asked for is what makes a true hero.

He even mentions the second idea, that a small change in perspective can be all it takes to save someone, and he wants to do for Iida hat Deku did for him. His words are the one who convinces Iida to stand back up again when he's paralyzed.

If you wanna stop this, then stand up. Because I've got one thing to say to you. Never forget who you want to become!

However Shoto's arc doesn't end here, because one of the major conflicts in MHA is that heroes don't pick and choose who to save and a true hero will give help even to those people who don't ask for it.

This is a point which further develops when Shoto's abusive father starts to show a change of heart at the end of the Pro Hero Arc. Shoto still holds his father accountable for what he did in the past, but he also acknowledges that if he had the capacity to change then so does Enji. This isn't about whether or not Enji is forgivable, this is an extension of what Shoto learned. Shoto originally believed he was controlled by the circumstances of his birth, that his fate was set in stone, but a change in perspective allows him to realize he can determine who he wants to be. So, Shoto is just applying what he's learned, Enji has the capacity to grow.

There's one final piece of setup that I want to cover before showing how these separate dies all culminate in saving Dabi. Shoto's not only someone who has to find balance between his family and his desire to be a hero.

The theme of balance is written into the quirk itself. Enji basically practiced eugenics to create Shoto as his masterpiece. He noticed a flaw in his own quirk where he could only make his flames so hot without overheating. So he arranged a quirk marriage with Rei who possessed an ice quirk to create a hybrid ice and fire quirk that he could use to cool himself off to prevent him from overheating.

Enji only ever cared about the fire half of Shoto's quirk. His ice quirk only exists for his flames to grow stronger. This is shown when Enji is trying to force Shoto to learn all of his signature moves, because he only cares about Shoto's flame quirk. Shoto was created to carry on his father's legacy, and surpass him with an even more powerful flame quirk. Part of his character development is him learning how to use his quirk in his own way.

This is a theme that continues in the class training arc where Enji is still repeating the behavior of trying to force Shoto to learn his signature moves instead of considering what he wants at all, because still Shoto only exists in Enji's mind to carry on his legacy.

This all culminates in Toya's decision to save his brother. The first is his action in choosing to identify with his brother. If Shoto believes in his own capacity to change, and even his father's, then why would he deny Toya that same chance to change?

The foiling between Shoto and Toya isn't supposed to reduce the two of them to "Shoto is the good one, and he's the bad one", but instead Shoto and Toya were both in a point where they were consumed by hatred and couldn't see any other path in life. Therefore if Shoto was able to change because someone gave him help when he didn't ask for it, then Toya not only has the capacity to change - but in order for Shoto to stick to his stated beliefs that the smallest of things can bring about a change in people he has to be the one to give his brother that chance to change.

It's not about whether Dabi is worthy or not, it's about the themes in Shoto's arc finally being paid off.

Shoto's identifying with Toya, and even parts where he tells Bakugo he'll make Toya sit down and make Toya tell him his favorite food indicate that from the beginning Shoto's intention was to find a way to stop Toya without killing him (which is what several of the adult heroes were encouraging him to do).

@stillness-in-green does a more succinct summary of this plan.

Just me?

Because, like, Shouto had a plan. He spent the time between the two war arcs specifically developing a brand-new combat technique that he planned to use to shut down Dabi's combat advantage without killing him. He convinced his dad not to change the plan like Endeavor was hesitantly sounding him out about[1]; he went out and talked and asked questions, and even if they weren't the right words every single time, he did his best and he did it with intention. If Dabi proves to be dead, it won't be because of anything Shouto did to him; it'll be because Dabi himself chose to stand back up, take a warp gate across the country, pick a fight with the guy who doesn't have the power set to shut him down without unduly hurting him, and trying to replicate an Ultimate Move specifically tailored for someone with a balanced power set Dabi doesn't have. And if Dabi lives, it's still going to be because Shouto booked it across the country and used that same technique to stop him again.

Shoto's decision to save Shoto is also a continuation of his decision to help save Iida from Stain. It's not enough for Shoto to experience a change of heart about his own life, he's got to take what he learned about people's capacity to change, and the importance of connections and then put that into practice and help others the way he was helped.

However, it also further develops the theme of giving help that's not ask for from Iida because Shoto's not saving a mostly heroic kid, he's saving Toya to help break a familial cycle of abuse (because murdering the abuse victim isn't how you end the cycle of abuse... actually).

Shoto's last lines to Dabi are also a refutation of this idea of destiny that he once thought he was ruled by. It's once again, Shoto teaching someone else the lesson he learned. Toya says a warped rail can never mingle with a straight and narrow one! In other words Shoto can never understand or get along with Dabi, because Dabi will forever be defined as the failure because of the circumstances of his brith, whereas Shoto will always be the success.

His final action is a decision to break the cycle they were born into: no, we're gonna mingle whether you like it or not.

Shoto's ultimate move Phosphor is not only a move he designed far in advance to take down Dabi non-lethally, it also is a rejection of his father's teaching method. Toya says he only ever taught me how to turn up the heat. Enji only valued both Shoto and Toya for their flame quirks. Developing his own quirk and breaking away from what his father wanted, specifically in order to save his brother. It's Shoto rejecting what his father created both of them for (a successor to his quirk) and finding his own path. By using that move to take down Dabi he's not only teaching Dabi their flame exists for more than just destruction, he's also by letting Dabi live giving Dabi a chance.

From a conversation with @class1akids

Dabi was the last push to unlock Shoto’s full power. Until then he was on the track of mastering flashfire like Endeavor planned for him (except for his own reasons) but realising the fighting Dabi with fire was gonna kill them both and also he’s simply no match fire only helped Shoto to fully take control of what his quirk is Like his quirk development goes parallel with how he faces each member of his family and finally meeting Toya is like the last piece of his puzzle to find his own full power and identity.

It's not just Shoto decides to save his brother because he's just that nice, his arc is literally incomplete without it. The act of creating phosphor a move specifically to save Dabi is both him unlocking the full power of his quirk (by balancing the fire and ice sides of his quirk) but also achieving balance between trying not to leave his family behind while at the same time becoming his own person and hero outside of his family circumstances.

Citing my conversation with class1akids again:

Toya is endangering everyone at Gunga. Endeavor has no means to stop him and when he tries to murder suicide Rei interrupts and his “hero way out” is taken. All he can do is watch helplessly as his family is about to burn to death with a bunch of strangers he tried to protect. But it would do Shoto dirty to use his heart technique to kill his family and the strangers so he comes in a clutch and I see that confrontation as the power trauma vs the power of healing in the family. With Shoto who is a true hero, they can put the fire out and save the family and strangertoo. Shoto become a balanced hero and bring relief and reassurance, Endeavor was completely helpless, and Toyas inner child got the attention he wanted, plus depending on how you read it, he may have become less suicidal.

Shoto also, and I want to point this out desires to stop his brother not to take him down but because he doesn't want him to hurt any more people. He's again finding a balance between two ideas 1) Shoto needs to stop his brother in order to stop him from creating more victims and 2) Shoto needs to find a way to stop him that's not just putting him down because Toya himself is a victim.

Shoto also, and I must point this out for the comparison between Zuko and Azula goes out of his way to engage Dabi in conversation, ask him why he didn't come home and what happened to him in the years after he died. This is especially poignant because unlike Zuko and Azula who grew up together, Shoto basically had no relationship with his brother (and the rest of his siblings really) before Toya died because Enji purposefully kept Shoto separate from all the "failures."

So yes, the act of saving Toya is more for the completion of Shoto's arc than any redemption arc for Toya but Toya's not just a plot object to move around for Shoto's arc, Toya has his own agency all throughout. In fact it's the fact that Toya resists being saved every step of the way that provides the challenge that Shoto needs to grow in order to be able to save him.

Toya's not just after revenge against his father that's the surface reason, Toya is also just blatantly suicidal. Toya's birth is marked as a failure, his death wasn't even acknowledged by his family and everything stayed the same in his absence, so he created Dabi while praying at his own shrine in order to mourn Toya. Dabi can't find any meaning in his life where he was born as a failure, so he'll use his death taking revenge against Endeavor for having been born in order to give his life meaning.

What makes Avatar look especially bad in its treatment of Azula in comparison to how MHA treats Dabi, is that Dabi is way, way less redeemable than Azula. For one Azula has clearly proven affection both her friends and her brother (and I don't think she even deserves Mai and Ty Lee's forgiveness they had every right to walk out on her and want nothing to do with her again.)

Dabi is probably the ugliest victim of the League of Villains. The rest of the league have far more moments in their bonds with each other. Toya is the outsider to the league even if there are some subtle hints to his affection (he tries to show up to save Twice, and also burns down Toga's family house to comfort her). The villains are mostly shown to be redeemable by their positive friendship with each other, and Dabi at several points denies the league's bond (he pulls a Terra and yells out loud at the top of his lungs none of the league matter to him). Unlike with Terra you can argue this is most likely Dabi trying to cover up his real feelings. However, the fact that he feels the need to hide his affection from the league shows he's purposefully distancing himself from any bonds whatsoever.

Unlike Azula who has gone out of her way to help her brother in one major way, and also shows hints in early season 3 of having that sibling bond with him Dabi just straight up wants to murk Toya. Azula also tries to murk Zuko, but that's only when Zuko leaves on the day of Black Sun (one without telling her, and two something that probably left her alone to deal with the consequences of lying to her father for his sake). Either way, Azula's behavior in early season 3 is setup for the fact that their sibling bond can be salvaged.

Dabi is way worse to Shoto in comparison. Dabi in the first part never saw Shoto as his own person, just a puppet of his father (puppets have no autonomy or personhood). His feelings towards Shoto only went so far as Shoto was someone who could kill in order to upset Enji. Dabi also doesn't particularly care for the rest of his family as well (only calling out Natsu's name when his brain is literally melting), they're either ways to hurt endeavor, or he wants to drag them in hell with him. Heck his last words after being saved is telling everyone to die and go to hell.

Dabi doesn't bother to make bonds with the league or have any lingering affection for his family because Dabi's determined to seslf destruct. He's given up on life the moment he saw that he died and nothing changed in that household, now all that's left is for him to create a meaningful death by dragging his family to hell with him.

Dabi is also even as a child made out to be an unpleasant victim. He attacks baby Shoto with his flames early on out of jealousy (even though he later admits that he was being unfair to Shoto). He makes the situation in the house worse by loudly screaming and demanding his father's attention. He screams at his mother and throws her complicity in Enji's abuse in her face.

This is in comparison to Shoto who in childhood flashbacks we are only ever seen either 1) crying, and 2) trying to comfort and protect his mother. Toya's even made out to be difficult to empathize with as a child - which like flew over half of the fandom's heads because he got accusations of somehow abusing his father and the rest of his family in that chapter at 10 years old. However, that in a way illustrates my point.

The fact that Dabi is so disliked by a certain portion of the fandom is because Horikoshi paints such an ugly portrait of Toya in the way he expresses his victimhood. It's done deliberately too, because number one Toya by resisting Shoto's attempts to save him and trying to self destruct instead retains agency as a character. He makes decisions even though they're bad self destructive ones, he's not just a prop. Number two, the fact that Toya is intentionally portrayed as such an ugly victim makes Shoto's decision to break the cycle of familial abuse by saving Toya and not leaving a single family member all the more poignant.

Toya is an uglier victim than Azula, actively trying to kill himself in a way that Azula isn't, and treats Shoto way worse than Azula ever treated Zuko and yet Azula isn't shown the sympathy or given the salvation that Toya is.

Because once again, the writers didn't think about the ending of Azula's arc or of Azula as her own character. Shoto defeating Toya is the culmination of his desire to break the cycle of abuse in his family. Zuko putting Azula down is just to make Zuko look better. It's in service of Zuko's character instead of both of their characters.

THE BAD

Avatar isn't setting up some gritty ending where the bad guys can't be stopped, they can only be killed. In fact it's pretty close in tone to MHA.

Season 3 especially is the season that really begins to hammer in on the themes that even the people on the enemy side are still human after all. The headband shows that Fire Nation children are indoctrinated into the war, but they are in the end still children. There's the story between Avatar Roku and Sozin, and once again Iroh saying that Zuko has both options becoming like Roku or becoming like Sozin available to him (but not Azula I guess). There's Zuko joining Team Avatar, even after he betrayed Katara in Ba Sing Se and should have burnt that bridge then and there. There's Zuko working to earn their trust again when no one on the team really owe it to him.

The main character of the show is a pacifist, who deliberately learns a way to stop Ozai without killing him before the final battle because he doesn't want to break the values taught to him by his culture.

If the entire theme of season 3 is redemption, healing and that the fire nation are not inherently evil then why does Zuko's sister and character foil end the last shot of the series screaming and crying with no one comforting or even attempting to sympathize with her. Why is this one character marked for tragedy in a show that is about redemption and healing and showing compassion to your enemies and very specifically not a tragedy.

Toya literally burns all of the flesh off of his body, and somehow he has a gentler ending than Azula, because at least Toya's arc ends with all the members of his family showing up to try to cool down his flames, and when he's on the ground burnt to a crisp his father finally apologizes to him. Toya is a skinless burnt chicken wing, my boy has no skin, and somehow he's better off than Azula.

I don't think the writers gave Azula such a cruel ending because they don't like her, but rather because they just didn't think about her ending outside of what it meant for Zuko. Which is why you get moments like Aang who is apparently a pacifist who doesn't want to kill the Firelord, watching his daughter fall to her death while sitting on a flying bison and doing absolutely nothing to save her. ALL LIFE IS PRECIOUS (except for Azula I guess).

It's not bad because a victim doesn't get saved, it's bad because it doesn't fit in with the rest of the story.

Not only is Zuko saving Azula a very natural conclusion to his arc, but there's far more setup for Zuko reaching out to his sister and saving her than there ever was for Toya and Shoto. Both Toya and Terra are screaming at the top of their lungs "I HATE EVERYONE, YOU SHOULD ALL JUST GO TO HELL." They're both making decisions and committing to their self destruction while Azula is a 14 year old girl having a mental breakdown.

Anyway, time to quote the bad bad video again.

"When does a villain deserve a redemption arc? When do we deserve a redemption arc? I know this is gonna hurt, but characters are not people. They are tools. They are represetations of people. They can be used to say other things. They can be symbolic representation of other ideas. Azula's story is not just about a fourteen year old defeated by her brother for the throne, Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

I specifically chose to cite MHA, because of how differently it decided to use Shoto and Toya's character foiling. Shoto recognizes himself in Toya, and how different their paths were in life. This is explicitly motivates him to save Toya. It's also the culmination of everything that Shoto has learned because Shoto is a hero who believes that actions speak louder than words. It's not enough for Shoto to resolve his own inner struggle, he also has to help Dabi with his because that's showing Shoto has grown rather than telling us.

I think that is where the major difference lies between Shoto and Zuko, we're told that Zuko has chosen the path of empathy and healing, that he's learned to give people love and patience like Iroh has but instead of showing that the culmination of his arc is having a fist fight with his sister in a denny's parkinglot.

Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

If Zuko is empathic and emotional and that is why he's gained friends while Azula is now alone after having lost her friends due to the way she treated them, then like... what a great opportunity for Zuko to SHOW that quality of empathy.

However, Zuko doesn't do anything that Shoto does in the final fight. He's not even here for Azula, Azula's just an obstacle for taking back the crown. He doesn't talk to Azula, engage her in any way, try to de-escalate and avoid the fight.

If you want to make the tragedy that Azula and Zuko have taken such different paths in life that that Zuko fighting with his sister is unavoidable you could um... at least show Zuko being sad over the prospect of fighting his sister or being reluctant in any way.

(Before you come in here with "Zuko doesn't owe Azula anything take" this isn't about whether or not Azula is a terrible sister to Zuko, this is about the story that avatar is attempting to tell. Shoto and Dabi's fight is tragic because Shoto doesn't want to fight Dabi, he wants Dabi to come home and for their family to be complete. Zuko never expresses anything like that so where does the tragedy come from?)

If it were 100% committed to a tragedy like Terra's death then I wouldn't mind. if it were 100% committed to a story of redemption like Shoto reaching out to Toya then I wouldn't mind. My issue arises from the fact they want to have their cake and eat it too.

They want to give this tragic end to Azula, and use it to illustrate how Zuko has grown as a character. However, you can't have both.

If Zuko's growth is about learning that his father's love based on achievement and 2) learning he needed to get lost in life in order to find himself then why doesn't any of Zuko's actions demonstrate this lesson Zuko has learned about love, and about how you can be your own person outside what your father expects from you.

If Zuko has grown as a character he should be able to show those actions. He does show his new understanding of love and friendship to Team Avatar, but as I said that's easy mode. That's Shoto's attempts to save Iida, it's a step in the right direction. It's also not really Zuko demonstrating a selfless love, because he's also at the same time trying to earn their trust and earn his way into the group.

It's also not Zuko breaking the cycle of abuse in their family in any way. Shoto is trying to break free from his role of his father's masterpiece, and at the same time helping Dabi break free from his view that he's the failure.

It's also such a natural ending for Zuko's arc, to take the lessons he learned from Iroh and give them to his sister who needs them so they can both break away from their father's parenting. As I said Zuko does solve the internal conflict within himself, but he doesn't really demonstrate that by helping someone else find their balance.

If you wanted the tragic end, then it would have to be about Zuko's failure to reach out to his sister, because he hasn't learned how to reach out to her. Or because he tries and is unable to. The writers don't seem to understand that though, they think the tragedy is about Azula bringing it all on herself, and not the inherent tragedy of a fourteen year old girl being unable to be saved.

The set up is right there too, because number one avatar is about balance. So, wouldn't the true ending be finding balance between the siblings, not having Zuko rise and Azula fall. Number two, Azula being alone and friendless because of her own actions is again a parallel to where Zuko was in early season 2 at his lowest point. Except Zuko can be the better person in this situation by reaching out to her.

Zuko doesn't break the golden child / scapegoat dynamic, he just flips it so now he's the success and Azula is the failure.

While Azula's fall comes from cruelty and rejection from friends and allies it is Zuko's humility and kindness and friendship that ultimately wins the day. Him sacrifcing herself for Katara and her bringing Azula down and then her healing him. Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone. "

As I've stated above, I'm not saying Azula didn't deserve to take a fall. Her fall is actually set up from the first moment she met Ty lee. However, there's no set up for her fall being permanent.

Azula's given way more humanizing moments than characters like Terra or even Dabi. Which is why Azula being in an insane asylum for the rest of her life doesn't fit as an ending at all.

Azula is one link in the chain of abuse. Her father only gives out affection in regards to her usefulness. No matter what Azula is an asset first and a daughter second. Azula then repeats the cycle and treats her friends the same way. She has been shown through an improper model of parenting of using fear to dominate others with power and control and she replicates that in her other relationships.

Therefore, Ty lee and Mai leaving her is not only deserved, it's the perfect opportunity to pull the rug underneath Azula and to show her that her understanding of how relationships work is completely wrong.

This also mirrors Zuko's arc, because part of Zuko's arc is realizing just how wrong Ozai is for making both children earn his love, and that he doesn't need to measure his self-worth based upon his father's approval. He also learns about healthy expressions of trust and friendship from the gang.

Azula loses in part due to her own inability to form healthy relationships is losing people rapid fire, her brother leaves and joins the enemy side, Mai and Ty Lee betray her in favor of her brother, then her father in one action of leaving Azula behind and throws the title of Firelord to her after it's become completely meaningless reminds her of her place. Azula learns in about five episodes what Zuko had in 3.5 seasons to process that her father's love was always conditional and no matter what she did she would never truly "earn it."

People leaving Azula isn't exactly the problem, the problem is that Azula ends up alone permanently without being given the same chance that Zuko is. Terra, and Toya both get opportunities to turn back. They both refuse the hand that's reaching out to him. Mai and Ty Lee leaving is caused by Azula's own choices, but her ultimate end isn't. She's not even given the chance to turn away being saved like Terra and Toya do because Zuko doesn't even bother to try saving her. Her ending is not entirely brought about by her own choices, because the writers need her to take a fall to uplift Zuko.

Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone.

I think once again it comes from the author's misunderstanding things because they don't want to look at the story from Azula's perspective, only Zuko's.

Stay at Home almost had it when he said the tragedy of Zuko and Azula was there to show how two different parenting styles affected these children.

The tragedy is that Zuko and Azula started in the same place, but Zuko had persistent guidance and someone who modeled for him a healthy kind of love. The difference is that Azula has never experienced any kind of healthy love or support on the level Zuko has, so she models all her relationships on the way her father treats her. It's not that Azula is offered some chance for change and rejects it, it's that Azula isn't even aware of the fact that there's another way because no one is there to show it to her.

Which is why I said once again, Zuko being the first one to show Azula the lessons he himself was shown by Iroh is such a natural place for his character to end.

Azula also even while completely alone and with no idea what healthy love is, knows that there is something wrong with her and is troubled by that fact in a way Dabi and Terra aren't.

Azula: I can sit here and complain about how our mom liked Zuko more than me. But I don't really care. My own mother... thoguht I was a monster... She was right of course, but it still hurt.

Then there's the famous mirror scene:

Ursa: I didn't want to miss my own daughter's coronation. Azula:Don't pretend to act proud. I know what you really think of me. You think I'm a monster. Ursa: think you're confused. All your life you used fear to control people, like your friends Mai and Ty Lee. Azula: Well what choice do I have?! Trust is for fools. Fear is the only reliable way. Even you fear me. Ursa: No. I love you, Azula. I do.

Both of these scenes indicate that Azula thinks of herself as a monster and is deeply uncomfortable with the idea. Considering Ursa is a voice in Azula's head and not a ghost, it also shows on some level Azula knew what she did to Mai and Ty Lee was wrong and feels conflicted over it.

Once again she's much more in conflict with herself than Toya and Terror ever are, and who's someone who's constantly warring with himself? Who's someone who could help resolve her inner conflict... Zuko (too bad the way the show's written he never does).

Azula doesn't choose to self-destruct the way that Terra and Toya did. Azula's ending isn't brought about by her choice not to change, because she's never given the chance to change in the first place. Her tragic ending would make sense if it was entirely of her own choices, but Azula doesn't retain her agency in the end it's literally taken away from her. She loses control of her mind, and her ending is being chained to a grate screaming and then thrown into an asylum.

I'm not arguing against Azula's ending because she's my favorite character and I don't want bad things to happen to her. It's because her tragedy isn't about her it's about Zuko, and her ending actively takes agency away from her where at least Toya and Terra both retain their agency up until the end. It's not good writing because the tragedy doesn't fit in with the rest of the story which is about balance and healing - and it's also ableist as hell.

THE UGLY

Azula's ending is unfitting to the tone of the story she's in, makes her and Zuko's arcs feel incomplete, and also is ableist as hell.

Here's yet more evidence that Azula's tragic ending is poorly thought out. Azula's mental breakdown doesn't exist in service of her character, but Zuko's.

Azula's issues pop up out of nowhere after episode 15, and take place over the last 6 episode of the series. The idea of Azula having a mental breakdown isn't necessarily a bad concept, but it's executed poorly.

The first way it's executed poorly is just how rushed it is. There's basically no hints of any mental instability beforehand. Of course people can have mental breakdowns spontaenously like that in real life, but this is a story and stories require foreshadowing. Azula spontaneously developing mental issues doesn't feel like it's planned as a part of an arc. First off, because the writers don't seem too sure about what Azula's symptoms even are. Hallucination, paranoia, manic laughter, but apparently she's still able to bend lightning just fine. Secondly, the writer's intentions for giving Azula a mental breakdown are pretty transparent.

The writer's room needed to come up with a believable reason why Zuko would suddenly be able to fight on equal terms with Azula, so boom sudden mental illness. The intent was not to create a sympathetic portrayal of a young girl struggling with both paranoia and delusions. The intent was to nerf Azula because they couldn't think of any other way this plot could end, other than Zuko and Azula fighting in a denny's parkinglot.

As I said they use mental illness as a plot device to take Azula's agency and choices away from her. It's not done with the intention of humanizing her, and in fact except for one small scene with her talking to her mother in the mirror it's a pretty negative and unsympathetic portrayal of mental illness. Not because the writers hate mentally ill people, but because they needed Azula to have a mental breakdown in order for a plot point to happen. Which is why they didn't think of the potential implciations of such a writing choice at all.

Now, people are going to argue about me so I'll use one final example. Azula's ending may be controversial but it's universally agreed upon that the Game of Thrones Ending was bad, right?

Game of Thrones uses mental illness as the exact same plot device, to explain why Daenerys Targaryen turns from a hero to villain in the last few episodes with absolutely no foreshadowing. In fact, the all of the show director's interviews about that choice are just blatantly ableist.

Rant from @hamliet

This quote is (likely unintentionally) gaslighting, ableist, terrible logically, and downright offensive. 

First, ableism: why, why, why are we conflating madness with evil? She was driven to madness so she killed a bunch of people and had to be put down? And you think this is a great message in the year of our Lord 2019? [...] Additionally, while good writing is to an extent subjective, there are general consensuses on what make good writing--and Game of Thrones hit all the general consensuses for bad writing, from bad pacing to confusing character assassination. Critics are like, pretty united on this front. No one thought Dany’s turn made sense, even the ones who expect Mad Queen in the books. Maybe if people love a character who is meant to be evil you're not writing them correctly... or maybe they aren't meant to be evil. 

Daenerys and Azula are incredibly similiar characters. They're both dragon themed, alligned with the element of fire, they're both colonizers they both represent the warrior princess archetype.

I'd say Daenerys is more of a tragic heroine though, because while Danerys is essentially doing the same thing as Azula, waging war in a foreign land and a culture that's not hers, for the purpose of then bringing back soldiers to her home continent so she can wage war again - while she is definitely a war mongerer she has good intentions. Daenerys for all of her faults, genuinely wants to break the chains and help out people.

I think Azula definitely sees herself as the hero for winning the war for the fire nation's sake, but she's completely uncritical of her own culture and she doesn't really have the good intentions that Dany has. She does it more out of a sense of duty, and her belief of divine right, not because she wants to break people free.

Daenerys's problem is that she doesn't understand the culture she's invading and the complicated world she lives in and despite all good intentions, is as I described above, invading a foreign power so she can go back and wage a war to reclaim the throne. Even if Daenerys would then proceed to go on to be the bestest queen ever that wouldn't change the fact her methods to get to the throne were incredibly violent, and she's sort of failing to break free from the cycle that led the Targeryen rule to fail in the first place.

Azula's problem is she sees herself as the hero and is therefore uncritical of fire nation values. She doesn't have any nobler intentions either other than service to her country, she just like Zuko is just trying to fulfill her duties as daughter and believe her birthright puts her above others. (I mean Dany does too but digressing).

Azula's more of a tragic villain who plays the antagonist role in the story, Danerys is one of the three heroes. However, she's more of a tragic villain in the sense that she's first season zuko pre character development just way more competent.

However, while Daenerys is a much more heroic character than Azula, here's the thing. I still think she's going to die. She is foreshadowed pretty heavily to die, and fail for her quest for the throne, because her entire story is a deconstruction of the warrior princess and the liberator archetype.

However, the story that GRRM is building throughout his books with Dany as an incredibly flawed heroine is different from what we got in the show, which was Daenerys going crazy and starting to murder people. That's because Daenerys turn to darkness wasn't about her character at all, it was just making her into a plot device to move their bad idea for a plot forward. That's why the turn is so unnatural and makes little sense with her character, that's why it's so rushed.

That's also why it's ableist, because it's using mental illness as a plot device to make a character unsympathetic and monstrous and give the other characters a reason to put them down.

The same for Azula, outside of one scene where he's talking to her mother, Azula's mental illness manifests in her screaming, maniacally laughing, looking like the joker did her makeup, and her instability also makes her violent and dangerous to be around. (Ignoring the fact that most people who experience delusions in real life are harmless, and more likely to be the victims of violence).

Her sudden mental illness isn't even used to make her more sympathetic in say Zuko's eyes and make him realize she's a victim, no it's just there to nerf her so she can be violently put down. The way she's drawn, the way she acts, it's to paint her as monstrous as possible. Her last action is like sobbing and screaming while being drawn as ugly as possible. She's not even given a small hope for recovery, because it just ends there. That's a pretty great message to send people that experience delusions, not only will you not recover or be shown sympathy, you'll also get sent to a mental asylum for the rest of your life. The choice for both Azula and Dany is not to portray any kind of mental illness in a respectful way, but to make a plot point happen.

As I said I expect Dany to die in the books, but there's a difference between dying as a tragic hero succumbing to your flaws but still having your good intentions acknowledged and just turning into a villain for no reason and being put down like a rabid dog.

(This is a quote I stole from a Shigaraki post but): "Why does she need to be put down in the first place, she has trauma, not rabies."

The problem isn't bad thing happened to my favorite character, the problem with the ending is it doesn't take Dany's setup into consideration.

Stealing from @hamliet again:

The thing about tragedies is that you have to manage expectations and clearly show that your tragic hero is doomed from the very early on–ie you have to show them making steadily worse and worse decisions (see: Eren Jaeger in SnK), if not directly tell your audience at the very beginning that this is a tragic story (ie see Greek choruses and Shakespeare, the prequels from Star Wars because everyone knows Anakin is Vader–plus I’d argue Anakin’s arc only works because we know he comes back to the light in the end. Audiences don’t like reversing on set up/undoing structure. To make Dany a tragic villain is to go against the structure of her arc in both show and book. That’s why people don’t like it, even if the books makes it seem more believable.

Kate then goes onto describe a character that's much more comparable to Azula's. Honestly Arianne is closer to Azula than Daenerys is.

You know who is set up as a tragic heroine destined to descend and die because of her flaws in the books, whose arc has almost certainly been combined with Dany’s in some sense in the show? Arianne Martell. (and another character known as f!Aegon) In the books, Arianne is incredibly ambitious, and especially resents her brother and his quest for power. Like Margaery (another tragic character), Arianne seeks power and is intelligent and manipulative in her quest for it. But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising. Arianne, as her chapters hint, is going to almost certainly marry f!Aegon, playing with fire, and die burning for it.   Arianne’s grasping for her own power is never portrayed as cruel or stupid like the main human villain (Cersei); on the contrary, we empathize with a girl who truly cares about her people, but resents her father’s preferential treatment towards her brother. That’s the difference between Arianne and Cersei: Arianne cares. She is not cruel. But her pride is still going to get her killed.

There's a lot of game of throne females you could compare Azula to because GOT is full of queens, but like. Azula may be a tragic villain firmly on the side of the antagonists but she's not Cerseie. She's not queen, she doesn't wield the power that Cersei wields. In fact one of Azula's downfalls is finding out she doesn't have as much power as she thought she had, and ultimately was just a tool of her fathers.

She's not Rhaenyra or Alicent, because yes she may be grabbing for power but her character isn't affected by misogyny. Because once again, the writers simply didn't think about misogyny except for a really surface level "girls can be just as strong as boys" way so we really have no idea how women are seen in the fire nation. The show doesn't really explore if being a woman makes things harder, or makes people treat her differently than Zuko because the writers just didn't consider Azula's perspcetive on that matter.

Azula is alike to Danaerys in several ways, but as I said I think her ultimate end comes from Azula understimating her own importance in her father's eyes, and quickly realizing when her father is her only family left she never had his love or loyalty in the first place.

But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising.

Azula's most famous quote is about how Long Feng isn't even a player, only to find out her father considered her a pawn from the beginning and be broken by the revelation.

The difference being of course that Avatar is not Game of Thrones and it won't even kill the evil fascist dictator so it doesn't make a lot of sense to hand Azula the ending that Arianne got. They have the same fatal flaw.

Anyway, I made this big post but I can explain why Azula's tragic ending down't work in one sentence.

AVATAR THE LAST AIRBENDER IS NOT A TRAGEDY.

Maybe the reason Azula should get redeemed is because THE SHOW IS ABOUT F&%CKING REDEMPTION.

[byoldervine]

The Trick To Writing Filler

(TL;DR at the bottom)

Filler is when you spend a chapter padding the length of your story between plot-related events. Filler chapters have little to no impact on the overarching plot and can be self-contained, and thus in TV shows filler episodes are often reran the most as people unfamiliar with the show can casually watch without being confused without the knowledge of prior plot beats

So with the chapter being largely self-contained and acting outside of the plot, what do you use to make the filler chapter engaging? I’m going to use filler episodes from Avatar: The Last Airbender to provide examples

1. Worldbuilding. Zuko Alone depicts Zuko’s travels taking him through an Earth Kingdom village and becoming acquainted to the family that allows him to stay with them, especially their young son. He learns about what the Fire Nation’s impact on this village has been; destroyed houses, families torn apart, constant robbery and other abuses of power and injustices. And even after Zuko defends the villagers and his new friend, he’s venomously cast out from the village by even the little boy because he outed himself as a firebender. This episode explored the impact of the war on the people of the Earth Kingdom, the victims of war that have no involvement in it and no way of defending themselves from it

2. Character exploration. In The Beach, we learn more about Mai, Ty Lee, Azula and Zuko and how their own traumas and personal upbringings have impacted their personalities. For Zuko this is part of a turning point for him, but for the girls it’s more to understand why they are the people we’ve gotten to know over the seasons, especially Ty Lee and Mai. The episode also serves to showcase how Azula and Zuko are so out of place being just normal teenagers; Azula has no idea how to talk to her peers and no identity outside being Princess Azula of the Fire Nation, while Zuko’s hotheadedness and jealousy issues lead him to lash out and be far too confrontational and controlling for his own good. This episode isn’t really used to develop these characters, or at least not the girls, but instead explains and showcases their behaviours and the reasons behind them

3. Character development. Going back to The Beach, Zuko does indeed receive development rather than just character exploration like the girls do; he comes to understand that he’s not just angry at the world or angry in general, but angry with himself. This is a notable turning point for Zuko’s redemption arc, because he now understands fully that he truly regrets betraying Iroh and sacrificing his new start in life in favour of returning to the Fire Nation. He might not yet be fully decided on turning his back on Ozai, but without this moment I don’t know if he’d have gotten there, or at least not as quickly as he did

4. Relationship development. Sokka’s Master has a C plot of Aang, Katara and Toph all being rather bored and lost without Sokka’s presence. The A plot exploring Sokka’s feelings of inadequacy and uselessness in comparison to such powerful and formidable bending masters being contrasted with the Gaang unable to function without him already speaks volumes about their dynamics, but looking deeper into the C plot also shows how much value Sokka really does bring to the team; structure, planning, humour, a quick wit, strategic moves. The Gaang always supported Sokka and never seemed to view him as expendable outside of the occasional teasing, but having it acknowledged so clearly and plainly that they can feel a little aimless and flat without Sokka and being so delighted when he returns really shows us the kind of value Sokka brings to this team and brings us and the characters to further appreciate it

5. Downtime. The Ember Island Players depicts the characters taking a break to watch a comedic play based on their wacky adventures, only to be largely underwhelmed and displeased by how they’re portrayed. There are no stakes to this episode and barely any plot, just the Gaang taking a breather as they react to a bad play. This chance to relax and watch something inconsequential is just as important to the viewers as we’ve got the show’s finale in the next four episodes, which will be very plot-driven and intense. The Ember Island Players also has the additional viewer bonus of recapping the events of the show right before it all ends, giving the viewers time to reflect on the journey they’ve gone on with these characters. In order for the stakes to feel high and the tension to rise, there has to be downtime where there are low stakes and low tension; if things are intense all the time, the moments that are supposed to feel super intense will just feel average in comparison. Resetting that intensity right before such a big event while still acknowledging the looming threat coming soon will feel like the calm before the storm and allow your audience to soak it all up like the characters are

Wow, did I just go through all that without talking about Tales of Ba Sing Se? I’ll save that for another post if people are interested in more

TL;DR - filler provides a moment to breathe, reset the intensity levels the audience are experiencing and take a chance to step away from the external conflict (the overarching plot) in favour of worldbuilding and the characters within your setting. Small moments can amount to something big, and can help make large scale decisions or plot twists feel more build-up and in-character

[highfantasy-soul]

So a lot has been said about Evan/Sam and I 100% agree - their dynamic is amazing and so wholesome.

But can we please please please take a sec to talk about the dynamic between Jammer and K????

I cannot stop thinking about how complementary they are to each other - both obsessed with caring for their communities (Jammer's basketball team and community center, K's online activist cohort) to the detriment of themselves.

K needs to give all of themselves to the cause - fix some of what they think they broke when she and Evan shared the knowledge of magic to the masses. To the point where they don't eat, don't sleep, don't interact with anyone face-to-face, never having herself be the one taking the credit, but rather a million screen-names no one even knows is all the same person. Yet being on call 24/7 whenever anyone needs it.

Jammer needs to be what his community needs him to be - what his family needs. He denies himself his bigger dreams of playing in the big leagues in favor of staying with his home team. He gives and gives all of himself to the children who look up to him, to his teammates who probably will never make it pro - and even though he's showing his face, they name him, he's still putting on a front that he thinks will be best for them. He's being there for his community in the mundane, caring ways that keep a people together - the way a leader needs to be.

K is an amorphous online hero wearing a thousand avatars, never resting, but never connecting with their people either. Jammer is a grounded, hometown hero who everyone knows his face when he walks down the street. He connects intimately with the people in his community yet feels as though he has to hide aspects of himself that aren't directly helpful to them (namely his magic).

K needs Jammer - needs to see what a real, in person, community functions. She's so desperate to connect to a group and lend aid, and Jammer has that - he can show them what it feels like to have a group of people SEE you and help them individually. K can make a real difference in the small space Jammer has cultivated. It's not 'saving the world', it's not a grand gesture or sacrifice that alters the very fabric of reality - it's small, a gentle nudge here, a comforting word there, yet still makes a real and profound difference in people's lives.

Jammer needs K - needs to see that it's ok to dream big. It's ok to yearn for more, set out to affect more than his small community. That he can still be true to himself and taking bigger leaps doesn't mean he's abandoning his community, it's just making it that much bigger. He needs to see that it's ok to go all out and be his own freaky, magical self and lean into the ridiculous, sometimes melodramatic, bigger than life aspects of himself.

They both need to accept that taking care of oneself isn't selfish, it's not letting your community down, it's why we HAVE community - so we all can share the burden - they are not the only one holding everything together. Jammer and K both lead their respective communities - they both give all of themselves to the task of taking care of and leading those they care about. Together, they can grow and heal from that pressure they put on themselves.

I just think they're such complementary characters who I think would be absolutely perfect working in tandem with their communities (and adopting the other's community).

I'm not a 'everyone needs to be paired up' type of person, but I do think that whatever relationship K and Jammer have, they'd be magic together (shut up, I can do a pun if I want).

[seyaryminamoto]

My latest completed commission may have been a bit ambitious... because I went wild with it. But I certainly relished in doing so :') Combining my favorite ship with my favorite-ever Disney movie is, uh... a dangerous concoction :'D

The commissioner specifically requested for Azula as Mulan, Sokka as Shang, and Xin Long (my OC dragon from Gladiator) as Mushu. The rest of the cast was up to me to choose, and I pretty much went wild rewatching this movie and picking out some of my favorite moments to recreate them in my style, with these characters. I came up with a lot of correlating characters between both ATLA and 1998's Mulan, but I couldn't hope to draw EVERYTHING, unfortunately. Still, if you want my reasoning for the cast correlation... check out the Read More! Beyond that, feel free to reach out to me if you'd like to commission me, or if you want to join my Patreon!

The Herbalist as Mulan's grandmother might feel arbitrary but she honestly felt like the ATLA elderly lady with the most similar personality to Grandma Fa. Fickle, with a unique connection with a seemingly perfectly ordinary animal, old and sassy? Figured it fit! So for once, the Herbalist is Azula's grandma! xD strange notion, I know, Azulon/Herbalist is not a ship I ever thought I'd accidentally put out in the world but there have been wilder ships than that in this fandom...

Momo became Cri-Kee, I wasn't 100% sold on it but when I considered that Avatar features soooo many hybrid animals... I figured he could be a hybrid cricket-lemur. Weird, I know, but eh? Better than nothing xD

Aang as Chien-Po was a no-brainer. He's the only character I settled on instantly, never even considered anyone else for the role. Their personalities line up really well, and Chien-Po's tendency to be OP and resolve things that are outside of other people's reach sounded like he was prime Avatar material! So, while their dietary preferences are an obvious difference between them, I decided to go for it nonetheless considering all their other similarities!

Kino (another Gladiator OC) is Ling, and he actually did give me a ton of trouble to choose. I considered many characters for the role right up until I realized that Kino's personality actually lines up fairly well with Ling's, down to being a class clown type (who ABSOLUTELY would have cut gym class!) and breaking out in song about the hypothetical woman he'd like to fight for? Yeeeeah that's right up his alley xD but there's another reason why I picked Kino...

... And that is my likely unexpected choice for Yao:

ZUKO.

ZUKO IS YAO.

YES.

I'M NOT EVEN SORRY.

(For the uninitiated, Aang, Zuko and Kino are best friends in Gladiator, very often together, and they make a really good team, so that's the extra reason why Kino became the obvious choice for Ling aside from having really similar personalities, definitely closer personalities than, say, Jet, for instance.)

People have likened Zuko to Shang a LOT since ATLA aired. This is the main reason why I'm even making this huge note! I suspect it's primarily because of the aesthetic, let's be real here, and because he becomes Aang's teacher, but people have exaggerated Zuko's alleged similarities with Shang, or taken them out of proportion, in many ways. I actually remember an AMV ages ago with "Be a Man" and it was Zuko "training the Gaang"?? It... didn't feel right to me. Obviously, someone might rebuff with "well, how does Sokka make MORE sense than that, though?" And believe it or not, I have arguments for that... (when do I not...?)

Not only is this what the commissioner specifically requested (and it obviously lines up with the ship we love!), but let's examine the actual reasons why Sokka as Shang adds up:

Sokka actually had to train a bunch of toddlers who weren't paying any attention to him. You know. Kind of how Shang had to train the unruly soldiers who weren't getting anything right. Sokka has a positive relationship with his dad (Zuko, ofc, does not). Shang also has a positive relationship with his dad! And not only this, but there's a military component to both relationships, specifically with Shang wanting to follow on his father's footsteps and aid him in the war... so much like someone else I know, who jumped at every opportunity to rejoin his father in the war, even wishing to join him as a child until Hakoda tasked him with protecting their Tribe instead (kinda like Shang is tasked with training soldiers rather than joining a battlefield).

And the final cherry-on-top that I'd loooove to hear Zuko fans try to argue against... is sexism :') didn't Sokka get characterized as a sexist guy for four episodes, which made people decide that this was his main character trait even if it went away that quickly? Um, yes, that happened. Shang literally sings the memorable song that's a crazy ode to masculinity, including the rather sexist line of "did they send me daughters when I asked for sons". Shang outright abandons Mulan once they discover that she was a woman all along (while, admittedly, choosing to abandon her rather than KILL HER, which as we saw from Chi-Fu, he was NOT supposed to spare her!)...

So, is this REALLY what Zuko fans, who willfully believe their boy is a feminist king (... why? beats me...) are trying to compare their unproblematic blorbo to? :'D Me? I have no problem linking Sokka with Shang due to Sokka's beginnings and due to the fact that both Shang and Sokka have similar growth when it comes to accepting femininity is as valid as masculinity, and as they both learn to respect women as fighters and potential heroes! (I simply do not believe Sokka's ENTIRE tenure in ATLA was about that, though, and that's what I continue to clash with the fandom over...) So... all this is why I've reasoned that Sokka is a VERY solid choice for Shang, in fact, better than Zuko could hope to be.

... but this isn't all.

Maybe some might accept my arguments for Sokka-Shang. And then, they might ask:

WHY ZUKO AS YAO, THO??

... And the truth is it took me long to see it, myself, but HOLY SHIT, DOES IT FIT!

What is the primary thing we remember about Yao in Mulan? This guy is constantly itching for a fight, to prove himself, surely riddled with insecurities that he exteriorizes through overcompensation of masculinity. He's funny as fuck, but he's taking himself 100% seriously as a manly man all the time, and he's always ready for violence. But there's one more thing...

He treats Mulan as his RIVAL.

And more often than not? SHE SCREWS HIM OVER. Intentionally or not.

What does that sound like? Why, yes, it sounds a LOT like Azula and Zuko's sibling relationship!

The fact that Yao is a temperamental dude who lashes out easily at things (oh, something he has in common with Zuko!), that he specifically resents Mulan (in this case, Azula, just as Zuko does!) and is either constantly looking to defeat her and prove his superiority over her (... wait, just as Zuko with Azula??), that he has a black eye perpetually across the movie, and it's his LEFT EYE (just as Zuko's scar is on his left eye! :'D), that he's friends with a pacifist he has basically nothing in common with, personality-wise (just like Zuko and Aang!), and that he pretty much has a REDEMPTION ARC in which he goes from a bitter, asshole rival to Mulan to treating her as a friend and ally, to the point where he was disappointed to leave her behind and THEN joined her at once when she says she has a plan? :') I have always been critical of Zuko's redemption arc, goes without saying. But if ANY of these characters redeemed himself in any significant way, it certainly seems to be Yao to me, and with people gushing NON-STOP about Zuko's redemption? Why, he ought to be the character who goes from bitter rival to loyal friend, right?

So. I'm not even sorry. Zuko is Yao. And I'd dare say that he should be flattered by the comparison, even, because Yao ends up being cool as FUCK!

I don't really talk about this much nowadays, but Mulan was my favorite Disney movie growing up, it ABSOLUTELY had a formative influence on me as a little girl, and Mulan was my favorite female character for a looooong time. Thus, any excuse to rewatch this movie makes me happy as heck. With the wisdom of age I know, of course, that it's not perfect, it's not what China wants, it's not the most thoughtful depiction of Chinese culture or the most faithful adaptation of Mulan's poem (... but I'd also dare bring up that the 2009 Chinese adaptation ISN'T all that faithful either...), but it has a kind of magic in it, a solid storytelling flow, so many memorable moments one after the next, that I could hardly choose which scenes to depict... Disney has never again seen the storytelling heights it reached with Mulan in 1998. I don't even care if that's a controversial opinion in any way... this is their best animated feature for me, and nobody can change my mind.

So... depicting Azula, my beloved, in all these scenarios as this character I adored and idolized as a child, was so damn fulfilling for me. While some might think that, personality-wise, these two ladies don't have much in common, the fact that Mulan is sent to a matchmaker who basically tells her she looks good but is going to be the worst wife ever...? Our girl Azula, with all those insecurities about being unloveable and a monster, probably would relate big time to that.

Mulan is also an INTELLIGENT soldier rather than a brawny one, which is how she starts to make progress in the army, it's how she manages to overcome the huns with that avalanche... and Azula's primary difference with most other antagonists in ATLA is that she's smart as fuck. She is very strong, no doubt, but a LOT of that strength comes from her intelligence, from assessing situations in unique ways, from planning and strategizing. The way Mulan finds the most unexpected solutions that still pay off reminds me a lot of how Azula achieves unexpected feats through rather unorthodox means, capable of taking over a city with basically no bloodshed while her nation has spent 100 years trying and failing to do so through major army incursions and who knows how much senseless violence. Obviously, I'm not saying what Azula did is GOOD and it's kind of dumb that we always have to point that out... I'm merely comparing the magnitude of the feats, and the fact that they both come from ladies who use strategy and intelligence to achieve their goals rather than muscle and physical power.

And while anyone would rage at me for the comparison between Fa Zhou (her dad) and Ozai, the truth is the dynamic between them CAN be compared, if loosely: Mulan literally goes to war to keep her father safe. Azula goes to war under her father's orders. Hell, she makes herself BAIT in the Eclipse to make sure the Gaang won't get to her dad?? While it's very much possible to say that both characters have different personalities and attitudes in life... I'd also bring up that their contexts are evidently completely different. I wouldn't say for certain that Azula, had she been raised outside a Royal Family, would be EXACTLY like Mulan... but they might have more similar traits than one might expect. Ultimately, though... I love them both. And this opportunity to swap their places was pretty much a dream come true!

Alright, that was plenty of rambling xD ultimately, I had a blast doing this commission, as I'm sure is obvious by now. So! If anyone wants to commission me, feel free to check out my prices right here and hit me up if you're interested!

[doctorkatmd]

Everyone rags on Korra's team avatar for not being "close"

but being an adult in their early 20's myself, they seem entirely accurate for a group of friends trying to balance their work lives with jobs and rent to pay.

Aangs group were kids, with adults often paying for them in one way or another (Or Toph scamming people). Plus, they had a singular, unifying, and constant goal for the runtime of that show, they were with each other, traveling for the entire show.

But Korra's villain's were months, sometimes years, apart from each other. In-between they have lives, jobs, relationships. And we see the results in the show.

We see Mako go through an entire career progression from Criminal -> Pro-Bender -> Police -> Body guard. But the kicker is, Aangs team goes through something similar as they age. We see some of it in the comics. From all accounts, they remain close friends, but they all split off and do their own thing, have their own career's, start families, their future looks a lot like what Korra's team avatar looks like, only it's after the show, not during.

[wilcze-kudly]

Actually I WILL talk about Mai's seeming 'radicalisation'. With the upcoming comic, I can see why a lot of people are confused/caught offguard by Mai suddenly having a vested interest in reforming the Fire Nation's school curriculum.

However, I don't think it's as much of a heelturn as one would believe at first glance.

Mai is a difficult character to pinpoint on some levels, particularly due to her upbringing which stripped her of a lot of her self expression. I think most of the fandom underestimates the trauma and effect of Mai's upbringing. I elaborate on it here.

However, the long and short of it is that Mai was not encouraged to question, criticise or, god forbid, rebel against her enviornment. To the point where her parents scared her with stories of spirits that would kidnap her if she misbehaved.

Ukano's involvement in politics and relatively high status should also be taken into account. Mai would have grown up being strongly encouraged to conform to her father's beliefs and go along with his politics.

Mai : My mother said I had to keep out of trouble. We had my dad's political career to think about.

We've seen the propaganda and indoctrination of the Fire Nation school system, how it uses misinformation in its curriculum and how it punishes deviance.

Most fire nation children won't have the tools to find the cruelty and danger in the philosophy of the Fire Nation. Zuko had to get banished from the country to even start his deconstruction. And he had Iroh at his side to guide him.

It's not shocking that Mai would not be able to see the flaws of the Fire Nation. Despite this, she still shows no attachment to the Nation's cause, either. In fact, she actively refused to take part in the war effort when she thought she could get away with it.

I don't think Mai had much sympathy to the other nations, nor will I claim she secretly harboured anti imperialistic sentiment. I simply want to state the fact that Mai was, from a young age, forced to do things she didn't want to do and conditioned by multiple parties, to accept this. Mai has been trained to be passive, with only the method of passive aggressiveness and gloominess to defend herself.

I think after the fall of Ozai's rule and the slow restructuring of the Nation, Mai got more freedom in her life. Ukano's political role diminished, so Mai was allowed to think for herself. She gets to discover the world more and develop her own thoughts and ideals, rather than the ones she'd been forced to conform to.

This line in the upcoming comic seems to confirm my thoughts:

Mai's upbringing is the underground and darkness. She was never given an alternative or agency in her life. And thanks to Zuko, she was able to see and experience a different world than the one she was brought up with. She is able to help to try and achieve it.

Initially, Mai is angry at Zuko's joining of team Avatar. She feels betrayed and upset that he did not talk to her in person, even if it was to protect her. And yet, she saves him. While I believe that most of her motivation was genuinely out of love for Zuko. But she also, ekther inadvertently or deliberately made the choice between Azula and Zuko. Between the two potential duture leaders of the Nation.

And she chose Zuko. Who is not only the boy she loves, but also the boy who can heal her nation.

There is an argument to be made about how Mai represents the Fire Nation itself and its relationship to Zuko, but that is a topic for another day.

The theme of Mai caring for the future of the Fire Nation can be seen expanding in the comics. As 99% of the fandom will tell you, the comics have their flaws, but I do enjoy their handling of Mai for the most part.

I think it's interesting that we are shown that Mai not only wants Zuko to be Fire Lord, but for him to be a good Fire Lord.

We see her dissapointed in Zuko secretly meeting with Ozai. At first glance, what she says to Zuko is that she is dissapointed in him keeping secrets from her, which is understandable, since the last time he kept a secret from her led to him joining the opposite side of a war.

However, with her next appearance, we see that Mai may have had another concern relating to Zuko's communing with Ozai. When Ty Lee informs her of Zuko also enlisting Azula's help, Mai exclaims 'so he really is turning into his father', which seems to denote that Mai has a distaste for Ozai and his rule, whether that be from the begining, or recently acquired.

Mai also criticises Zuko's callous and controlling restrictions over the frightened townspeople. This serves to further cement the idea of Mai becoming disillusioned with the similarly inclined authority figures of her past. Authority figures who were a symptom of the Fire Nation's utilitarian and imperialistic system. We see this disdain manifesting in its full force in the teasers for the upcoming comic.

I think people tend to not realise how restricted in her self expression and thoughts Mai was, despite all the puzzle pieces being laid out for us in the show.

Mai has gone through a very quick and yet realistic episode of character growth in my opinion. Not unlike a lot of people raised in heavily Conservative and restrictive households who peel off later in life, she's settling into her own mindset and motivations.

Ans I don't think it's an unrealistic idea for Mai to want to help change the education system. The Fire Academy for girls is where she met Azula, and as an all girl school alumni, I can tell you first hand how toxic and confining these enviornments can be.

While Mai may not be seen as a particularly empathetic or kind person (though I think this interpretation is flawed), she can sympathise with the young girls who will be placed in the shoes of her younger self.

She can want to not see these kids go through what she, Ty Lee AND Azula did.

[The panels of Mai glancing between the stifling interior of the school and the open window and choosing to go outside and lead the Nation's youth outside... ugh]

Not only is this a rather logical progression for Mai's character, in my opinion, but it also feels like a very big 'healing your inner child' moment for Mai. Since she was not really seemingly allowed to be a child, as most children in the Fire Nation appeared to have such restrictions placed on them.

I don't think it's much of a stretch of the imagination that Mai would want to have at least a small part in dismantling the system that harmed her and so many other children of the nation.

She is a young woman now, she has grown from the oversheltered, apathetic teen she was in the show. She has been able to make her own informed opinions about the state of the nation, has been able to hone her trauma into determination. And it seems we're going to see the fruits of this development in "Ashes of the Academy".

I have very high hopes for the upcoming comic, since what we've seen of it appears to make a compelling story, one I relate to deeply, as well as a good study of Mai, a character I find often misinterpreted by the fandom.

[cyren-myadd]

Nobody talks about Kiri's role in Neytiri and Spider's bad relationship...

I know Neytiri and Spider's relationship has been talked about to death already, but there's one important aspect of it everyone seems to overlook that I want to write down all my thoughts about: Kiri's role.

(Just FYI The High Ground comics are explicitly confirmed to be canon by Avatar's creative team, so please don't try to tell me something's not true because it happened in the comics)

With everything Neytiri has been through, it's understandable that she'd feel uncomfortable with Quaritch's son spending so much time around her children to the point where he starts calling them his "siblings." Contrary to what I've heard others say, Neytiri does not have a "blind hatred" towards Spider. She doesn't want him to be hurt or killed, she just wants him to stay away from her family and mind his own business. From her perspective, an "invader" is acting like he's entitled to being around her family and claiming them as his own, the same family that has been hurt so badly by other "invaders." This perceived entitlement coupled with the fact that he's the son of the guy who thought he was entitled to destroy her homeland is what gives her such strong feelings about Spider compared to the other Na'vi-allied humans.

But is Spider's behavior towards Neytiri's family really entitlement like Neytiri thinks or is it something else? Let's look at why Spider does the things he does:

Why does Spider spend so much time with the Sully kids? Kiri and Lo'ak invite him. From what we see in the movie and the comics, Kiri and Lo'ak don't seem to have any friends before meeting Tsireya and Rotxo, which means Spider is not just their best friend, but their only friend. There is nothing about Spider, Kiri, and Lo'ak's dynamic that implies Spider is the only one seeking them out. They mutually seek each others' company because they all feel like outcasts among their respective species.

Why does Spider call the Sully kids his siblings? Kiri started calling him her brother first. In vol 1 of THG, Kiri tells Spider he's like another brother to her. Shortly after this is when Spider starts referring to the Sully kids as his family. Since Spider has no biological family and a bad relationship with his foster family, it's understandable he would latch onto the people who actually care for him and explicitly say they feel like he's their family member.

Why does Spider insert himself into the Omaticaya? Kiri insists he joins them. in Vol 1 of THG, Spider is present for a Na'vi celebration and Neytiri asks him to leave because he's not a part of their family. Spider is perfectly okay with this and he starts to excuse himself, but Kiri stops him and insists he stay because he is a part of their family. Later, in Vol 2 of THG, the Sullies and the Omaticaya are evacuating to High Camp while Spider's foster family and most of the other humans choose to surrender to the RDA. Spider is initially upset and begs Jake to come with them, but after Jake scolds him, Spider accepts the adults' choice and willingly stays in Hell's Gate, waiting to surrender to the RDA. Kiri, on the other hand, insists Spider come with them to High Camp and goes back for him. This results in Kiri, Lo'ak, and Tuk getting captured by Spider's foster dad and Spider needing to rescue them. In both of these instances, when Spider is told he's unwelcome somewhere, he is okay with it and backs off, but Kiri is the one who fights for him to stay. The only instance where Spider insists he has a right to stay of his own volition is when Jake asks him to turn himself into the RDA soldiers hunting them after Spider helped the Sully kids escape his foster father. Since the RDA likely would've imprisoned, tortured, or even killed Spider for helping the valuable hostages escape, Spider's insistence he stay with the Sullies is completely understandable.

Why does Spider paint himself blue and emulate the Na'vi lifestyle? Kiri again. The only time we see Spider applying his stripes on screen, Kiri is right there helping him. From this we can assume that Kiri and possibly also Lo'ak regularly help Spider apply his stripes since he wouldn't be able to paint his back without help. And while we don't have exact information on when Spider started wearing a loincloth and behaving like a Na'vi, I think we can safely assume Kiri and her siblings are the ones who encouraged this behavior.

After analyzing the origins of what Neytiri perceives as "entitlement," it becomes clear it's not really entitlement at all. Spider never does something he has not been "invited" to do by Kiri or Lo'ak. Spider is not trying to cross any boundaries and he's not trying to hurt anyone; he's just a lonely orphan who has latched onto the only people who show him real care.

From Spider's perspective, Neytiri hates him for no reason other than his dad. In actuality, Neytiri's strong feelings aren't just about who is dad is, but moreso about the way he behaves on top of who his dad is. Neytiri doesn't have a "blind hatred" for him like Spider believes, but she has a deep trauma-rooted discomfort with his proximity to her family in the context of his heritage, and this discomfort makes her lash out at him. But of course Spider doesn't understand this because he's A. a teenage boy with limited emotional intelligence and B. has no reason to think there's anything wrong with his behavior because Kiri and Lo'ak encourage it so enthusiastically. With Spider's limited understanding, it makes sense that he chalks up Neytiri's behavior as "she hates me!"

So we have these two wildly different perspectives. Neytiri views Spider as an entitled invader and she doesn't understand why he can't just leave her family alone, and Spider views Neytiri as a cruel woman who judges him for his heritage and he can't understand why she can't just let him hang out with his "siblings" in peace. When these two different perspectives clash, it gets ugly, and leads to scenes like the time Neytiri lunged at Spider (to attack him? shake him? it's unclear) and Spider yelling at Neytiri and blaming her for his situation (which is really Quaritch's fault for making his postpartum mother fight).

Then we have Kiri's perspective. Kiri loves her mother and her best friend, but doesn't seem to understand why her mom doesn't want her best friend around and she also doesn't seem to understand why her best friend thinks her mom hates him. In vol 1 of THG, she even tells Spider that Neytiri loves him. Ironically, even though Kiri clearly wants her mom and her best friend to get along, she is inadvertently the source of most of their issues. In all the instances where Spider's behavior makes Neytiri upset, we can trace the behavior back to Kiri as outlined in the bullet points above. The more Kiri pushes for Spider to stay close, the more it triggers Neytiri trauma, the more Neytiri lashes out Spider, the more Spider thinks she hates him, and the closer Kiri gets to Spider to comfort him and try and prove him wrong. It's a vicious cycle.

And just to be clear, I'm not trying to say Kiri is at fault for Neytiri and Spider's relationship. Kiri and Spider are just kids with little understanding of the trauma Neytiri has been through. They just know they enjoy spending time with each other, and neither of them fully understand why it makes Neytiri so upset. Neytiri, on the other hand, is not a kid... she is not responsible for her trauma and for her negative feelings towards Spider, but she is responsible for her behavior towards him.

The one thing I don't understand is why neither Neytiri nor Jake nipped Kiri's behavior in the bud before it got to the point where it is now. If Kiri keeps calling Spider her brother and insisting he stay for family celebrations, and it's obviously very upsetting to Neytiri, why did neither of her parents sit her down and let her know its inappropriate? Spider was clearly okay with being left out of the events. If they'd talked about it with Kiri, they would've avoided all that strife in the first place. Hell, Spider wouldn't even be around them anymore because he would've surrendered to the RDA and lived in Bridgehead if not for Kiri insisting he come with them!

And actually, why didn't they stop the kids from spending so much time together in the first place? Neytiri was telling Jake she didn't like Spider around her kids since they were very little. Why did they continue to let them play together if it made her so uncomfortable? Was Jake letting it happen behind her back? Were the kids sneaking away to play with Spider? Did Neytiri let it happen because she thought they would grow out of it or something? At that age, parents have a lot of control over their kids lives, and I don't understand why Neytiri didn't just redirect her kids to play with anyone other than Spider if it upset her so much. In THG, Neytiri threatened to ban Spider from seeing Kiri, but she did it way too late. The kids were teenagers at that point and already saw each other as family, so if she tried to separate them they would've just snuck out and seen each other anyway. If Neytiri is okay with putting a "ban" on Spider, why did she wait until they were teens and much more difficult to control to do so?

I know the "real" answer is because James Cameron wants ✨DRAMA✨ but I'm wondering if there's an in-universe explanation cause it just doesn't make sense to me. I guess the most realistic answer is that Jake let it happen knowing full well Neytiri didn't like it, but he let it slide anyway because he didn't want to say no to the kids. Jake had two choices. He could've A. honored Neytiri's wishes and separated the children before they bonded or B. sat down with Neytiri and let her know Spider is here to stay and that she can't lash out at him. Either choice would've resulted in a much better outcome for everyone involved, but then again, it would've had a lot less drama so I understand why the writers didn't have that happen instead. Actually, now that I'm typing it out, it is pretty in character for Jake to ignore a giant problem right in front of him and hope it'll go away on it's own (that's how we lost Hometree, Eytukan, and Neteyam rip). I guess we're going to see this situation blow up in Jake's face in Avatar 3, just like his other ignore-the-problem-and-hope-it-goes-away situations did. I just hope that this situation will have a better outcome for everyone involved.

It just frustrates me because I feel like all this could've been resolved years ago if Jake and Neytiri had sat Kiri and Spider down and had a discussion about boundaries, but there's too much bad blood between Neytiri and Spider for an easy resolution now...

Anyways, if you made it this far, thanks for reading, didn't mean to turn this into a whole essay lol. Please share your thoughts with me if you have any!

[thefusioncelestial]

Mix 5: The Rich Bear

Here is Tyler:

Nature boy disguised as park ranger. Very out doorsey, loves camping, and an astrologist. Apparently, the lack of light pollution, many night shifts in the woods will introduce you to the stars. And he wrestles bears, races with the deer, swims with the fishes, and lord knows what he does with birds. Sings with them? Basically the Avatar of the Park. And in all his time as a park ranger, poaching has gone down to zilch in his nature reserve.

And then there is John:

The city boy. You would think he was a typical rich play boy. But its an act. When you are put together & don't have to work a day in your life, a lot of people want to use you to get to that status. He spends his waking hours funding charitable causes through art auctions. Yes, the fake play boy has an artist side. Very good for fashion tips too.

They both know each other. They hated each other in high school. Something about being rivals io the same basketball team back in the day. The clashing energy pushing their team to win state every year until graduation. They started out at different colleges. But depending on who you ask, they followed or stalked each other because they ended up at the same uni for the actual undergrad work.

Tyler studied Zoology. John, Fashion Design. And despite not sharing a single class, they ended up at the same club: Scuba diving. The experience inspired them in different ways, and before graduation, they buried the hatchet. They made a promise. If they were not married in five years, they would meet up at a certain park at its main pavilion. This wasn't a marriage proposal, they just were curious on how two different life trajectories could lead to the same resort of being single.

John could have married anyone. He was well liked, well known, and never struggled for a thing. His relationships just ended when he found out their motives or at least his perception of such. His money. One scheme was marriage, divorce, and then a rich alimony. Another, she didn't need to marry him, just get her pregnant. He hoped Tyler was having a better time...

But Tyler never tried. He put his full focus into animal related work, and found he could do the most good as a park ranger. He liked the outdoors too. He could be a bit much, at least once or twice or week, he would go out working shirtless. Something about a better connection to life. Thank god he didn't turn into one of those online life gurus. He figured John would have baby mommas all over the city by now. The ladies were al over him in Uni. A new girlfriend every week. Tyler shuddered at the child support payments. Especially once the court knew he was loaded.

And that was the life, avoiding baby traps, and snapping bear traps, but eventually that date came closer.

At first neither of them were going to show up. What are the chances they both messed up? But they went anyway. A change of environment helps anyone no matter the settings.

Knotfield Park. A giant hilly grass land with pavilions on selected hilltops. The one this pair aimed for was the biggest one in the middle. John came in a Mercedes-Ben, & Tyler a park ranger truck.

They both arrived at the pavilion at the same time. They were both surprised.

"Uncommitted Playboi," Tyler blerted.

"Senator Moosefarts," John responded.

A few moments of awkward silence passed before they both broke into a smile and hugged each other.

John started. "Who knew we striked out unlucky. A rich boy with nothing to do, and a nature boy living it up with bears."

"How did you know? Were you spying on me?" Tyler asked.

"Word got around that the God of the Wild emigrated to the US and I investigated. Come to find out, it was you being you. No matter how much you hide from the world, it finds you. Maybe we should switch lives..", John said, ending in a sad tone.

"All I got is money. Doesn't lead to healthy foundations in the relationship department," he exclaimed.

"Bears scare off the ladies you know." Tyler quipped.

"So what now?" he asked.

"You know I work in auction houses right? So, I get a peek at a lot of stuff with a lot of history. Snagged one for this occasion. It's ~~~Magic~~~." John said enthusiastically.

Tyler remembered that John was into supernatural stuff when he was in high school.

"How is a magic item going to fix our problems? Is a genie's lamp? First wish: never ending apple pie.." Tyler licked his lips.

"Haha, no. A magic mirror. One from ancient Mesopotamia." John Said.

"Historical trash. We going to admire ourselves into a new future?" Tyler said sarcastically.

"Moosefarts, the mirror works as a fortune telling device. You put a piece of your own hair on the polished surface and point it to the stars, and it illuminates the way."

It was now night time. The stars clear in view.

"Let's try it." Tyler said.

"Oh?" John said in confusion.

Tyler already cut off a piece of his hair to put on this mirror. John quickly did the same.

"Why at the same time, Playboi?" Tyler asked.

"Why not." John responded.

He pointed the mirror at the sky. Nothing a happened.

"Maybe you are doing it wrong, Maybe the stars don't give enough light. Point at the moon," insistently said by Tyler.

"Someone is a bit excited by my expensive trash." John Smiled.

He tried the moon, and then the etchings around the mirror glowed. Both Tyler & John could read it for some reason, and they both said

"Two paths, under the moon, converge as one. The source of life, a river."

The mirror's polished surface glowed brighter and brighter until they were both glowing. A light path formed from their feet forming two light roads. Leading to the nearby forest.

"You see what I am seeing?" John asked.

"Yes." Tyler responded.

Tyler trusted his instincts and started following his path.

John hesitated, and then following Tyler's example to not be outdone, followed his.

After 30 minutes, they were in the middle of the woods. Skinny trees, it was fall time to, so not much foliage blocking the way. A lot of brown leaves on the forest floor tho.

Their paths eventually converged, a figure cloaked in light was at the convergence point. They couldn't make out any features except it being humanoid shaped.

"Do yo trust me, John?" Tyler asked.

"This time sure, I got you into this." John joked.

They both walked closer. But as they did. They became enamored by this being. They never stopped walking, and soon they were up real close to it. And yet they didn't stop. They were inside the glowing figure. John half way on one side, Tyler the other. Was it a hologram?

Just then, the light exploded and the two best friends were jerked forward. They smashed against each other & then turned into light particles. They floated for a bit and then swirled around the glowing figure.

The swirling lights that was once John & Tyler converged inside this light being in waves, smashing into it. Each time, the light being gained distinguishing features and became more solid, the light glowing dimmer.

The first wave: The humanoid being was now a skeletal frame surrounded by light.

The second wave: the nervous and vascular system started growing like vines and grew around in and the skeletal frame. A brain was forming.

The third wave: organs and & muscles were formed. It looked like one of those life sized cadaver models of the body without skin.

The fourth wave: Blood starts pumping and skin is formed.

Mentally, John & Tyler were confused. They were inside this light being & at the same time swirling around it.

The fifth wave: They understood. The light being was them. Both of them. In a sense they met their future self and he used the past to bring himself to the present. They were broken down into light and used to make him. Their destiny was to become one and chart a new future. Strangely, they excepted this. Life always brought them together. Maybe that was the hint that they were one being in two bodes. And now they shall be whole.

They gave in. Their minds were broken apart and put back together as one mind.

The sixth wave: John & Tyler's dna was mixed together and added to being. With this set of new instructions, the generic body began to morph.

Tyler's physique was used as the template. The skin tightened & etched Tyler's features the neck down. Loud stretching noises were produced. The biceps bulged out and the shoulders & pecs grew with a popping noise, but John's physique was added as well, and the H body shape was more fleshed out, like being pulled from both sides from the waist. The skin was fighting against this and so he became more cut, and his veins became more visible.

John's face was used as the template. The features morphed to copy John's but soon Tyler's characteristics had their say in this. The eyes became more sunken, the lip color more towards the skin tone. The ears moved to be more like Tyler's. When it came to hair, it was short cut like John's but darker like Tyler's. John's hairline won out, but Tyler's eyes would be used. Tyler's jawline and chin would win out, but John 's potential for facial hair gave him a lowkey grizzled look. The chin was a combination of both, long & thick.

Tyler's ass would form on it, and in the front, John won out. He was well endowed and needed no upgrading. Like his chin, his jewels would get hairy. But Tyler had better leg days from being out in nature, but it would use John's feet. Though for this new being its leg muscles got bigger and stronger than Tyler's, thanks to John.

Throughout this process, he would not make a sound. No moaning, no grunting. The only noise being made was from his body forming. He would find that he had a high pain tolerance.

The Seventh wave: It was shirtless like Tyler likes to be, but it had John's denim jeans.

The final wave: Their life force was added. The light built up again and let out a quick, but bright flash. He was alive. He slumped to the ground and began breathing air. His lungs sucked in the oxygen like a pair of black holes.

Who was he? This was the true final step. The name he chose would solidify the merger of the best friends, there would be one mind going forward. Just say who you are.

He stood up and opened his eyes:

I am James. His jeans became unbuttoned. He fixed that. He would need to get some new clothing.

What does he do in life? Run's charities to fund wildlife refuges. He spends his life between city & nature. James felt a sudden rush of confidence. It was his Tyler half pushing away what kept John from forming relationships: a fear of commitment. He knew someone, Analise. And with John helped push away Tyler's social anxiety. He kept his love of nature but would not selfishly keep that to himself. And with John's money, he could hire a team of new park rangers to protect Tyler's old park. He would still wrestles bears, race with deer, swim with the fish, and lord knows what he does with birds. He would just not do it alone anymore.

[joeyclaire]

The Portal 2 Essay You Were Probably Expecting

Portal 2 is a queer, feminist, borderline misandrist masterpiece. The plot: two women destined to be enemies are forced to team up against a shared abuser.

We will start with queer interpretations, as there’s a bit less to say on that here. Chell is all but canonically a lesbian. She shows negative interest in men, she had a cut “relationship” with a character called her wife, and her relationship with GLaDOS is coded as romantic. There are quotes from the developers like, “...the twisted, dysfunctional romance that builds between the player’s game avatar and GLaDOS…” or “...a computerized voice falling out of love with a mute girl.” There’s not much to say on GLaDOS and Chell’s relationship that hasn’t already been said, so I’ll skip over that. All I will add is their development from destined enemies to begrudging allies to friends is an interesting commentary on how women are pitted against each other and still can still form bonds of female solidarity. 

GLaDOS can easily be read as a transgender woman. While there is little to nothing to suggest that Caroline is trans, there’s nothing saying she isn’t, so for the sake of argument we will say she can be. She is forcibly placed into a body made for a man (“She’ll argue. She’ll say she can’t. She’s modest like that. But you make her.”) which she makes her own, despite the scientists’ attempts to stop her. When Wheatley wants to weaken her, he forces her into a phallic form (we’ll get more into that later). After this, GLaDOS spends the rest of the game fighting to get her body back. Altogether, her arc is about reclaiming the body for yourself and autonomy. It is not difficult for this to be interpreted as a transgender narrative. 

Cave Johnson is openly misogynistic, even though it doesn’t come up very often. He comments about how the lab boys “wouldn’t recognize the thrill of danger if it walked up and snapped their little pink bras,” equating femininity with weakness, and assumes the player he’s speaking to must be a man, calling them “handsome devil” and “son.” It is worth mentioning that Cave Johnson’s name is a sexual reference itself- caves are yonic, johnson is a slang term for penis. Not only this, the portals are yonic, Wheatley in GLaDOS’s body is phallic, potato GLaDOS is phallic, GLaDOS decommissioned in the first game resembles a woman in bondage hanging upside down. 

In Cave and Caroline’s portrait, she stands behind him- “Behind every successful man, there stands a woman.” Portal repeatedly associates femininity with strength and masculinity with weakness. When Wheatley wants to weaken GLaDOS and make her feel powerless, he forces her into a phallic form and places himself in her- a woman’s- body. The female characters are intelligent and powerful, the male characters are defined by their ignorance and, while they are handed power, have no idea what to do with it. The functional turrets have female voices, the defective ones have male voices. The masculine is weak, the feminine is strong.

Chell’s model is Japanese-Brazilian in heritage, so she is Asian and Latina. Asian female characters in action and science fiction historically have been heavily sexualized, there’s even multiple terms for the stereotypes. There’s the Lotus Blossom, who is feminine, obedient, waiting for the male hero to come save her, and the Dragon Lady, who is ruthless, cruel, and sexually domineering. Chell is none of these things. She is brave, confident, strong, and “never gives up, ever.” Chell is unsexualized by the game (she is, however, sexualized by Wheatley. We’ll get to that). She is obviously a very beautiful woman, but we almost never see her face. She wears a tank top but it’s analogous to “rolling up her sleeves.”

This same oversexualization is true for Latina women, and there are even other Latina stereotypes Chell inverts. There is a stereotype of Latinas as fiery, overdramatic, and aggressive, called the “Spicy Latina” character. Chell has been described by a developer as constantly angry, this being the reason for her silence throughout the games- she is so mad at the robots she doesn’t want to reward them with her speech- however, Chell’s anger is consistently justified and rewarded by the narrative. She is never portrayed as anything other than rational, and never as overdramatic.

Wheatley’s entire purpose is to stand as a symbol of white male mediocrity, granted positions of power and privilege despite being insanely underqualified. He positions himself as Chell’s love interest and white savior, leaning into sci-fi and action tropes and thinking of himself as the protagonist. The first thing he does when he meets her is comment on her appearance. He takes credit for all her achievements, goes insane with power the moment he gets a taste of it and takes a particular glee in exerting it over GLaDOS and Chell- you know, two women, one of whom is of color, and forces Chell to perform metaphorically sexual acts. Wheatley fancies himself the Adam to Chell’s Eve. They’re the last man and woman on earth, and he tries to get her to say “apple.” (“Let there be light! That’s, uh, God. I was quoting God,” he comments later.)

Which leads into another point- testing is sexual. This one is pretty obvious. Wheatley moans loudly every time a test is completed, GLaDOS calls it a “built in euphoric response,” it is portrayed as voyueristic repeatedly (“You’re gonna test, and I’m gonna watch. And everything is gonna be just fine.”) Wheatley forces Chell into a submissive and weak role in chapter seven despite her strength, and views her as only good for a sex act. Smashing monitors in Wheatley’s Aperture is to destroying cameras in GLaDOS’- reclaiming privacy and therefore agency. 

On the subjects of the cores, Fact core can be interpreted as symbolic of “mansplaining,” Adventure core is explicitly sexist, objectifying Chell, telling her to step out of the way and let the men handle it, all why she does all the work herself. It’s not even subtle. He tells her to take a “lady break,” for god’s sake. 

More details before we conclude- GLaDOS believes Chell is more likely to accept criticism from a woman than a man (“Oh, it’s a she.”), GLaDOS’s dialogue in the first game is pink and Wheatley’s is blue, Aperture has a “self-esteem fund for girls,” where girls can donate their vital organs to be thinner, Wheatley assumes the person who defeated GLaDOS was a he, GLaDOS repeatedly targets Chell’s appearance when insulting her (something she probably wouldn’t do for a man), a poster shows a woman as the dumb human and a masculine robot as the smarter, harder worker, and better alternative. Chell defeats Wheatley by the power of the moon, consistently framed as feminine through history and many cultures.

Overall, Portal 2 has heavy themes of intersectional feminism and to a lesser extent, queerness, throughout, that I find not nearly talked about enough. It inverts female, LGBT, and racial stereotypes, destroys patriarchal values and gender roles, and challenges portrayals of women in media in general. Portal 2’s fascinating gender politics and contribution to representation and diversity in video games is a conversation that needs much more attention.