#ozai's theme at the end is like that

[sharlmbracta]

ok his act was an absolute ego emo teen But. but. his theme fucking slaps. it lingers. it feels like zant's theme with a bit more crookedity, with a fucked fucked up high power pov.

though for me the on!! beat!! ringing!! of azula!! will always topple his theme over the her theme is so. fucking. satistying.

[finisnihil]

“They finally made this theme more blatant-" Why does it need to be blatant. What's wrong with subtlety? Concepts can be underused but subtlety is not neglect.

Blaring all your concepts and themes is not good writing. It's so disruptive to a story's flow when the characters look off the screen to be like "See? This is the concept. The idea. The theme."

If you can feel the hand of the author becoming too heavy that's bad.

For example: I see people saying Azula's abuse in ATLA is more blatant in the live action and it's good because "it's being discussed more". It already was discussed at length. The show made it clear she was a victim at every turn, every behavior, every reaction, it came from a place of trauma. It was made clear that she was scared of ending up like Zuko because Zuko was an example of what would happen to her if she failed. When she says she's better than Zuko it wasn't just because she was raised to think hersef superior to him but because Zuko failed and failures get mutilated and exiled, failures are abandoned. In that final Agni Kai the music is morose and somber because this isnt some epic battle its a fucking tragedy, the burning out of "Ozai's brightest light" and Azula finally succumbing to her terror and trauma she was repressing now that her worst fears are realized. How can you see a fourteen year old girl chained to a sewer grate wailing and writhing and breathing fire desperately as unsympathetic? Even Katara and Zuko are horrified as to what has become of her.

The writers weren't looking us in the eye and saying "See? She's a victim too" when they wrote this, they weaved it in. They weaved it into her obsesison with symmetry, her extreme perfectionism, the way she talks about Ozai, the ways she calls herself a monster, her isolation from those with healthy home lives, all the ways she held herself together and ultimately all the cracks and seams that she shattered down when she fell apart. It did not need to be blatant to be clear.

[burntoutdaydreamer]

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

[starlight-bread-blog]

Three Books, Two Characters, One Story

An essay on Zuko and Katara's characters and character arcs

——————

Zuko and Katara, fire and water, red and blue, one rises with the sun, the other rises with the moon. And yet, they are similar, tied together and grew closer than they could have imagined. In this essay I will discuss Zuko and Katara's characters in Avatar: The Last Airbender. I intend to touch on their shared traits and backgrounds, on their development and on their points of convergence in their over overarching story. Now, without further ado, let's begin.

——————

The Common Ground

Zuko and Katara share their core traits and core events in their respective lives. Firstly, their loss of their mothers. Zuko lost his mother, Ursa; and Katara lost her mother, Kya. But if you ask me, it goes deeper than that. For Zuko, the loss was a loss of shelter from the cruelty of his father and the bliss of being a child. In Zuko Alone, we see how Ursa took care of Zuko, played with him, and gave him a proper childhood.

With that gone, he remained almost completely unprotected. But more importantly, he lost his childhood. (It is true that he still had Iroh, but Iroh can help to an extent. He can’t be at the dinner table when Ozai tells Zuko he was lucky to be born).

Similarly, when Katara’s mother died, something in her internalized it. As Sokka says in The Runaway:

We see Katara help fill the void many times in A:TLA. Namely in The Desert, where she takes care of the Gaang in ways ranging from giving her bending water to endangering herself to pull A\ang out of the Avatar State. Katara doesn’t like to be viewed as someone who lost her childhood, as her reaction to Sokka’s speech was to join Toph and go scamming. However, Kya’s death is an integral part of who she became. She wants to cling to her childhood, and she partly succeeds,but that speech was made for a reason. A part of it was gone with Kya.

Another parallel between their similar grief is sacrifice. Zuko’s mother left to save his life from Fire Lord Azulon’s ruthless order. Katara’s mother died when pretending to be the last waterbender of the South Pole when a Fire Nation raid came looking for her. Both of their mothers left because they protected them, saving their lives from the cruelty of the Fire Nation. In these parallel narratives, the themes of sacrifice against them are intertwined.

But beyond their grief, I believe that at their center, they are very similar. Zuko and Katara are filled with righteous anger and empathy even towards strangers. Although clearly everyone in the Gaang is a good person, doing their part in ending the war, it’s not a defining trait as it is for Zuko and Katara. In The Painted Lady, Katara insists on helping a Fire Nation village while Sokka pressures that they’ll leave to make it to the invasion, while Toph and A\ang remain natural. Her compassion clashes with the Gaang. When Sokka scolds her for being impulsive with her attempts to aid the village, Katara angrily responds with this:

Similarly, the thing that kicked off Zuko’s arc was this righteous anger. In The Storm, we learn that Zuko’s scar came from him standing up to a general who suggested sacrificing a division of rookies for an operation.

You can't sacrifice an entire division like that! Those soldiers love and defend our nation! How can you betray them?

It is their shared compassion and anger at the injustices around them that makes them and the way they interact with the world so similar. Iroh described Zuko as “an idealist with a pure heart with unquestionable honor”. How well does this describe Katara?

Moreover, it is not only their anger. They are both incredibly strong willed with how they act on their anger. In The Waterbending Master, when Katara found out master Pakku won’t teach her because she’s a girl, she didn’t give up. She challenged him, a master, to a fight to prove that she can do everything a boy can do. And Zuko’s strong will is almost over talked about. When A\ang escaped his ship, he jumped on his airbender staff. In Zuko Alone, Ursa said to him “That’s who you are, Zuko. Someone who keeps fighting even though it’s hard”.

To sum up, Zuko and Katara’s foundational events and personality traits are parallels to one another. They both lost their mother when they sacrificed themselves for them, and it marked the end of an era for them. They are both driven by compassion and righteous anger and have a strong willed personality. They are guided by their morals first and foremost. They are parallels to one another.

The Development

Zuko and Katara’s character arcs serve as parallels to each other, and bring them closer together. Zuko’s redemption arc is, to put it simply, about unlearning Fire Nation propaganda and coming to realize the horror his country inflicted on the world. In book 2 Zuko sees the harm they caused first hand, and in The Day of Black Sun he fully rejects the Fire Nation.

Zuko: Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was.

He rejects the lie that the Fire Nation is somehow helping the world - that it’s inherently good. His arc was about unlearning Fire Nation supremacy.

Katara’s arc is not as easy to pin down, but it’s nevertheless there. Her arc is about idealism, hope and a change in perspective. Katara started her journey as an idealist, the literal voice of hope in the opening, and with a black and white view of the world - the Fire Nation is evil, and everyone else is good. Throughout the show, Katara encounters both good people from the Fire Nation, and bad people from around the world of Avatar, such as Long Feng, Jet and Hama. In The Puppetmaster in particular she learns that waterbending can be just as destructive as firebending, if not more so. Her arc is about unlearning naivety and Fire Nation inferiority.

The symmetry comes from them learning to lean on the other’s view across the seasons. In book 1, they are rigid in their view. Zuko is still working a full time job tracking the Avatar, while Katara still clings to her black and white view of the world, such as when she had a conversation with a Firebender who told her firebending is inherently destructive. In book 2, Zuko becomes a fugitive and sees the Fire Nation’s horrors for himself, while Katara sees that the one safe haven from the Fire Nation can be evil too. In book 3, Zuko goes back to the Fire Nation to see that it’s not what he’d imagined at all, while Katara goes to the Fire Nation to find people just like her.

Not only are their arcs symmetrical, but they are what allows their bond to flourish. Katara can only forgive Zuko after she’d let go of her ideals, and Zuko can only seek to redeem himself in her eyes after he’d let go of his idealization of the Fire Nation. Their bond is a true testament to their arcs.

The Encounters

Zuko and Katara’s relationship carries a lot of narrative weight. Their journeys are intertwined on many occasions. For Katara, it’s significant that after Katara masters waterbending, it is Zuko whom she has to defend herself to. It’s significant that she sees humanity in Zuko, despite him being the face of the Fire Nation. It’s meaningful that she goes to find her mother’s killer with Zuko, and even bloodbends before him. And finally, it’s meaningful that she spends the 4 part finale with him.

For Zuko, it’s significant that when he truly connects with someone other than his uncle, it’s with Katara. It’s significant that he learns through Katara that revenge doesn’t always help. It’s significant that Katara is the last member he has to earn forgiveness from. And it’s meaningful that jumping in front of a lightning bolt to save Katara is his last act of redemption.

While Sokka and Zuko for instance never interact in book 1 besides some one liners, Katara and Zuko had a subplot around Katara’s necklace. Although their stories do diverge, such as most of book 2, they always return to spend the season’s finales together. They don’t drive each other’s characters forward as much as they represent milestones in each other’s stories. You cannot remove their scenes together and have the rest of the show make sense.

——————

In conclusion, Zuko and Katara’s characters follow a story of mutual suffering, personal development, and deep friendship. They have a common experience of sacrifice, sorrow, and unflinching compassion. These experiences have narrative weight because they act as development, redemption, and forgiveness catalysts, creating a connection that ultimately serves as a reminder of how far they’ve come.

[longing-for-rain]

ok, i'm curious. if katara had ended up with zuko and became fire lady, how do you think that would have changed her role/character in lok?

a lot of people seem to disagree that becoming fire lady would have been a service to her character.

That’s really up for interpretation since canon doesn’t really establish what exactly the political role of the Fire Lady is. I’m not even sure if it’s a canon title; at least in the past, it was a title that fans made up.

However, I imagine in that role, Katara would be very politically active. I’m not even sure she’d necessarily call herself Fire Lady; I could see her liking that, or maybe a different title to distinguish herself.

The biggest change would be her role in Fire Nation politics specifically. I believe Katara would have a strong desire for world politics, but being a head of state in the Fire Nation would give her an interesting angle to work from. She would have influence over the Fire Nation’s assets and how to use them. She would be instrumental in transitioning them from wartime to peacetime economy, and ensuring that the other nations are compensated for the crimes of Ozai’s regime.

I think she and Zuko would also be very supportive of each other personally (obviously) when it comes to politics. Zuko has immense respect for Katara and would trust her judgement. It would also be so much easier on them both to have that understanding when dealing with complex political issues together. It broke my heart to see how stressed, isolated, and alone Zuko was in The Promise with nobody to confide in and support him in his struggle to turn his nation around. Similarly, it broke my heart to see how loneliness and isolation also seems to be a theme for Katara post-canon.

So yeah! I think there is a lot of potential there, which is why fans like to explore this idea for Katara. It’s about emphasizing her political voice, giving her a way to continue her fight for justice, and giving her someone who respects her opinions and doesn’t leave her feeling abandoned. It’s a direct response to how she was treated in TLOK and it’s beautiful.

[writingquestionsanswered]

What's "Filler" vs What's Relevant

Anonymous asked: How do you know when something is “filler” that needs to be deleted, or if it can be kept? I often see advice saying "your characters should talk about nothing but the plot... no frivolous banter or silly arguments, because it's useless, self-indulgent, filler-fluff." But then I watch or see things and it's like, hm... there sure are a lot of things happening here that aren't plot relevant, yet the audience adores it. For example, in a popular episode of Avatar: The Last Airbender, called "The Tales of Ba Sing Se," nothing relevant to the main plot (stopping Fire Lord Ozai) happens. Instead, characters shop and go to a spa, rebuild a zoo, and go on a date. Part of the episode is even dedicated to one character's running off after having a nightmare. Nothing that we learn or that happens in the episode is ever relevant again as far as I recall, yet 19 years later, people still talk about how much they love that episode. So, I’m really confused as to what counts as useless filler/fluff vs what's important information. How do you tell the difference?

[Ask edited for length...]

First, it's important to note that a Nickelodeon cartoon from twenty years ago is not a great measuring stick for how to write fiction in 2024. ATLA, from what I've heard, is an amazing TV show, full of heart and top-notch character development. But it was also a cartoon created for and written to be enjoyed by children as young as age seven (the low end of Nickelodeon's demographic at the time), so it was following different guidelines from what you'd be following if you're trying to write a short story, novella, or book.

Case in point, the ATLA episode "The Tales of Ba Sing Se" is what's known in television as a "vignette," which uses short, self-contained stories unified by concept and theme to explore character relationships, growth, world-building, and to expand on themes that are important to the overall story. So, while the episode may not have contained plot-relevant elements, as get a glimpse into the minutiae of the characters' daily lives in Ba Sing Se, the characters and their relationships are still pushed forward, even if in only the tiniest ways.

And, again, this is a TV show with 61 episodes, not a short story, novel, or book, all of which are structured differently than a TV show.

On the Subject of "Fluff"

I want to be clear about the fact that if you're writing fan-fiction, fluff is just fine. And even if you're writing original fiction, you can get away with a little bit of fluff... you just need to be clever about it...

Filler, Fluff, or Relevant?

If something is absolutely necessary to move the story forward or understand it, it's plot relevant.

If something doesn't move the story forward and isn't critical to the reader's understanding of the story, but it helps them understand the characters or world in a way they didn't before, it's probably fluff that's been dressed up in a plot relevant costume. (That's the "you need to be clever about it" bit from above, which we'll get to in a second...)

If something isn't necessary to move the story forward or understand it, and it doesn't add anything to the reader's understanding of the characters or world, it's filler. It's just words on a page that serve no purpose, and it should be cut.

On the Subject of "Moving the Story Forward"

To clarify, in case anyone is wondering, "moving the story forward" means advancing the plot from one scene to the next scene. In other words, to use The Hunger Games as an example, Prim's name being drawn in the Reaping moves the story forward, because it forces Katniss to volunteer in her place. It moves the story from Katniss being a bystander at the Reaping to being a tribute. Another example, using Twilight, when Tyler's van skids into the parking lot and almost smashed into Bella, it forces Edward to use his otherworldly vampire strength to save her, which confirms in her mind that he's not human. It moves the story from Bella being curious about this weird boy at school to realizing he is something else and wanting to know more.

Dressing Up Fluff to Make it Relevant

Let's say you're writing a story about a young woman who stayed in her small town and went to community college while her high school besties went off to a college she couldn't afford, and now they've returned and she's trying to maintain these important friendships while struggling with feelings of resentment, jealousy, and feeling left behind.

Now, let's also say you have an idea for a really cute scene where your protagonist and one of these friends goes to a museum together for an afternoon. And as it stands, nothing plot relevant happens in this scene and it doesn't add anything to the reader's understanding of the characters or world. It's just something silly and fun you think would be cute in your story. How can you turn it from fluff to relevant?

To start with, look at your character's internal conflict... wanting to maintain the friendship while struggling with jealousy and feeling left behind. What could happen in the museum that could play on that? Maybe they stop in front of a reproduction of the Venus de Milo and the friend starts talking about the semester abroad she and the other friends did in Paris. This is a perfect place to explore the protagonist's feelings of jealousy and being left behind. If the character talks about her thoughts and feelings in that moment, either inside her head or with the friend, it gives you a chance to expand upon these feelings, explore why they're happening, and even to add further conflict. Maybe she confronts the friend and it doesn't go over well. Or, maybe she lies about something to feel better about herself, and that creates problems later.

Another option would be to look at the next plot point that needs to happen. Is there some way this scene can be used as a stepping stone between two existing scenes? Could something be added to this scene that raises the stakes or or makes the next scene more interesting?

While I'm sure there are some scenes you just can't make relevant no matter how hard you try, usually you can find a way if you just take the time to brainstorm and try out different ideas.

One Last Note...

On the rare occasion you end up with a fluff scene that has no relevance and can't be made to have relevance no matter how hard you try, write it anyway. Then, take it out, save it someplace safe, and hang onto it. These kinds of stories make GREAT incentives for things like newsletter sign-ups, subscription perks, web site bonuses, etc.

I hope that helps! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[tossawary]

I still think that the ending of "Avatar: The Last Airbender" was poorly foreshadowed, specifically the lion turtles and the energy-bending. (Not Aang not killing Ozai! I like that part! It suits the themes, it suits the characters! That part is fine. I am glad that the last airbender found a way forward that respected his people and beliefs.)

Like, I saw ATLA when it was originally airing and I thought these things kind of "came out of nowhere" at the time. I have heard the arguments to the contrary over the years and I have never really been persuaded by them, while at the same time personally agreeing that the lion turtles and the energy-bending absolutely do fit the world and lore! They are fitting elements! They work! I like this ending at the same time that, in my personal opinion, I think it was poorly established.

I think that the story BEGINS to establish lion turtles and energy-bending well enough. We meet both many other spirit beings and bending-capable animals earlier on, including the Moon and Ocean Spirits who apparently gave the world water-bending. S2 introduces Ty Lee's chi-blocking techniques and Guru Pathik teaching Aang about chakras. There are also a handful of lion turtle easter eggs in the background of some episodes, the most prominent perhaps being on a scroll in Wan Shi Tong's library.

But the story then jumps from these various establishing elements all the way to "lion turtles are real and not extinct and telepathic and can also energy-bend and Aang has suddenly mastered this new art well enough to take someone else's bending away permanently, and these relatively new elements are going to resolve the main conflict of the show". It feels like "1+1=3" to me. I think that last jump in the story is too big. Like, we're REALLY close, but I personally needed another 1 in there somewhere to bridge that final gap and get to that 3.

(Includes some fic ideas / suggestions on how to maybe add to strengthen the foreshadowing under the cut.)

The fact that a lot of people, especially more casual viewers, were really confused by the way all of these elements suddenly came together at the end says to me that, no, the foreshadowing that WAS done (there WAS foreshadowing, I cannot rightfully say that it all came completely out of "nowhere", but it) was not good enough. Or maybe I should compare it to someone presenting me with all of the necessary ingredients for a cake and then telling me that it IS cake? Yes, all of the right ingredients are HERE, I agree, this COULD be a really great cake, but... you still have to mix it all together in a bowl and then put it in the oven to bake to get that specific cake. It's not quite cooked yet.

(Okay, wow, that sounds kind of mean. Maybe I should compare it more to a missing stair? We have MOST of the staircase, I just need one last step to get to the Deus Ex Machina at the top. To be clear: I don't think a "Deus Ex Machina" is inherently bad. I often like them a lot. I just wanted a little more foreshadowing than the stuff that is already there.)

In storytelling, there's this technique casually called "The Rule of Three". (And yes, of course, rules were made to be bent or broken depending on what story you're trying to tell, but usually, these rules exist because they are effective.) This rule is also sometimes known as "Introduction, Pattern, and Payoff". (It has other names, but that's how I remember it.)

Very loosely, this rule states that an important element of the story must appear at least three times. 1. It must be introduced / established in the world. 2. It must appear again to remind the audience that it exists / and establish a pattern such that the audience begins to expect it to appear again later. (And is hopefully excited for it.) 3. Payoff. The element returns in an important way, probably to resolve part of the plot. The previous two appearances have acted as foreshadowing for this ending.

There's also a "Rule of Two" version of this general storytelling technique. Like, "If this special crystal can zap the bad guy and save the day, we have to have shown or at least told the audience that it can do that BEFORE the big final fight scene."

In regards to ATLA, no, I don't think that a scroll in a library or a statue in the background of some scene served as adequate introduction and reminder for the existence of lion turtles, so it didn't necessarily feel like a payoff for me that they solved the main conflict. (It's the "solved the main conflict" that's most of the issue for me. If the lion turtles had just appeared in another episode as a random cool thing like those sea monsters by Kyoshi Island, I would not have cared.)

I actually think that the establishment of other spirits like the Moon Spirit and bending-capable animals like sky bison and dragons can serve as a decent enough "Step 1) Introduction". Though this does not establish that lion turtles specifically exist, we have established that powerful creatures similar to lion turtles exist. But I still needed a solid "Step 2) Pattern / Reminder" that would have established that lion turtles specifically exist and are important BEFORE one shows up at the end like that.

I think that there's at least one episode somewhere in Book 1 or Book 2 that could have been cut in favor of an episode where the Gaang meets and rescues a young lion turtle baby or something.

Maybe Guru Pathik could have learned his ways FROM a lion turtle? Aang could have gone to an isolated village somewhere (with more brown people besides just Guru Pathik?) where people are living in harmony with a lion turtle, or maybe even on the back of a lion turtle! That would be cool!

Concept: Aang encounters Guru Pathik living alone on the back of a lion turtle which doesn't talk to people anymore (Aang swims down to look at its face and it doesn't even look at him), because its kind have been hunted nearly to extinction and it's tired of violence. Guru Pathik learned his ways from his old teacher, who learned from his old teacher, all the way up the teaching lineage from a person who once learned from the lion turtle itself before it gave up on the world. Guru Pathik tends to this nearly empty temple on the back of a silent lion turtle who ignores him, because he will not forsake his teachings even when the world seems uninterested in hearing them and the old lion turtle seems like it could die any day now. The people in the fishing village on the shore think that Guru Pathik is crazy and most of them don't even believe that the floating island really is a lion turtle, it's just weird geography.

Guru Pathik could also have chi-blocking abilities! We could see him demonstrate them in self-defense! He could teach a few chi-blocking moves to Aang, who could later go on to use them occasionally in Book 3, and it would have been really cool to see Aang exploring non-bending skills. We don't need Guru Pathik to explicitly name energy-bending here, but I would like to connect him just a touch more strongly to chi-blocking. Like, he IS connected already by helping Aang clear chakras, which is kind of like a reverse of chi-blocking, but it would be nice to establish Guru Pathik as somewhat capable of the opposite but perhaps not liking to use the skill.

Aang really vibes with this dying culture of pacifists, but he still has to leave Guru Pathik before he can finish the training. Later on, he can encounter Guru Pathik and the silent lion turtle again, and he can confess to them how desperately he doesn't want to have to kill anyone, no matter what his past lives say. He just wants to STOP the violence and restore balance to the world without sacrificing himself. And THEN the lion turtle could wake up and gift him with energy-bending.

Or something like that! The foreshadowing doesn't have to be THAT heavy-handed, but SOME brief appearance by an actual lion turtle would have served as a better "Step 2) Pattern" to me.

Things like chi-blocking, chakras, water-bending healing, water-benders losing their bending when the Moon Spirit was killed, and even Zuko's spiritual turmoil serve as a good "Step 1) Introduction" to the concept of energy-bending to me. The ingredients are THERE. But again, I would have liked some clearer "Step 2) Pattern" that had actually baked the cake in regards to this being a skill Aang had specifically.

The above episode concept with Guru Pathik on the back of a lion turtle could have worked as a "Step 2) Pattern / Reminder" for energy-bending.

ANOTHER option would be to have Aang temporarily lose his bending at the beginning of Book 3, after Katara resurrects him with that special spirit water after Azula killed him at the end of Book 2.

I think Aang losing his bending for at least 3-4 episodes would have been really good for him / the show. So much of Aang's identity is tied up at this point in being the Avatar and the responsibilities of being the Avatar. Losing his bending, especially his AIR-BENDING, and his connection to the spirit world and his past lives would send him into a personal crisis. The Gaang could worry over whether or not a new Avatar has somehow been born or if the Avatar powers are gone forever. The characters could confront the fact that perhaps they've been relying too much on Aang as the Avatar and what they'll do now without the Avatar.

Also, it would be really funny if Aang woke up and picked up his glider to jump off that boat, then just fell into the ocean, and Katara needed to fish him out. (Which would then transition into the dramatic revelation that he has lost his bending!!!)

Katara could use her healing abilities to tell Aang that what's happened to him feels a lot like Ty Lee's chi-blocking. Katara would then probably try to emphasize with Aang, who gets angry with her and says she has no idea what this feels like! Katara could then have a really good intimate scene with Aang over how scary it was when the Moon Spirit was killed, what it physically felt like to lose that spiritual connection, and how scared she was even afterwards about what it would have been like to permanently lose that connection to her people and her culture. Aang then apologizes to Katara and they resolve to find his bending again.

Aang then goes on some spiritual journey with his friends to reconnect with his bending and his past lives as the Avatar. Probably some partially internal spiritual journey with Guru Pathik's teachings. Katara and Toph could both talk about what bending means to them personally as different people, and also what it feels like to them as they interact with the elements of the world around them.

Aang could have some cool fight scenes where he dodges some random thugs using all of his bending skills (martial arts) without the actual bending, air-bending techniques, water-bending techniques, and earth-bending techniques, and then finally some chi-blocking techniques that Guru Pathik showed him. There could be some scene where Aang saves a kid from these random thugs and realizes that he can still do good in the world even if he's not the Avatar! Even if he's not a bender anymore!

There could also be some REALLY funny scenes of Aang trying to get Appa and Momo to teach him how to reconnect with his air-bending. Aang mimicking their movements and so on. (Sokka: "Is that... working so far, buddy?" Aang: "NO! They're terrible teachers!!!" Cue sad Appa bleating and offended Momo chittering.)

You could even do it in a cycle of sorts, where Aang reconnects with his air-bending first using Guru Pathik's teachings and his friends' help. (He is OVERJOYED.) And then Aang slowly regains water-bending and earth-bending over the next few episodes, culminating in him having to face his fears learning fire-bending again. I think you could accomplish this storyline by squeezing it into about 3-4 episodes, or else starting off with losing then regaining air-bending plus the Avatar state in the first 2 episodes of the season and then threading relearning the other elements in the background through later episodes.

ANOTHER option where Aang temporarily loses his bending is after the eclipse, because he has a spiritual crisis over the fact that he was resolved to kill someone and he really doesn't want to do that. I don't like this option so much because it feels a little too late in the season compared to kicking off Book 3 with the drama of Aang losing his bending(!!!), but it's an option.

See, if Aang temporarily loses his bending and has to find it again somehow, then the show could establish what this kind "energy-bending" and spiritual manipulation within a person looks like. If Aang has had to get his bending BACK, then it would better establish Aang then using this ability he has now practiced on himself to take bending away from another person. It's a pleasantly surprising twist that Aang figures out how to reverse a previously established energy-bending technique and successfully uses it against Ozai.

And then the ending, though arguably still in the realm of a Deus Ex Machina (which is cool), would feel more like "Step 3) Payoff" instead of "What just happened?" We needed to see more obviously that Aang was capable of ANY kind of energy-bending before it saved the day like that.

Anyway! This post became way longer than originally intended! I hope this has made it clear that I like both the lion turtles and energy-bending as concepts. I think there are many elements in the show that begin to introduce lion turtles and energy-bending as Aang uses it as things that COULD exist. I just think that the show needed some kind of additional baking step in the middle to establish a pattern and use those ingredients to foreshadow that specific "an ancient lion turtle teaches Aang energy-bending and Aang then uses it against someone else" ending.

[bunthebreadboy]

i saw a fanart on pinterest when i decided to change my entire phone theme and i can’t get it out of my head.

the art was just after the zuko and ozai agni kai. zuko was knocked out, iroh was getting ready to take him and leave, and azula just came in and said “i took care of it”. if anyone knows what i’m talking about and has it saved or knows the og artist pls lmk!!

anyways. it got me thinking about an expansion of this au (that i will never write because i have neither the patience nor the time to do that) that (unsurprisingly) results in disasterlesbian!azula

so hear me out on this one. there would need to be an entire plot. like. what’s aang going to do??

azula killed ozai by electrocuting him. it’s the first time she discovers her lightning bending. it looks like he had a heart attack in his sleep. (don’t get too wrapped up in the details. azula’s a prodigy she can be overpowered for a bit)

why did she kill her dad? she’ll swear up and down that it was because “he really should have picked on someone with a better fighting ability than zuzu. honestly, it’s stupid he didn’t lose his honor after frying my pathetic firebender of a brother to a crisp.” it’s actually because she kind of sort of loves zuko. she will NEVER admit that.

iroh becomes fire lord, albeit a bit reluctantly. he spends the next three years attempting to end the war, stop the spread of propaganda in the fire nation, and deal with his niece and nephew bickering all the time.

so aang comes out of the iceberg. meets katara and sokka. katara convinces him to take her to the north pole because he’s the avatar, he still should probably master all four elements war or not. all of the traveling is the same (except zuko chasing them) until they get to omashu and king bumi is like “what’s up my dude, welcome back. we’re recovering from a war, so you should probably learn politics and how to not offend anyone while you master the elements!!”

(“there was a WAR?!?!!!” -aang, probably)

so now aang does a deep dive into all of the nation’s politics while also training. katara doesn’t really attend his meetings, but sokka’s a total nerd and is sat for every single one. first is waterbending at the north pole. insert canon things but add in a meeting with arnook.

this is where we introduce the REAL enemy, because the enemy can’t be the gaang attempting to learn international law at 12, 14, and 15 years old. during the full moon someone assassinates the moon spirit! (sorry yue, i love you but you still die in this au…)

so after mastering waterbending the gaang heads to the earth kingdom. they meet toph and she joins. they head to ba sing se, which, after trying to talk politics with the king, they realize is still completely unaware of the war. while in the earth kingdom, we get a name for the big bad. the dai li. after realizing that ba sing se is basically a military dictatorship, the gaang escapes and head to the fire nation.

that’s where zuko, azula, and iroh get reintroduced. aang and sokka consistently come back from meetings with the royals complaining about “oh my god, the princess is such a bitch. seriously, how is she allowed to help run this country??”

katara eventually goes with the boys to a meeting to get them to shut up. toph makes fun of her for being a people pleaser, but katara will do literally anything to get her brother and best friend to stop yapping about the same topic at her every. single. day.

azula (disaster lesbian) doesn’t say a single word throughout the entire meeting. sokka and aang walk out feeling like they were in the twilight zone. katara shows up to more and more meetings. why? definitely not cause the princess is sort of kind of somewhat cute intriguing.

insert azula’s gay awakening crisis here. she eventually starts talking at the meetings, but she’s only ever nice to katara lmao. katara does realize that azula’s an actual genius, though. she decides that the two of them could probably like, take over the entirety of ba sing se in a day if they tried hard enough. but of course that is purely hypothetical.

so one day a meeting gets interrupted by a literal dai li assassin trying to kill aang. he barely escapes the resulting fight.

so the dai li send more assassins. and even more assassins. until finally zuko gets fed up and is just like “alright i’m tired of dealing with these guys. can we please go kick their leader’s ass??”

that is how azula and zuko end up joining the gaang. and how azula can eventually lay siege over ba sing se (even if she reluctantly gives it back when katara tells her to).

—

other misc key points:

- azula and katara get together right before they fight with long feng. it happens cause katara notices that azula is nervous (nobody else would be able to tell) and so she’s like “zula. you’ve got this. we’ve got this” and kisses her lmao

- toph and azula are best friends, to katara’s obvious dismay

- the second azula calls zuko “zuzu” in front of sokka he immediately starts rolling on the floor and laughing. katara has to make sure his lungs are okay afterwards

- zuko: “im literally not gay??” sokka: “yeah, and toph can see”

- toph regularly comes back to wherever the gaang is staying with bags of money. she knows how to find every single illegal fighting ring in the world.

- this is a loooooong term plot. since there’s no reason to worry about the comet it can take place over many years. which also means that katara and azula literally pine for each other until they’re like 20 and everyone around them, especially (and surprisingly) aang, is like “oh my god make it stop”

[paragonrobits]

There’s a phrase I like to use when people question why, in fantasy series, people don’t just take the most efficient and ruthless option. I say, “This isn’t Game of Thrones.” Bluntly put, apart from having a very unsatisfying ending to its character arcs due to a realistic but very abrupt swing from the character arcs it had been building up (and in one notable case, a character arc that WAS built up the whole time, but not in a way people anticipated), Game of Thrones is most notorious for a very realpolitick approach to how the characters make their decisions.

Efficiency, immediate needs and ruthlessness regardless of personal qualms comes up a lot in what people seem to have taken from that show’s success, and you see a LOT of people thinking that pragmatic ruthlessness is the most basic and standard solution to any story’s problems, regardless of whether or not its consistent with a story’s given themes and morals.

The Avatar setting is NOT one of those. In this setting, spirituality is vitally important; the reason WHY things are done, as well as HOW they done, are just as important as the actual end result, if not more.

So, one thing I see a LOT in fandom circles (usually in bad takes floating around and being mocked by the circles I am adjacent to, or ideas popular among Big Name Fans who are kind of sheltered from the actual themes of the show itself and have distanced themselves from what the show is actually like in favor of what is functionally a completely original series that appeals to their own preferences) comes down to discussions arguing that AtLA would be better if Aang just took down every one he fought and killed them all without hesitation; there is a popular implication among these ideas that Aang is considered weak to them BECAUSE he doesn't want to kill. Because killing is anathema to his people, because the deliberate taking of life is a HUGE deal to both the Air Nomads and the real life religions that they are based on.

These takes conclude that none of that matters; that his morals and compunctions should just be immediately tossed aside in order to achieve his goals. There's usually something like 'who cares about spirituality when the world is so bad' or the ends justifying the means. And the thing is that we DO see characters in AtLA saying that, quite often. Characters who don't care about the spiritual consequences of their actions, who do whatever it takes to accomplish their goals.

They're the villains.

In AtLA, ruthlessness, pragmatism and 'whatever it takes to get what I want' is SPECIFICALLY and EXCLUSIVELY associated with the antagonists. General Fong; Azula, Ozai, the entirety of the Fire Nation... one thing they all have in common, besides opposing Aang, is that they're not just willing to be ruthless, they have no interest in achieving their goals or really doing anything at all without being ruthless and amoral about it. There's a common point in the narrative here, and I think the episode the Avatar State neatly sums it up through its story, as we are presented with Fong, who is seemingly an ally, demanding that they ignore the spiritual demands in favor of just weaponizing a force of nature no one involved really understands.

His emphasis on the people dying in the meantime does make for a potent image, but he is ultimately and frequently established as a ruthless jackass who cares more about trying to weaponize the Avatar State (and mere mortals do not get to have a say in its decisions or what the World Spirit, in its fullest power, wants to do). Apart from this indicating a more or less full departure from a strict moral binary within the series, there's also an emphasis on Katara growing increasingly uncomfortable with the non-spiritual plan they're taking, to the point that she won't have anything to do with it, and she is very much the show's heart. If she disapproves of something with plot relevance, its usually a bad sign.

So this whole THING you have with people going 'everything would be better if Aang killed everyone immediately except for the secret Good Guys even though he has absolutely no way of knowing them out of context'... its genuinely really bewildering and I think its kind of proof of people not engaging with the show's themes or ethics, but assuming that ruthlessness and efficiency are the default way of handling everything. AtLA is not subtle about this and if you think that the show at any point suggests that this is a likely outcome, I don't think you're really engaging with it, or you're misunderstanding the context (such as the Ocean Spirit rampaging being framed as a last second moment of hope; I think people conflate its destruction as generally a Cool Thing, rather than the world itself protecting a dying culture from near certain destruction as the moon itself is... well, dead.)

(There's also a protagonist-centered morality in that they seem to want their characters to BE rather amoral, being all about love and acceptance and tolerance but also brutally and remorselessly kill everyone in their way without hesitation, and the people making these statements don't see any kind of logical flaw. I dunno but that's WEIRD to me.)

[yourhighness6]

Quite honestly I have to say that I actually really like Aang. Him being a happy-go-lucky, sweet kid is extremely important to the story, as bringing back a sense of fun to the people who have been experiencing war for so long is basically his narrative purpose. There's a purpose behind his personality, just as there should be in any narrative. However, I think anyone who engages critically with media has to aknowledge that he makes some bad decisions, especially when it comes to his treatment of Katara at the end of season three. Although I would personally argue that this is sexist writing and not congruent with the Aang we have seen for the entirety of the show leading up to DoBS (although people are also right when they point out the amount of emotional labor his position as the grand hero of the story and as a rather immature kiddo put on Katara), these are still mistakes that the character canonically makes. His treatment of Katara in previous seasons is still toxic behavior that I would argue is actually congruent with his character. The mistakes he makes throughout the series in other areas, such as hiding their father's location from Sokka and Katara, are canon decisions the character makes that are also definitely congruent with his character. But for whatever reason, a lot of the fandom refuses to recognize this. Most Aang/ Kat@ang stans put Aang on a pedestal and argue that nothing he's done throughout the series is exactly wrong. Nothing was wrong in his treatment of Katara, and if it is, he's naturally extremely sorry about it and should be forgiven despite the fact that we see no expression of guilt or remorse from him for, what I believe is the most glaring example, the EIP noncon kiss. So again, to restate, I don't hate Aang. I've never hated Aang. I like Aang. But unfortunately, because of the fandom representation of him, I have no interest in engaging in fan content about him. I have no interest in talking about the good things he does or the great decisions he makes outside of his decision not to kill Ozai, which, although greatly contested in the fandom, I completely agree with because of the narrative significance of Aang choosing to stick to his beliefs and the overarching theme of mercy, which we also see built up in many previous episodes such as TSR. Aang is the character that I would argue has been corrupted the most by the fandom. He's either viciously hated or hoisted into a position of perfection and frankly, I can deal with neither. Aang is a good character, but we should be able to have conversations critical of his actions. Aang is an extremely flawed and relatively underdeveloped character, but he is by no means evil incarnate, and I just wish that more people could recognize that both of those statements should and do coexist.

[survivalove]

Avatar The Last Airbender

Sozin’s Comet, Part 4

As the two main characters, Katara and Aang’s series-long arcs come together in the finale as they face their enemies: Azula and Ozai.

Katara vs Azula:

After Azula broke the Agni Kai she made with Zuko, Katara was forced to fight her, dodging fire and lightning while hopelessly looking for any means to defeat the comet-powered firebender on her home turf.

Finally Katara baits Azula into approaching her close enough to freeze her over the drains. However, Azula moves to lightning bend Katara once more. In a split second, Katara bends the water and freezes both herself and Azula before the lightning sparks. Not only is this a testament to her speed, mobility and precision as a fighter, but it also shows how risky this move was as she was so close to being electrocuted and losing her life in an effort to subdue Azula.

[Azula is about to shoot lightning at her when Katara freezes them both with the water under the grate.] - Transcript:Sozin's Comet, Part 4: Avatar Aang

Aang vs Ozai:

Similarly, Aang has spent majority of the final battle running from Ozai as he tried to find a way to get close enough to him to take his bending away.

In the beginning, Aang gets the opportunity to take Ozai’s life by redirecting lightning, but chooses not to. Instead, Aang subjects himself to ~ 20 minutes of almost getting burnt alive just because he didn’t want to end Ozai.

A chance encounter with a rock physically unblocks Aang’s avatar state and he pins Ozai down before coming out of the avatar state on his own. Again, another opportunity where he could have ended Ozai but chooses not to. As Ozai berates Aang’s people for the last time, Aang holds him in place to take his bending away. There was absolutely no way he could’ve known for certain that this would work or that he could even do it successfully until he did it for the first time here.

[Aang remembering.] To bend another's energy, your own spirit must be unbendable or you will be corrupted and destroyed. - Transcript:Sozin's Comet, Part 4: Avatar Aang

To summarize, both Katara and Aang risked their own lives to spare the lives of their enemies. Just as Aang’s journey to the final battle builds up this moral dilemma of how he would end the war, so too, episodes like the Puppetmaster and the Southern Raiders introduce a similar theme for Katara where is she faced with the temptation of enacting extreme violence in the name of justice and vengeance.

In a show about child soldiers, the main theme I picked up from ATLA was “How does one win a war without losing oneself?” The protagonists, Katara and Aang, are both challenged with this at different points in the series and finally defeat the firelords of the nation that decimated their cultures without forsaking their personal beliefs and morals in the process.

[threalcrabbysamantha]

XVI. The Tower

This card deals with change - not everyday, ordinary changes, but big upheavals, the kind of change you can't come back from. Sometimes this means trauma, but sometimes this change is a change for the good - like the end of Ozai's reign of terror when Aang removes his bending. This event caused a huge sweeping change throughout the kingdoms and nations in Avatar, literally rocking the world.

When you draw this card, embrace the upheaval.

--

I'm drawing an Avatar themed tarot deck (Major Arcana only)! Every day I'll reveal a new design. :) Follow along and let me know which one is your favorite!

[balanceoflightanddark]

This scene. This scene right here might be one of the most tragic and brutal scenes in the whole series.

We all knew going in that Aang was in fact the last airbender, but this just hit it home just like it did for Aang. A confirmation that his entire people was wiped out, and his father figure (the one he abandoned cause he couldn't take the pressure of being the Avatar) having been butchered. Later episodes only makes this image a lot worse since the Air Nomads valued pacifism and the sanctity of life, while Gyatso is surrounded by the corpses of firebenders he had slain.

There's no buts or ifs about it. Aang's people is GONE.

And he doesn't take it very well.

Aang, the happy go lucky kid that believes in the best in everyone goes absolutely berserk.

I think this is one of the recurring themes in Aang's arc aside from accepting his role as the Avatar. I really do believe that deep down, the kid does have a grudge against the Fire Nation. A rage like this doesn't go away easily nor overnight. And there are times when Aang went berserk when pushed too far, like how Appa was stolen or when he fused with the Ocean Spirit. Sure, you could argue he wasn't in control of himself in the latter incident, but considering how corrosive deep seated grudges and anger can be corrosive, I still think it's in the realm of possibility.

Plus I think it gives his decision to spare Ozai a bit more weight behind it cause he's choosing to move on from his anger and end the cycle of violence the world is trapped in. What the Fire Nation did was awful: yes. But it doesn't mean Aang's doomed to give into his anger.

Am I saying Aang was in any danger as being just as bad as his enemies? No. I don't think there's any circumstance where he'll become some genocidal warmongerer. Neither does it mean his trauma, grief, and anger will just go away over night. It's how one handles them is what makes his character. Despite being the last survivor of a genocide, Aang chose not to give in. Just because the world is brutal doesn't mean you have to be.

[artistsmellslikeunemployment]

Things that natla did do:

- Katara stealing a water pouch from a merchant shop at night

- zuko draws!

- include pieces from the books and comics (mother of faces, Kyoshi‘s personality,

- „water the most promising seed“

- Katara standing by and smirking as Sokka flounders trying to impress Suki but her not buying any of it

- Katara never letting anyone talk over her once diplomacy fails

- Bumi‘s armpit hair

- Zuko talking about Lu Ten

- Azula learning to use a blue flame and failing

- what can I say, the actors make the show very enjoyable 🤷🏼‍♀️

- Kuruk refusing to take possession over Aang‘s body/ Avatar state

- overall I think they drew info from the books about the other eras

- the sound of Iroh‘s firebending reminding of a dragon‘s growl

- Avatar Roku making fun of Avatar Kyoshi

- Zuko basically enthusing about Kyoshi‘s strength only to then get his ass kicked by her

- Suki (and mom) gushing over seeing their role model Kyoshi in action

- random woman with broom and Zuko letting her hit him

- Aang running away at the end, after the battle. He might not have run from his responsibility but he ran from the consequences

- „have you seen my flying bison?“ which is way better because even less believable

- Katara being bold enough to train her waterbending in the abandoned fire navy ship around Wolf Cove

- emphasis on Sokka‘s inventory skills and by elongation his bad ice dodging skills

- Zuko deciding to stay with/ look for Iroh instead of chasing Aang twice

- Lu Ten‘s theme playing every time Zuko and Iroh confess their love for each other

- Omashu‘s part of the earth kingdom being India coded

- Zuko so specifically being triggered by the word „compassion“ but not „empathy/ emphatic“ because he actually does believe in kindness and much like Azula is still trapped in the pressure of having to represent all his father believes

- Zuko looking disgusted all the time

- 41st division bowing to their prince

- I had fun watching it and most of it makes sense tbh.

What I don’t get (logic mistakes):

- Mai being too openly anti fire nation by saying she wouldn’t ever come back if given the chance

- Iroh finding the Blue Spirit‘s mask in Zuko‘s pile of clothes but maybe that’s not even a negative.

- no talk about the meaning of the necklace

- Gyatso Living in the Spirit World (doesn’t Aang have enough guides with all his previous lives?);

- that assassination attempt on Ozai and Azula infiltrating the plan? Was this meant to show Ozai‘s cruelty and Azula‘s strategic thinking??

- what was Bumi‘s point exactly?

- Yue being a spirit fox. Why? It added nothing.

- „i bet you taste like chicken“ no opossum chicken. just chicken.

- Kyoshi being the narrator

- Aang being able to communicate with his past lives only by visiting their shrines and not in the right order (usually the avatar has to contact every avatar before him in the order of their lifetimes before he can get through to the next)

- Aang being shamed and gaslight by everyone

- confusion over what happened to the villagers as well as Katara and Solla by mixing Hei Bai‘s and Ko‘s stories as well as the Fog of Lost Souls and creating a new loophole into the spirit world when people stand too close to Aang while he meditates? Also, Ko‘s „Magic“ with individuality and his reason for stealing faces when showing emotion is lost.

- with all due love, what was Suki‘s mother for?

- Wan Shi Tong randomly sitting at some wayside

- Why wouldn’t normal people understand Wan Shi Tong? How are they planning for Team Avatar to find out about the solar eclipse if not through Wan Shi Tong‘s library later?

- Iroh suspecting Ozai behind the apparent assassination of Zuko so openly in front of Zhao

- Iroh justifying his war crimes with „I was a soldier“??

- Iroh „sacrificing“ himself in Omashu when the earth kingdom forces were looking for the firebender even though they both would’ve gone undetected otherwise

- Iroh killing Zhao

- does Momo carry the spirits‘ life now?

- the fire nation inventing a solar system model to predict Zosin‘s Comet and potentially the eclipse as well

[starlight-bread-blog]

The Good & the Bad: On Aang (Not) Killing the Fire Lord

I recived this asks forever ago, trurly sorry anon, but I'll keep my apologises for the end. I'd love to answer that!

If you're asking me, this is way better than """killing him""". Case closed.

Getting this cleared up: The show didn't say that Aang is morally superior for this. It was solely about staying true to himself. Not a moral high ground.

So when I hear people say it's problematic because it implies that sparing imperialistic dictators has some intrinsic goodness to it, (Ahem-Lily Orchard), I just can't agree. It was never about universal ethics, it was about Aang's culture and values.

Why Is This a Good Thing?

Aang loves his culture, and takes a lot of pride in it and its values. (See: in The Southern Raiders his first go-to to convince Katara to spare Yon Rah is his culture, rather than what such act would do Katara herself). He would have been ashamed if he had broken them. But right now they clash with his Avatar duties, with god-knows how many lives at stake. He needs to let go of his pride & shame, and become humble.

Just like Zuko humbling himself to the GAang before they accept him, or Sokka humbling himself to the Kyoshi warriors and Master Piandao, Aang could only speak to the the lion turtle after he'd given up, after he was humbled.

Even beyond Aang, it enhances the show's themes at large. A theme in A:TLA is paving your own path, and that you can do what you want despite the pressure. Your true destiny will come, you might be surprised by it, but it's yours and you're free to carve it.

You just have to keep going, to continue to do the right thing, and your destiny will find you. Things have a way of working out in the end, eventually.

Sparing Ozai serves the theme, thus the show overall. Everyone told him it's his destiny to kill the Fire Lord and end the war. But he didn't agree, paving his own path, his own destiny, and all was well. The pieces fell in their place.

It is s amplified by the fact that if you read between the lines, he actually did follow all the previous Avatars' wisdom besides Yangchen's.

Aang knew what he wanted from the start. He isn't going to kill the Fire Lord. People (rightfully) tried to pressure him, but in the end, he stuck to his decision.

Justice was served. Aang took his bending away and put him to rot in prison for the rest of his life. There's more than one way to execute justice.

"... and the destiny of the world". That's exactly what Aang did. He followed his own path (staying true to himself) while saving the world (ending Ozai regime).

So that leaves us with Yangchen's advice. The one he didn't follow:

This opens another layer to this. Why doesn't Aang take the advice of a fellow Air Nomad? The one he should relate to the most? Because despite both being Avatars and Airbenders, Aang is the last. They're not the same. Yangchen is speaking from a place of privilege. She can carry the weight of the Avatar and not worry about the Air Nomads. Notice the wording: "spiritual needs". But it's deeper than that. In her time, they were there, they'll preserve their culture and values. Aang doesn't have that.

He's Avatar: The Last Airbender. He has both weights to carry. The decision to spare the Fire Lord, while protecting the rest of the world, is embedded in the show's title.

There's also something so incredibly powerful in Ozai being defeated specifically with Air Nomad values. A 100 years ago, during Sozin's Comet, the Fire Nation started the war by genociding them. When it comes back, the Avatar, the last Air Nomad, ends the war and stops the next genocide while preserving their values. The Fire Nation isn't going to push him to taint (one of) the last living aspacts of the Air Nomads, and Aang is shouting it – in the very same day the disaster occurred.

(Additionally I view this as a land mark of his character development since Siege of the North. He used spirit powers for murder, now he's using them for mercy).

(A:TLA is also a show made with kids in mind. They may not be able to make Aang kill Ozai. He got his bending stolen and sentenced to prison for the rest of his life. That's a more than serviceable punishment for a show aimed at kids).

(Ps: If Ozai had died Zuko would never have found out where his mother is).

The concept is fantastic. Nothing wrong there. But now, it's time for the critisism.

What's the problem then?

Despite looking in internet forums, it's entirely possible that I missed some things. With that being said, the Lion Turtles could have been foreshadowed better. As I stated, I don't mind it. But as far as I recall, it was foreshadowed once in The Library, and that's it. (Edit: It's also foreshadowed in Sokka's Master and The Beach, but the point still stands).

The Lion Turtle is a twist, it subverted expectations, but that doesn't mean it has to be a deus ex machina. That's what foreshadowing is for. It's the literary device to making a plot twist feel believable. The result is many fans, including me, feeling as though it came out of no where, even though it didn't.

Overall, I love that Aang spared Ozai. It ties into the themes of the show and Aang's role as the last airbender. It makes perfect sense, it's rather beautiful. However, I do wish the foreshadowing was better.

And for Anon, to apologize for the wait, I dedicate you this meme:

[seventeendeer]

finished rewatching ATLA so here's my obligatory hot take on the age-old discourse of "should Aang have put on his big boy pants and killed that guy or what"

my perspective is that either choice would have ended the show in a bad place. no, Aang should not have killed that guy; a child being forced to give up his own individuality to become a tool for violence has terrible implications in a story about war that is intended to have a happy ending, and so does the notion that if you just kill the right people the world will be saved. yes, Aaang should have killed that guy; ATLA as a whole has an uncomfortably centrist perspective on the concept of war, and by giving the protagonist an easy way out of having to do anything "too drastic" to save the day, it cements its status as a fundamentally flawed narrative that pussed out of every opportunity to say something meaningful.

in order for ATLA to stick the landing, Ozai would have had to be dead and alive at the same time. there was no way out of this story that wouldn't give the kids watching the wrong idea about the very concepts the writers were trying to introduce them to.

in my opinion, the problems with the ending are not a question of "kill that guy/don't kill that guy", but rather the fact that the writers clearly designed this narrative to make "don't kill that guy" the only reasonable option. the writers chose to have a vulnerable, bright-eyed child protagonist; they chose to have him descend from a group of monks who valued non-confrontation and peace; they chose to center his character around themes like "joy and hope perservering against all odds" and "choosing your own destiny"; they chose to make the central conflict of his character about wishing to resist a destiny that was incompatible with his personal values; they chose to make the goal of his journey "stop a guy who won't stop until he's dead in the ground" - and then render in loving detail how Aang finds a way to avoid putting him in the ground after all.

from my perspective, ATLA is at its core an exercise in bending over backwards to make kids believe violence isn't the answer. it's a centrist's dream. fuck all of those scary people who had to punch a guy or fire a gun or drop a bomb as a last resort to try to save innocent lives - surely they simply weren't trying hard enough to find a morally stainless way to defend themselves and their loved ones from harm ..!

this is why, even though it has some fun elements, I have a bitter disrespect for this show and for bryke. these writers wanted to preach about the virtues of keeping your own hands clean in the face of injustice, and they found some cool "exotic" Asian philosophies to cherry pick ideas from to make their perspective seem deeper and more insightful than it is, slapped all of that together in a blender alongside some "chosen one" power fantasies for little kids who want to be cops, and with some nice art and some elbow grease, they managed to make it into one of the most influential cartoons of all time.

ATLA was always going to pull punches until the bitter end, because as far as bryke is concerned, refusing to punch anything at all is the point of the show.