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bamfkeeper · 2 months

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Sinister Kurt having trouble with his instincts, you are the only one who calms him.

Firstly, Kurt with horns? YUM. But I like how they showed him having difficulty controlling himself after his mutation was further developed (I don't remember what the circumstances were). I thought it was a cool concept for his character so here we go. Inner conflict is always fun.

Warnings: Descriptions of violence and blood, some angst, comfort ofc, gender neutral reader, unedited ignore mistakes.

WC: 2.7k

Kurt had no idea where they came from. He woke up with two horns on his head like some sort of Krampus. He felt something inside himself stir, and he tried to ignore it, it felt like a pit in his gut that slowly began to expand and grow when he wasn't focused on repressing it.

You reassured him he was still the handsome man you loved, his horns gave him a little extra insecurity. He hadn't felt so insecure about himself in a long time, as Krakoa had provided such acceptance his appearance hadn't been a thought in his mind as a bad thing. But these horns...they made him look more like a devil than anything else, and that worried him.

"Engel...I am becoming ein Teufel..." he mumbled sadly, touching them as he looked at himself in the mirror. "What is becoming of me..." he turned to look at you, his eyes holding confliction and sadness.

"Oh, my love," you cooed to him, standing and walking over, "They're just a pair of little horns...I'm sure that they'll go away...maybe." Your sentence quieted towards the end, it was such a random development, you had no idea where the horns stemmed from and what was going to happen to him. Was his mutation randomly evolving more? Was it something in Krakoa that was making his mutation mutate? You didn't know.

Kurt sighed inwardly, his arms wrapped tightly around himself as if seeking solace from an unseen torment. You hadn't seen him in this state for years; he looked so lost, so utterly confused. It was as though he was grappling with a fear that had taken residence within him, a fear directed at his very own reflection. With his new appearance, you couldn't blame him for feeling this way.

His once familiar face now bore the horns of a demon and he couldn't recognize himself, even with something so minor. He thought he looked awful, and he was at a complete loss on how to process these overwhelming feelings, the weight of his transformation was a burden he didn't know how to carry.

Not that he told you yet, but it wasn't just a physical change he had gone through. There was something deeper and more unsettling happening within him. His urges were growing stronger and more insistent every day. He felt a strange compulsion that he couldn't easily explain. He didn't know how to bring it up with you because he didn't want to scare you or make you worry. The thought of sharing this part of himself was something he was trying to avoid, he feared your reaction more than anything.

He would see you talk to another man, and everything in his body screamed at him to attack. His muscles tensed, his fists clenched, and his heart pounded as primal instincts surged through him. The images and urges that flashed across Kurt's mind scared him deeply, filling him with a sense of dread and confusion. He shook his head vigorously, trying to dispel the violent thoughts clouding his mind.

"Nein...I am...not a monster," he muttered to himself, arguing, begging with his own being, his voice trembling with the effort to control his darker impulses. He held onto you, whispering German prayers to himself. The internal struggle was intense, leaving him feeling isolated and tormented, as if he were battling a beast within.

And he was, in a way.

His grip on your hip would be tight, his nails had grown into claws that dug into you, not on purpose but in the moment he couldn't help himself. His yellow eyes glared at the man, his lip curled up slightly to bare his teeth. He snapped out of his descent only when he heard your voice in his ear. "Kurt?? That hurts, a bit..." You winced slightly, your hand gently trying to ease the grip he had on your waist.

He snapped out of it, blinking a few times and letting go. "Liebling....I...es tut mir Leid...." he apologized quietly, his voice barely a whisper. He looked down at his hand once he let go of you, his eyes filled with confusion and concern. "Something is happening to me...I....do not know how to explain it," he continued, his tone tinged with a mix of fear and bewilderment.

What was strange was that a part of him actually liked these new instincts that were surfacing within him. It was a feeling that baffled him, and he hated himself for even entertaining such thoughts. He had always prided himself on his compassion and his desire to never cause harm to anyone, ever.

But now, these intrusive thoughts were invading his mind with increasing frequency, making the idea of causing harm seem so...good, almost irresistible. It was a battle within himself, between the person he had always been and these dark new impulses that threatened to take over. It was like a siren song, beckoning him to come over the brink.

"What do you mean?" you asked him gently, your voice full of understanding and patience. Despite having no idea what was going on, you managed to sound so composed and caring. He was incredibly fortunate to have someone like you by his side. So deeply in love with him, you were always there to protect and support him. Your devotion was unwavering, and it made him feel cherished. So protective. So possessive.

Kurt stared you down intently, his piercing yellow eyes observing your every move. After a moment of intense scrutiny, he grabbed hold of you firmly and tugged you flush against him. You could feel the warmth of his body against yours, and his breathing increased noticeably. You made a sudden gasp of surprise at the unexpected act, your heart pounding in your chest.

He lowered his head closer to you, his forehead gently touching yours, his horns rested delicately on your head. Behind him, his tail thrashed wildly, a clear indication of his heightened emotions. It was obvious that he was either irritated or stressed, as his tail only behaved this way in such situations. The air around you seemed to crackle with tension, making the moment even more intense. His silence didn't help.

"Kurt...?" you squeaked as his hands grasped your ass and squeezed firmly, sending a shiver down your spine. Your eyes widened in surprise and you felt his tail wrap tightly around you, holding you still in a firm, possessive grip.

"Kurt!" you exclaimed, looking around nervously. He had never been so bold before, and this unexpected display of affection caught you off guard. A few playful touches here and there in public were common, sure, but to grab you in such an intimate and brazen manner without a care in the world was completely unlike him.

Your mind raced as you tried to make sense of his sudden audacity, wondering what had prompted this uncharacteristic behavior. "W-what has gotten into you?!" Your voice echoed in his mind, getting lost in the fog clouding his rational thinking. All he could think about right now was you. How good you'd feel, how good you'd taste.

One more shout at him and he seemed to snap out of the hold the dark fog inside of him had. With a blink he pulled back, his cheeks turning violet, "Ach! I-I didn't mean to do that!" Kurt spoke quickly, his voice trembling with urgency, "Es tut mir Leid! I-I'm sorry!" His eyes were wide with concern as he looked at you, clearly distressed.

His hands, which have been on your backside, were retracted up like he had touched an oven, fingers curling as if to protect himself from further harm. The tension in the air was palpable, and you could see the regret etched on his face, his body language screaming apology and fear.

"Kurt, sweetheart...please, talk to me. Tell me what's going on..." You pleaded with him, your hands cupping his cheeks. "I'm not mad because you grabbed my butt either. You've literally been inside me," your words made him stiffen and blush harder, a tiny whine escaping through his trembling lips. "I just want to know what's going on...you're acting so...different. Since those horns sprouted from your head..."

He took a deep breath, his chest rising and falling with a heavy sigh, and looked down to avoid your gaze. The weight of his thoughts made it impossible for him to bring himself to look you in the eye. He felt such shame and embarrassment, fearing you wouldn’t like what you heard. After a moment of silence, he finally spoke, his voice trembling with vulnerability.

"I've been... having thoughts. Bad thoughts... these images flash across my mind. They are random sometimes, appearing out of nowhere, but sometimes they happen in the moment," he begins quietly, his words barely audible. "It's like a dark cloud that follows me, casting a shadow over everything. I don't know what to do about it, and I'm scared of what it means. I'm afraid it means I am becoming something horrible..."

You coo softly, your thumbs gently rubbing his cheekbones as you stay quiet, offering him the space and time he needs to get out the words he struggles to voice. "What are they? The thoughts?" you ask gently, your voice barely above a whisper, trying to coax him into sharing more with you so you can have a better understanding.

"Hurting people," Kurt's voice strains, "I don't want to! I don't want to hurt anyone, I'm not a monster... I don't want to be one... but... it's so overwhelming sometimes. It's like every fiber in my body is demanding me to do it," he continues, his voice cracking under the weight of his confession. You can see the torment etched across his face, the internal struggle tearing him apart.

"You aren't a monster, Kurt. This might just...be part of this new development," you said, your voice gentle and reassuring. You stroked up more, feeling the base of his horns, noting the texture and warmth. "You don't act on those thoughts, and that's a good sign. You're not a slave to those intrusive flashes; you recognize that they are wrong, and you don't act on them. That means you aren't the person you imagine you are. You have control, even if it doesn't always feel that way."

"But what if I do act on them," he asks weakly, his voice trembling with fear and uncertainty. "What if I can't control it?"

"Then I will help you," you replied firmly, your eyes locked onto his, full of determination and love. "I'm not worried, because I believe in you." You gave him a tender kiss, showing him all the love you could muster. "Trust me, if you can't trust yourself. We will face this together, and I will be by your side every step of the way. You are not alone in this."

He shed a few tears, and they stained his pretty cheeks in dark lines as they traveled slowly down his face. His pained gaze closed tightly as he bit his lip, trying to stifle the sobs that threatened to escape. "Ich verdiene dich nicht," he whispered weakly, his voice barely audible as it trembled with emotion. His shaky hands held you with such gentle awareness, as if he were afraid to harm you accidentally with his claws.

"You do." You gave him a few more soft kisses, your gentle reassurance helping keep his emotions at bay.

That was a week ago.

Now, you followed the sound of his teleportation and saw him fighting alongside other mutants. You joined in, not knowing what exactly was happening, but seeing enough to know that these soldiers were attacking your home. You were fighting well, your skills made you a confident fighter, but when Kurt spotted you and more soldiers around you, his composure vanished.

That horrible itch he had been so desperate to scratch was finally too overwhelming for him.

The sound of a mighty roar echoed through the air as he lunged at the soldiers with a terrifying intensity. His movements were swift and brutal, attacking them with such ferocity that it left you stunned, unable to process what was happening. Normally, Kurt was known for his preference to incapacitate his opponents, opting to knock them down and out rather than kill them unless absolutely necessary. However, in this moment, he had abandoned his usual morals and principles, casting them aside like a forgotten cloak.

Right now, he was a force of nature, mercilessly ripping into the soldiers with an uncharacteristic savagery that showcased a side of him you had never seen before. You watched with disbelief as Kurt completely ravaged through the soldiers, staying in front of you and snarling with blood caked between his teeth, drooling down his goatee and staining his fuzzy skin. You tried to call out to him, to be the desperate voice of reason in his carnage.

It seemed that your voice fell on deaf ears, and he continued his relentless attack.

He had ruthlessly slaughtered over twelve men within a mere minute, and he didn't seem to have any qualms or remorse about it. The air was thick with tension as he turned to look at you, his chest heaving with heavy breaths like a wild animal after a fierce battle. Slowly, he crawled over to you, inching closer with a predatory grace.

You were frozen in place, paralyzed by the sheer brutality and unfamiliarity of this new Kurt. His eyes, which were usually so expressive and full of life, now seemed glazed over with an emotion you couldn't quite decipher. It was as if a stranger had taken over the body of the man you once knew, leaving you feeling more vulnerable and confused.

He dripped onto you, causing you to whine and hastily wipe the blood off your top. His head lowered against you, his breath warm and uneven. "Kurt...?" you asked weakly, your voice trembling as it escaped your lips.

The sound of your voice made him stiffen slightly, and he leaned back, his intense gaze boring holes into you, scrutinizing every inch of your face. The air around you felt thick with tension, and you could feel the heavy weight of his stare.

His breathing calmed, the rapid rise and fall of his chest slowing to a more steady rhythm, and he stayed where he was, staring at you with an unwavering focus. You swore he seemed more mutated in that moment, his claws were longer, sharper, and his horns almost appeared just as so, curving menacingly.

The changes in his appearance made your heart race even faster, a mixture of fear and concern gnawing at your insides as you wondered what exactly had happened to him. What caused this?

You slowly reached out to him, your hand trembling as it brushed against his cheek, ignoring the blood that spattered across his skin from his recent animalistic attack. The warmth of his skin contrasted sharply with the coldness of the blood. He relayed a quiet growl to you, his eyes blinking slowly, the ferocity gradually fading as he began to regain his senses.

As he came to, he saw the destruction he had caused, the chaos and ruin that lay around him. It was so painfully heart-wrenching to watch him realize the extent of what he had done, the devastation in his eyes made you want to wrap him up and take him away.

"W-what...what did I do..." he stammered, his voice barely above a whisper, as he glanced back over his shoulder. He could only bear to look at the bodies for a mere second before quickly averting his gaze in horror and disbelief. "Nein...nein, nein....I didn't...did I??" His bloody hands trembled violently, the crimson stains glaring back at him accusingly, and he made a quiet, heart-wrenching wail, shrinking into himself where he sat, overwhelmed by the gravity of the situation.

You were right there to catch him, just as you had promised. Gently, you reached out, offering the comfort and support he desperately needed.

"Hey, hey...it..it's okay," you tried to find the words to comfort him, but you realized words weren't enough to ease the pain or fear he was experiencing. So, you chose to just be there for him, offering silent support and understanding. Just you, being a comforting presence in his time of need.

He grabbed you and clung on, crying as he didn't bother holding himself back. He was distraught, the very thing he feared the most had happened. "I'm here." you whispered quietly, your arms wrapped tightly around him as the rest of the world faded away and you became the only thing he could focus on.

"I'm here."

Thanks for reading.

*BAMF*

dividers by @/adornedwithlight

Cover Images: Legion of X #7 (2023); Legion of X #8 (2023); Legion of X #7 (2023)

#kurt wagner #nightcrawler #kurt wagner x reader #nightcrawler x reader #x men #xmen #x men 97 #🎠my works

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amnestria-the-elf · 21 days

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So we're all just supposed to be fucking grateful that Larian gave us "new Wyll content" (evil ending for a man who is canonically incorruptible, what the fuck) and simultaneously broke him again (giving low approval greetings to a romanced PC, what the fuck).

I... I just... the simultaneous feelings of rage and utter hopelessness are overwhelming.

Listen, if you've read any of my posts you know I have a pretty clear "Don't yuck anyone's yum" policy. If you think an evil Wyll ending is interesting, fine. But here's why it falls flat for me.

First, like I said above, Wyll is canonically incorruptible. It's literally the entire basis of his character. He is a man who was coerced into making an infernal contract to save a city and had to pay a horrible price for doing so, then spent seven fucking years alone in the wilderness doing his damned best to protect the people of the Sword Coast, while all along telling his horrible, abusive patron to just fuck off already.

Now, could you argue that during the events of the game, Wyll develops a taste for evil? Sure. There are plenty of opportunities for his villain origin story to unfold. But they never do. His moral compass never wavers. Turned into a devil? He feels shame, because it's an outward sign that he was doing things for Mizora that were morally wrong, and he didn't see it before. His approval rating for the PC shoots through the roof if you save Karlach, a sure indicator of his true moral compass. His father kidnapped? Fuck that noise, we're gonna save him. Rescue Zariel's "asset"? Ugh, fine, but don't get distracted from the real reason we're here. His father gets tadpoled? Oh hells no, we're gonna take down these assholes and save the godsdamned world. His father accuses him of being an agent of a devil and is super pissy about it? "Everything I did, I did for the people of the Sword Coast."

For fuck's sake, he will leave the party if the PC gets too evil, even knowing it means he'll probably turn into a mindflayer immediately. Even if he's romancing the PC. Unwavering moral compass. So giving him an evil ending without also going back and changing everything about his character just feels like lazy writing to me.

Which brings me to the second reason all of this rubs the wrong way. Wyll deserves so much more content. More romanced greetings, more reactions to other characters' choices, a final boss battle that is actually about him, a default ending that actually makes fucking sense (I have another post cooking about the Avernus ending, so I will leave it for now.)

And please, spare me your "But Wyll was rewritten after early access" bullshit. That's Larian's problem. They chose to listen to feedback and do a late-stage rewrite. They then chose to implement it poorly and never fucking fix it. Other characters, who already have far more content than Wyll, have had even more added over the course of the seven released patches. Wyll, on the other hand, has been sitting around completely ignored until now when we get this evil ending.

Many have rightfully pointed out the inherent racism steeped in all of this. I want Larian to be better. But as Maya Angelou said, "When someone shows you who they are, believe them." I already didn't have much hope about Patch 7 for Wyll, but this... honestly, this is worse than him just being ignored again.

The thing that kills me the most is that this is just going to be more fodder for the fandom to completely mischaracterize Wyll, for those who already haven't bothered to think critically about his character at all to just be like, oh, cool, Wyll is evil now. Nope. You've completely missed the point.

I'm just... so tired. I've worked very hard to put this little bubble of Wyll enthusiasts around me (hi friends I love you all!) so that I can hold on to some shred of sanity in this fandom. The world needs heroes of color. Just let Wyll be the hero in peace.

#larian critical #patch 7 #wyll ravengard

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alltimefail · 27 days

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Hi @netflix and @warnerbrostv! I'd like to talk about the show Supernatural and how its history and legacy can provide some insight on why you should reconsider your decision to end Dead Boy Detectives after one singular season.

Supernatural is undoubtedly one of the most successful television fantasy franchises, but many don't know that it was nearly cancelled after season 2. Thankfully (and luckily) for the network they didn't go through with cancelling the show and by season 4 it was regularly breaking viewership records. A show that was nearly cut short in its prime - much like Dead Boy Detectives - became one of the largest and most recognizable fandoms across social media platforms between the years of 2010 and 2014. The show was so wildly popular that a confession scene between two of its leading characters (Dean and Cas) is STILL used today in a meme format to circulate everything from fandom news to world politics and current events. You can't go to a single comic-con without running into something relating to Supernatural, and ever since its conclusion there has been an opening in the market for a show to take its place.

I can say with absolute certainty that, given the proper time to flourish, Dead Boy Detectives would be the show to fill the spot Supernatural has left behind. It has loads of charm alongside a sensational balance of action, whimsy, heartwrenching character development, and horror. Furthermore it is objectively better with representation than Supernatural was, which is always something embraced in fandom spaces (which are diverse and filled to the brim with queer, neurodivergent, and/or a wide range of people of color).

I also think it's fair to remind you that one of your most popular "Nerd" shows, Stranger Things, is coming to an end after a 10-year-run, leaving behind yet another gap to fill, but this time on your very own platform.

It isn't too late to reconsider the cancellation of Dead Boy Detectives. The fanbase is dedicated and hungry for more, and we know you are currently sitting on finished season 2 scripts, making it impossible for the writers to take this story anywhere else for quite some time. The scripts are there, the cast, crew, and writers love what they do and want to make more... there's simply no reason to not give Dead Boy Detectives the chance it deserves - this time with an entire fandom that wants nothing more than to consume this show, market the hell out of it, and buy merch relating to it (another win for you).

(Source x)

Oh and did I mention that Steve Yockey was a co-producer on Supernatural as well? You know, that wildly popular show I just told you about that lasted 15 seasons. You are sitting on a golden goose; Steve Yockey and Beth Schwartz, among the other talented writers, cast, and crew, know what they're doing.

Give this show its time and market it well and you will have a hit on your hands. Frankly just based on the steady, continual fandom growth since Dead Boy Detectives' release in April and the vocal outrage over its cancellation just in the last 24 hours, I'd argue you already have a hit on your hands that rivals several shows you currently have on your platform.

Dead Boy Detectives has one of the most active fandoms of the year - do the right thing by them and bring Dead Boy Detectives back. It isn't too late!

#dead boy detectives #dbda #renew dead boy detectives #revive dead boy detectives #save dead boy detectives #the dead boy detectives #dead boy detective agency #the dead boy detective agency #dead boy detectives netflix #dbda netflix #supernatural

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linkspooky · 4 months

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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.

#bnha meta #mha meta #atla meta #azula meta #azula #princess azula #dabi #toya todoroki #shoto todoroki #azula redemption

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hexhomos · 22 days

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The 'Talis' hypothesis

So I think the S2 trailer confirms something central about Arcane I've wondered for a while. This has plot bearings to it, namely what nebulous purpose 'Magic' serves in the story -- how they're changing the role Hextech has in the game lore, incl. its power system & ruleset -- and what kind of hubris is associated with it historically. But it also answers something that has always nagged at me: why the fuck did they change Jayce's name?

So let's talk about this picture. And I'm going to give you the rosetta stone in 5 seconds:

This is Hextech now. Like that is just an incredibly concise and complete descriptor of Hextech-in-Arcane, right. It 'harms' Jinx, it 'protects' Jayce in the snowstorm, it 'heals' Viktor to a degree. It is installed permanently in architecture; the Hexgates ARE the brand.

First off, we have this fucker carrying around a talisman from back when he was 7, and the cinematography of the show agonizes over showing you this throughout all of ep2:

Jayce's bracelet is a bang-on definition of a historical talisman. The way hextech *functions* in the show is inextricable from the promises and rites associated with talismans, a word appropriated/popularized by the French - which I'm going to conservatively argue Fortiche would be familiar with;

Which brings me to the subject of what Hextech is, and how Hextech was changed for the tv show (and what its possibly being retconned to in the game)

Hex'tech' is not technology. The name is a carryover from a bygone era of leagueoflegends speak; Hextech in Arcane, and presumably in expanded lore going forward (given Skarner's rework and other things) - is the study, development, and the building of an industry around the craft of practical Talismans. If you want to understand how this shit works you need to promptly abandon the assumption that it is 'manufactured' magic -- its pure magic. It's raw magic. The tech part is a red herring misnomer.

The beliefs around this already cover links to 'the Arcane' as another, ethereal destination realm with Inhabitants that learn and change, ontop of rune-carving as magical instruction;

This also covers Viktor's impending transformation and the changes made to his character.

IN MY OPINION, via the content released so far and what we've already witnessed in S1, Viktor has been shifted away from becoming 'the machine herald' and re-positioned to become the Herald of Divine Rune Alchemy or whichever name they end up using.

I don't doubt that he'll get the armor at some point, because that's a recognizable visual and as much fanservice as they owe his decade-long fans, but... I would temper my expectations around the thought of machine evolution. It's not what this Viktor does, and it's not what he (or the narrative,) is interested in -- My guess is that the armor comes into play as a secondary way to AVOID overusing limited magical power, as we've seen runes can be depleted, and the hexcore tends to kill things in exchange.

Now that we've established all that, here is the bridge that I'm going to sell you.

Now, for today's homework, I expect you to run off to do something useful and homoerotic with this information.

#arcane #arcane netflix #jayvik #viktor arcane #jayce arcane #jayce talis #jayce league of legends #viktor league of legends #hexposts #arcane meta #jayce lol #viktor lol #jinx #jinx arcane #long post #arcane analysis

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rifari2037 · 3 months

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Did Zuko really love Mai???

I know Zuko and Mai were together in end of the series. I won't denying either that Mai loves Zuko. But still, this couple was poorly written and so forced.

Mai loves Zuko, but most of the time she didn't know how to comfort him. Zuko spent the time with her, but most of the time his mind wander off to something else. They only had a few scenes together in the entire show, and even then most of the time they were arguing.

Also, the storyline itself make me question about how Zuko really felt towards Mai. Did he really love Mai or is he just with her because of circumstances?

No hints in the entire season 1?

I understand that Zuko played villain role in season 1, he kept trying to capture the avatar so he could go home. His motivation was to regain his honour and his father's love.

Unfortunately, Mai was never one of his reasons to go home. In fact, Zuko never remembered her at all in the entire season 1. It seems like Katara's bending development made more impression on him than remembering Mai.

Zuko : I see you've learned a new trick, but I didn't come this far to lose to you.

Zuko : You little peasant. You've found a master, haven't you?

If the writers had plans to give Zuko a pairing, then a little hint is very important to build a story. Beside, although he was a villain, there was moment that show he wasn't completely evil. To showed that Zuko have feeling for someone back home wouldn't ruin his character.

Mai didn't need to appears in season 1, because her role was start in season 2. But there were plenty of ways to hint that Zuko had feeling for her.

Let's say, Zuko had memorable stuff that reminds him of her, or he had a glamps of his childhood memories with her, or a little conversation about her.

But, we didn't see any hint. At all!

Instead, Zuko picked up Katara's betrothal necklace, put it around her neck, and kept it on his wrist when he didn't have to!!

Like, c'mon!!!! What story did the writers actually want to build??

Still no hints in season 2?

Mai finally appeared in season 2, there was also a conversation between Azula, Mai, and Ty Lee about Zuko.

Mai : So, we're tracking down your brother and Uncle, huh? Ty Lee : [Turning to Mai.] It'll be interesting seeing Zuko again, [Teasing.] won't it, Mai? Mai looks away as a smile plays upon her face.

Mai's smile was a hint of what I was talking about earlier! It wasn't that obvious, but it showed that there was something between them.

Yet, Zuko still had no hint or conversation about her to show that he remembered her. It is only appeared on Mai's side, but not on Zuko's side.

Was she really important to him? Was there something between them, or was it just Mai?

Zuko memories in Zuko Alone

The only time Zuko remembered Mai was in Zuko Alone episode. But even that brief memories didn't really show that they had a special relationship.

In this memory, Mai blushed when she saw Zuko. Another hint that Mai had a crush on him.

But, Zuko didn't seem to care. Mai and Ty Lee weren't his friends, they were Azula's friends.

Azula asked Zuko to play together, but he didn't want to and refuse at first. He played with them, because their mom asked him to. Mai was there, but still Zuko's face didn't look happy.

Zuko helped Mai because he was surprised with what Azula doing, but it wasn't a hint that he had crush on her. There was no blush on his cheeks or shyness.

This scene wasn't about Zuko and Mai's relationship, but with his sister, his family. In fact, in this scene, there was no conversation between Zuko and Mai at all.

Zuko and Jin's date

I'm not a fan of Jinko, beside I don't see that Zuko had a crush on Jin. They were going on a date because Jin asked him first and Uncle Iroh answered her. During the date, Jin was the active one while Zuko was very passive.

Once again, if the writers really wanted to pair Zuko with Mai, wouldn't it make more sense if there was a little conversation, maybe like...

Zuko: What do you mean, Uncle? You know I have someone - remember Mai. Iroh : You have to start a new life and move on from the past.

With this kind of conversation, we could assume that Mai was the reason Zuko left Jin during their date. But that wasn't the story.

Since there were no hints about Zuko's feelings for Mai, I could only assume that Zuko left Jin because he didn't want to get too far into enjoying his life in Ba Sing Se. Zuko hated Ba Sing Se.

Iroh : I just want our place to look nice, in case someone brings home a lady friend! [He gives Zuko a nudge with the elbow.] Zuko : [Bleakly.] This city is a prison. I don't want to make a life here.

It's funny because, didn't Uncle Iroh know Zuko very well? But he never thought that Mai was special to Zuko. He never asked or talked about her, even secretly hoping for Zuko to date another lady.

So, was Mai special to Zuko? There was no proof for that.

There were no interactions until the end of season 2?

Until the end of season 2, Mai and Zuko didn't interact at all, even though they were in the same city, in the same palace.

Even more ironic, Zuko build a connection with Katara instead. Not only that, the scenes with Katara were crucial to Zuko's arc and the storyline in the next season.

Did Zuko remember Mai at this time? Of course not!

They were suddenly dating????

This is the reason why Maiko was so forced. They didn't have enough hints and they didn't have interactions at all in season 1 and 2, then suddenly they were dating in the very beginning of season 3?? How???

At this point, I feel like Zuko was dating Mai just because, why not?? He was finally home, he got what he always wanted, why not get his woman too???

Did Zuko really love her? I highly doubt it.

I mean, he still remembered his conversation with Katara after his betrayal. Yet, in The Beach episode, he remembering his family instead of Mai right after they were break up (with moon as background). So sad!

Zuko didn't feel the need to save Mai

Zuko said to Sokka that he didn't want to drag Mai with him as a traitor to the Fire Nation. But when Mai saved him at Boiling Rock, when she betrayed the Fire Nation - especially Azula, Zuko didn't try to save her.

Though, Zuko knew Azula well and knew what could happen to Mai, he just watched her from afar and let Mai to face the consequences of her actions alone.

Meanwhile, Zuko gave up everything, his throne, his nation, and sacrificed his life for Katara.

I don't understand, who exactly did Zuko love?

Then Zutara antis said that he would saved anyone else? He didn't even saved his girlfriend!

Zuko tried so hard for Katara

Zuko broke up with Mai, locked her in prison, left her to face Azula on her own, but he tried very hard to fix his relationship with Katara. He cares about Katara more than he cares about his (ex-)girlfriend. That's crazy!

Zuko : [Closes eyes in resentment.] What can I do to make it up to you?

Sokka : So what's on your mind? Zuko : Your sister. She hates me! And I don't know why, but I do care what she thinks of me.

Katara : [Angrily.] You look terrible. Zuko : I waited out here all night.

Zuko didn't feel the need to get Mai out of prison

Not only Zuko didn't feel the need to save Mai, he also didn't feel the need to release her from prison even though he knew where she was and he was a new Fire Lord.

Her uncle was the who helped her escape the prison. It was so sad considering the person who was the reason she imprisoned didn't help her. He didn't have to waited all night for her forgiveness.

Zuko : Mai! You're okay! They let you out of prison? Mai : My uncle pulled some strings. And it doesn't hurt when the new Fire Lord is your boyfriend. Zuko : So does this mean you don't hate me anymore?

No, Mai. If I were you, I would really hurt and hate him so bad. You should realise that he didn't really love you.

This is the reason why Maiko was one of my least favourite ATLA ship. Because, Mai was there or not wouldn't affect Zuko's arc in the slightest. She didn't really matter to him.

I can't ship them just because they kiss a few times, while their story is poorly written and so forced.

#anti maiko #anti bryke #pro zutara #zutara #zuko and katara #anti anti zutara

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aossimusings · 2 months

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Claire from the Bear, and why she's not badly written, she's just not occupying the character role people expect of her and they don't know what to do with that

Alright. I'm bringing some film student analysis to The Bear, and subsequently, Claire, because I'm tired of people saying crazy things like, "she's a manic pixie dream girl" or that her character is underdeveloped or badly written or that she's pure male fantasy or any other crazy, extremist reaction to her character, when really, I think she's occupying a different character role than we're used to seeing from characters like hers, and in typical The Bear fashion, we as an audience are not being told how to interpret her character with words, but with visual and narrative structure.

Be warned, this is a very, very long post.

Lets take a minute to understand narrative structure in film:

There's an A plot and a B plot. The A plot is what is referred to as "the promise of the premise." It's why you come to watch what you watch. The B plot is all the emotional character development/growth that undergirds the A plot and makes it emotional and impactful. So in the Bear, The A plot is the whole thread of, let's fix the Beef -> let's make a new restaurant -> let's get a star, etc etc, that evolves with each season. The B plot is mostly centered on Carmy (although other characters also have their own smaller B-plots) and on him healing from his grief and family and kitchen trauma and finding himself as a person, etc etc.

Claire as a character is a B-plot character. Her role as a character is to be a part of Carmy's emotional B-plot development, whereas the rest of the characters in the show occupy roles in both the A plot and the B plot. In a show centered

The thing that I think is causing a lot of the discourse around her character is the fact that she's not occupying a typical character role for her sort of character, and then people don't know what to do with her. They're either trying to slot her into a a bad female character role (like a manic pixie dream girl) and are then angry that that type of character would be included in the show, or they think she's a badly written attempt at a more developed character and are then angry because they think her character was fumbled, when in fact, she's neither.

Let's take a minute to examine these two roles:

The Manic Pixie Dream Girl

A manic pixie dream girl as defined by the Oxford language dictionary is:

"(especially in film) a type of female character depicted as vivacious and appealingly quirky, whose main purpose within the narrative is to inspire a greater appreciation for life in a male protagonist."

On paper, I can see why people would say that she's a MPDG. She's a little quirky, and she appears to "inspire a greater appreciation for life" in Carmy. She's a doctor, but she's a bad driver, she loves Mondays, she shoplifted in high school for the adrenaline rush, etc, etc. But I would argue that she's not actually a MPDG because her role in the narrative is fundamentally different than that of a MPDG.

In terms of narrative, MPDGs are a catalyst. They are crucial to the movement of the plot and the development of the main character. Specifically, they're supposed to be a catalyst for main male character growth. This is part of why MPDGs are a sort of problematic character -- the idea that they don't get dimension as a character, yet their entire role is to catalyze the main male character's positive growth and evolution is sexist. They aid the MMC at the cost of their personhood.

However, notably, Claire doesn't actually inspire positive growth in Carmy. He is not made better for knowing her. He doesn't grow as a person, learn from his mistakes. He isn't calmer or nicer in the kitchen, he doesn't resolve any of his trauma, I would argue that he doesn't even have a "greater appreciation for life" as is critical to the relationship between the MMC and the MPDG; he is just as depressed and anxious for knowing her as he was when he didn't know her.

So Claire: not a manic pixie dream girl, despite being quirky and trying to "inspire a greater appreciation for life."

The Badly Written Main Female Character

I think for a lot of viewers, if Claire isn't a MPDG to them, she's viewed as a badly written, badly developed main female character, who isn't afforded a lot of screen time, and as such, is one dimensional because she doesn't get much character development.

Wait, what? She's a badly written main character without a lot of screen time to develop? But part of being a main character is to have significant screen time to develop! But Claire doesn't have a lot of screen time... Tina has more screen time. Sugar has more screen time. Marcus has more screen time. It's almost like...Claire isn't a main character, even though, as a love interest, she occupies a role typically only allowed to main characters.

So then...what is she? To understand her narrative role, we need to take a minute to understand what Carmy's B-plot has established thus far. My apologies for the following, very drawn out explanation of Carmy's mental health. I promise I'll return to Claire, but this is important.

Carmy's B-plot (aka, the emotional stuff)

Seasons 1 through 3 are essentially following Carmy having a slow, drawn out breakdown. Or rather, it's not slow. It's a pretty realistic depiction of someone who is pretty mentally/emotionally unwell continuing to not get the help that he needs, and trying to fix things unsuccessfully on his own. But admitting that he's unwell feels like admitting defeat, so he's trying to fix things while never actually admitting that he needs help, and as such, is in a self-destructive spiral of trying to fix things unsuccessfully, feeling out of control because of it, trying to fix different things unsuccessfully, feeling even more out of control, etc etc.

By S3, we have a better understanding of the Berzatto family structure: an unnamed father who walked out leaving them in debt, Donna who is/was an alcoholic and otherwise emotional black hole, Mikey who died at age 43 (born 1979, died 2022 as seen on his prayer card), Sugar who's 36 a year after his death (born 1988, confirmed by her hospital intake in Ice Chips), and Carmy who is 26 a year after Mikey's death (confirmed by the original script.) So when Carmy was born, Sugar was 10 and Mikey was 18. This is important because in light of Fishes and Ice Chips, Donna was an alcoholic for as long as they were children, was incredibly unpredictable with mood swings, poor emotional regulation and maybe even emotional abuse (see how Carmy and Sugar essentially are trying to regulate their mother's emotions in Fishes), and probably some physical altercations if Donna's behavior in Fishes is anything to go by. Sugar explicitly says that she frightened all of her children. Mikey was probably the de facto parent in a lot of instances, being the only other adult in the household. The fact that he was also an addict, and as seen in Fishes, also violent or unpredictable at times, complicates this. S3E1's scene with Sugar and Carmy at the airport implies that after Mikey started cutting Carmy out (and struggling with addiction) Sugar started to assume that parental role. So that's a whole fucked up childhood right there, with very little room to healthily develop emotions or coping mechanisms or an understanding of healthy relationships. In ice-chips, Sugar demonstrates that she's aware of this. "I ask people if they're okay way too much," and "I'd make myself sick to make you feel better." Everything with Carmy's character demonstrates that he does not have this self awareness.

Carmy explains in his al-anon monologue that the rhythm of the kitchen became soothing to him, because it was so rigid and so predictable (a direct contrast to his home life.) But while it was soothing, he also cut contact with people in his life, because the self-isolation made things "quiet" (and probably gave him a feeling of control, like most self-destructive impulses do) which led to him being incredibly isolated and incredibly dependent on work as a coping mechanism by the time he ends up working with the abusive NYC chef. Important thing to note about that: now his only coping mechanism has been polluted by abuse as well, and the trauma of that will haunt him increasingly throughout the seasons (coupled with the fact that he's probably never learned how to healthily process his own emotions, in part because he ended up having to set them aside to emotionally regulate his own mother.)

Then Mikey kills himself. (which again, is the fucked-up family figure of brother and parent and addict and idol all rolled into one suddenly dying on you after abruptly cutting your out of their life)

I say all this because I want to make very clear that mentally, Carmy is not well. Across his various al-anon monologues, the fridge conversation, his flashbacks, etc. it becomes really clear that he's never really had any sense of safety or security in his life except for maybe when he was 18-24 when he did the French Laundry, Ever, Noma, and Daniel. The amount of anxiety that he experiences in his day to day life is not normal, it's not healthy. It's exhausting and damaging. He's also probably pretty depressed, and probably had been even before Mikey and NYC chef. He talked about in al-anon that when he was a kid, he could never feel happy or excited about anything because he was always waiting for the other shoe to drop (arguably because of his mother, because if she was upset, she made everyone else upset to deal with it, and if she was happy, he was waiting for her mood to shift.) We very rarely actually see him happy or joyful in any of the seasons. So basically, as evidenced by that and what we see in the seasons, he's got this really damaging spiral of anxiety and depression, where he's so anxious he can't feel happy.

Pursuit of happiness is actually what brings us to Claire as a character. He meets her almost right after he talks in al-anon about the fact that he should "provide amusement and enjoyment" for himself. Then he meets her in a grocery store, and promptly, and deliberately, gives her the wrong phone number. Personally, I read this as Carmy knowing that he's not ready for a relationship. He pursues it anyways, for likely 2 reasons:

Pursuit of happiness. Sugar always wanted him to get away from the Beef in S1, now he's trying to get some space and do something to "provide amusement and enjoyment"

Mikey! In Fishes, Mikey was really excited about the prospect of Carmy dating Claire. At the time, Carmy was like WTF, but in the wake of Mikey's death, this is probably a way of connecting with him. See, I can do it! I can date a girl! I can do this thing that you thought would make me happy. I can be normal. I can be what you wanted.

Now a little film student analysis:

One thing that I love about the Bear is that they're really good at the whole concept of "show don't tell". You'll hear about this a lot in writing advice, but it's actually even more relevant in film. Here's a good example from the bear:

The Bear never, ever says that Carmy has anxiety. I'm not even sure if the word "anxiety" is even said onscreen. Instead, The Bear shows:

Carmy drinking bottles of Pepto Bismal and chewing fistfuls of Tums, yet rarely eating anything

Carmy sleep walking and almost setting his apartment on fire

the sheer amount of nervous energy he has (tapping spoons, sharpies, cigarettes, etc. , never standing still, being generally twitchy)

some really great tricks with filming and lens that make the world around him shift focus, shift perspective, blur, and otherwise visually simulate the effects of an anxiety/panic attack.

In film, you have to be incredibly intentional about what you keep in and out. In my first film class, when we were doing film analysis, a lot of people would start "I'm not sure if this was intentional, but..." and the film teachers immediately shut that down with this statement:

"assume everything is intentional. even if it wasn't, someone still chose to leave it in" meaning that, in film, what you see on screen is actually a fraction of the material that filmmakers had to work with; if something makes it through to the final cut, it was important.

I mentioned before that despite Claire occupying a main character role as a love interest, she does not get main character screen time. Like I said above, I think a lot of people perceive this as her character being done a disservice, that she's badly written, that she's meant to be this perfect male fantasy, etc, etc.

Firstly, I present to you the fact that characters such as Sugar, Sydney, Tina, Donna, all have absolutely beautiful storylines and arcs. They're complex, well-written characters. I don't believe that Claire's lack of screen time is because the show-runners secretly idolize manic pixie dream girls and women of "male fantasy" and thus Claire is supposed to be this perfect person who doesn't need any screen time to be developed (which feels like a thread I've seen a lot.). I really don't think the show runners are secret misogynists. Sorry.

What I do believe is that Claire as a character is not meant to be central to the story. The show very intentionally spends more time developing Carmy's relationships with Sydney, Tina, Sugar, Richie than it does with Claire. Why? A host of reasons.

1. Because Claire is a new form of escapism for him, not that the kitchen is no longer is sanctuary.

I talked before about how after the NYC chef, and I would argue, now that he's trying to start his own restaurant, his one safe space of the kitchen has become polluted with the same chaos and/or abuse from the rest of his life which he spent years running away from. But because he's so isolated, he has no where else to go. So he creates somewhere to go, by creating a relationship with Claire. That relationship is his new form of escapism.

The show communicates that to us in one very specific way: 90% of the time, if Carmy is with Claire, we don't see him. This is not 100% true 100% of the time, but there was a clear pattern that developed in S2 that time spent with Claire is time spent off screen. I think a lot of people see this as "not developing Claire's character" and not giving her screen time, when in fact it's more so about Carmy's absence.

When he ditches Sydney to move boxes with Claire, we never see that scene. We just assume that he was doing it.

When Sydney is trying to figure shit out in the restaurant by herself, it's implied that Carmy is with Claire, but we don't cut to them.

When Carmy talks to Sydney about all the menu things he talked about with Claire, we never see those scenes.

Why? Because he is escaping The Bear by being with her. It would be a very different narrative if we actually did see these scenes, because it would demonstrate that they have an emotional weight and importance in the show. Instead, they're defined by their absence.

Carmy and Claire's relationship is defined by its absence in the show.

2. Claire is not the right type of partner for Carmy, and we're not supposed to believe that she is.

I think it's interesting to look at Carmy's relationship with Claire through Sugar's relationship with Pete. I was talking with some people and they observed that in a lot of ways, it makes sense that Sugar would be with Pete because he is completely non-threatening. In many ways, he's the opposite to most of the men in the Berzatto family (note: I'm not saying Berzatto men are threatening.) But Berzatto men are loud, and opinionated. Some of them engage in behaviors such as: screaming in their kitchen, and throwing spoons and sharpies; throwing forks like darts at their relatives and also shouting; telling their nephews that there nothing and worthless and will never be anything; walking out on their families and leaving them in debt; lording their financial success over various family members. You also have Donna as a parental figure who also throws things violently, yells and screams, is an emotional black hole, and has aggressively grabbed Sugar at least once. Pete is about as far away from all of this as you can be.

I think that Claire is Carmy's Pete in a lot of ways. She's quiet, and calm, she's non-threatening, etc. She's not emotionally manipulative, she doesn't ask much of him (so when she does ask things of him, it's a welcome escape), she is a doctor, which is meant to help people. However, and part of why I don't think their relationship would work in the long run, is that Carmy doesn't need a Pete. Sugar has an emotional intelligence that Carmy doesn't, for one thing. For another, as alluded to by Ice Chips with Sugar listening to the podcast about Adult Children of Alcoholics, each of them were affected differently by their traumatic childhood. And quite frankly, I think that Carmy needs someone who can be gentle and empathic and quiet with him, but also someone who won't take his shit and can stand up to him. (because unlike Sugar, who tends to internalize everything, Carmy has a tendency to externalize everything.) He tends to take it out on the people around him, and I think he needs someone who can simultaneously shut that down and hear him out. And I don't think Claire is that.

3. The chemistry just isn't there.

I don't want to get into an argument about shipping. I can't predict if Carmy is going to get back with Claire after some emotional development, or if he's meant to be with Sydney, or whatever. Personally, I think that any discussion of a relationship is premature (and I think that Carmy knew that subconsciously when he gave Claire a wrong number and was very hesitant on the phone when she called him the first time.)

What I have observed is this: the few scenes that we do see of Carmy and Claire feel a lot less emotionally charged than other scenes in the show. Forgetting romantic relationships, there is so much more emotion and connection in the following scene than in the scenes we see with Carmy and Claire:

Richie and Carmy's conversation about purpose in S2.

Carmy and Sydney's conversation under the table in S2.

Carmy and Mikey's conversation in the pantry in Fishes.

The snippet in the fridge when Carmy's talking to Tina.

The scene with Claire that really sticks out to me having emotional weight is the scene in S3 where they talk about the days of the week, Carmy's hand scar, and Claire accidentally almost killing that girl in the ER. It hurt so much you couldn't feel it. Firstly, it's telling that that scene happened in flashback, not during their relationship, and secondly, the main thesis of that scene was more of a commentary on trauma than it was about their chemistry (ie, Carmy is so traumatized atm, he doesn't realize that he is because of how much it hurts.)

This demonstrates to me that a) the show writers can write emotionally powerful scenes, and scenes with chemistry, and b) the lack thereof in scenes with Claire was an intentional choice because it demonstrates that other relationships are more important for Carmy's character than the one with Claire.

For all that Carmy said that he loved Claire, we never see any evidence of it. It's told, not shown. Whereas his affection for other people in his life isn't mentioned, but it is shown: "I have time for this" and sitting down to talk to Richie about purpose. Buying Sydney a monogrammed chef's coat because she liked his.

His relationship with Claire is important for what it helps demonstrate: his desire for escapism, his self-destruction, his emotional immaturity, the fact that he has other very important relationships and that he needs to deepen those bonds, the fact that he needs to get his priorities in order. It's not so much about Claire. And maybe that will read as sexist to some, because it's more about him than it is about her, but I don't think she's really meant to be a main character either.

#the bear #the bear hulu #carmen berzatto #claire the bear #character analysis #carmy berzatto #the bear fx

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