#prince zuko you will always be the greatest character ever created

[naylor]

rip prince zuko from the fire nation, you would have loved mirrorball by taylor swift

[rolandtowen]

Prince Zuko was a harsh, entitled boy.

Firelord Zuko is a ruler who makes amends. - a study in the various side characters that Zuko came across in his banishment, and how he repays his past actions.

Read Chapter One on ao3 or under the cut! TW for referenced non-con and colonialism

[I believe @flamehotman and @flameomcfirey wanted to be tagged?]

Chapter One: Song

We will get there when we get there, don't you worry Feel bad about the things we do along the way But not really that bad We inhaled the frozen air Lord, send me a mechanic if I'm not beyond repair

- The Mountain Goats

It happened on a Tuesday afternoon.

Zuko was meeting with the agricultural council, a collection of both scholars and farmers, to discuss best practices for renewing the Fire Nations agricultural trade. For so many decades, the Fire Nation out-sourced its agriculture to land in the colonies and imported much of its food. But with the land being given back, the Fire Nation was either going to have to begin growing its own food again, or import their food at a fair price. The economic committee decided on Monday that reviving the Fire Nation farms would be far more cost effective - and of course, would create more jobs in the Fire Nation. With the war over, the number of soldiers that the military required had dropped dramatically, and there were many citizens without work. Zuko had instated severance benefits for unemployed soldiers - the ones not found guilty of war crimes of course, mostly the young recruits - but it couldn't last forever.

It was maddening. Every time Zuko unraveled one problem, he undoubtedly found or created another one. He was trying, really trying, to keep his people safe. But he also had a duty to the rest of the world. The nations that his lineage colonized, pillaged, and destroyed. He resists the urge to write to Aang, to ask him how he does it, how he balances all of the nations in every action he takes. But Aang is busy, all of his friends are, spread thin to the four corners of the world.

Uncle visits him occasionally, when the letters from staff concerned about Zuko's health pile up on his desk. One too many servants have found him, asleep at his desk, face down in treaty papers. But Uncle has his hands full. He already splits his time enough between the Jasmine Dragon and Ember Island, looking after Azula.

Azula.

She was improving, and that's really all Zuko can ask for. He sees her a couple of times a month, pours her a cup of tea, and they sit on the balcony of their vacation-house-turned-mental-retreat. Most of the time, they don't talk. Zuko won't push her; he remembers his silence in his first few months of being banished, how Uncle had to coax him to say anything at meals. Sometimes the only words he uttered in a day were in prayer before meditation. Zuko had thought to himself, speaking out got me into this mess: I'll never speak again.

He's not sure what words were exchanged between Azula and Ozai before he left her and went to burn down the Earth Kingdom, but he can guess it wasn't good. Few of his father's words were.

So they sit and drink their tea. Sometimes, on a good day, Zuko will fix up Azula's hair for her, and she'll reveal some bits of information that he files away for future examination. Something like, I saw Mom before you came with Master Katara. Or she'll double check her reality, asking, you let Ty Lee and Mai out of jail, right? and Zuko will say yes, her friends are safe, they should be visiting any day now.

As painful as seeing her may be, spending time with Azula is far preferable to sitting through an agricultural council meeting.

He looks down at the paper in front of him, a comprehensive budget list for all of the supplies needed to revitalize the Fire Nation's agricultural sphere. Dozens of machines that he's sure Sokka had a hand in inventing, hundreds of varieties of seeds that Omashu is generously selling to them, and -

Thousands of ostrich-horses.

"Councilor Yichen, can you elaborate on the number of animals in this budget? Certainly with the machines we'll provide, farmers will not need so many working livestock."

Councilor Yichen stands, giving a little bow in Zuko's direction. "Of course, Lord Zuko. While the machines will certainly boost productivity, we only have enough for one per farming village at this point. Each family needs at least one working animal, if not to plow the fields, then to transport goods. We decided on ostrich-horses on a recommendation from farmers in the Earth Kingdom colonies, who found them to be invaluable. An ostrich-horse is, in many ways, more valuable than a machine."

Zuko's stomach settles uncomfortably, but he isn't entirely sure why. "Thank you, Councilor. I understand now."

Yichen gives another little bow before he sits, and the rest of the meeting goes as planned, with the exception of a strange seed of unknown guilt now growing in Zuko's stomach.

"Uncle, do you remember when you made tea out of that poisonous plant?"

Uncle laughs, hands faltering as he pours Zuko a cup of jasmine tea. "I remember, Nephew. How could I ever forget?"

"Do you remember the girl who helped you?"

Uncle takes a sip of the warm tea. "Song. Her mother made the best roast duck." He looks at Zuko out of the corner of his eyes. "Why do you ask?"

Zuko looks out over the gardens. He's able to see the whole palace grounds from where they're seated on the second-floor balcony, watching the sun rise. As far as the eye can see, Zuko is upheld as a flawless ruler, his word taken as law. He's sick of it.

"I stole her ostrich-horse," he murmurs into his tea, taking a sip to calm his nerves. "I just remembered, in that agricultural meeting a few days ago. I - I never knew how essential those were to farmers, I just thought I was taking their ride." He turns to fully face his Uncle. "But I think I took a lot more than that."

Uncle meets his eyes with understanding. "And now you want to give it back."

"I know there's no way for me to fully apologize for how I acted in exile, but it feels like I have to try." The cup quivers a bit in his hands, and so his hands drop to his lap. "I'll need someone to watching over the Nation while I'm gone."

Uncle places one of his warm hands over Zuko's shaking ones. "I'm sure I can deal with your advisors for a few days." He squeezes his hand just slightly around Zuko's. "I'm proud to see that even in a few short months, your wisdom as a ruler is growing. Go, make your amends. The Nation will be here when you return." Uncle calls for Zuko's secretary and tells her to clear as much of the Firelord's schedule as she can for the next week. Their voices fade into the background as Zuko stares into his tea, wracking his brain to try and figure out how to track down just one girl in the entire Earth Kingdom. Sending scouts or soldiers from town to town is a recipe for disaster, and the Earth Kingdom villages have been traumatized enough. He supposes he could always call in a ride on his favorite air bison but - this feels like something he should do on his own.

If Song hates him, it might be hard for her to show it in front of the Avatar.

So he'll go alone. No friends, no royal guard. He'll come into Song's town the same way he came last time - defenseless. She can hate him if she wants, he'll give her that.

And he'll try to give back what he took from her.

He packs light, pulling an old tunic and boots from the back of his wardrobe. Though they've been thoroughly cleaned by the palace staff, the scent of campfires and smoke linger upon them. He grabs a cloak - the Earth Kingdom will be starting to chill at this time of year - and he slips out of the palace, using the servant's entrance to get onto the streets unseen.

Autumn comes quietly in the Earth Kingdom. The trees slowly lose their color, giving the last of their strength into vibrant leaves. Soldiers previously conscripted to fight in the war have either returned to their families or have gone to tend to the scorched earth where the Phoenix King made landfall. They clear the debris of fallen airships, making room for the earth to slowly restore herself.

Song envies those soldiers.

Their lives have changed with the ending of the war, but Song's life continues on, its mundane routine continuing over and over again. She cares for a small garden, crafts herbal remedies for her neighbors, and tries to make her mother comfortable. She curses the Spirits for their cruel sense of humor - her mother survives the greatest war ever seen, lives through the attempted invasion of her homeland, only to be struck down by frailty months after the end of it all. Hasn't she suffered enough? Song has whispered those words to the woods on her way to the well time and time again. Now, her body is just - stopping.

Her mother is dying and there's nothing she can do.

Song knows all living things have their time. And she's seen too many living beings go before their rightful time. But she never imagined her mother's time would be in a time of peace. Wasn't ending the war supposed to stop all this pain? Apparently not. She tries not to become bitter, knows that that's the last thing her mother would want for her, but - it hurts. And there's not a damn thing she can do about it.

The leaves from dying trees crackle under her feet.

She arrives at the well, alone. Her hometown is just barely beginning to wake up, rising from its slumber as mothers bring in dry clothes from the clotheslines and fathers begin to toil in the fields. Children run freely from street to street, with a joy that was forbidden during the Fire Nation's occupation. They're kicking at a ball, passing it from one pair of bare feet to another, and Song smiles at them. Someday, maybe.

She sets her water jug on the stone wall of the well and begins to lower the bucket before hearing the ball make impact and a man's voice grunt, "oof!". She spins rapidly around to see a young man, rear planted firmly in the dirt, one hand rubbing at his forehead while the other wipes at a watering eye. The group of children stand, frozen, and she gives them a look, and unspoken command to stay and apologize to the man they just hit with their ball.

"Here, take my hand," Song holds out her right hand, and the man takes it. When the young man meets her eyes, she almost drops him back in the dirt. He has those amber eyes, and she can just see under his loose hair - a burn scar. "Lee?!"

He stands, brushing dust from his cloak, and she catches the hints of red fabric that lie beneath. She recoils. He sighs. "Um, about that." Song sees his hands tremble against his cloak. "My name's not Lee - and I'm from the Fire Nation."

Song reacts as if she'd been slapped. She trips backwards, away from Not Lee, landing hard against the stone of the well. Her leg is aching, feels like its on fire all over again, looking into those amber eyes.

"How could you? I let you into my home." She braces her hands against the well, her leg threatening to give out at any moment. "Now it all makes sense, that you stole from me. That's all you ashmakers are good for." She spits, and it lands on his scarred cheek. "You take land that isn't yours, take women that aren't yours, you take lives!" Her leg finally collapses, and she sinks to the ground with her back against the well. Not Lee makes a move, and she throws her hands up. "Don't you touch me," she grits out, clutching at her leg. He stills, and she wraps her arms around herself, bringing her knees to her chest. "I pitied you, you know? I thought your mother must've been - I looked at your eyes and thought you were a victim like me, like my mother." Her whole body is trembling, but she doesn't care. "But I bet you know who your father is, I bet you're proud to have his eyes."

Not Lee mirrors her, curling in on himself, not even bothering to wipe his face clean. "I do know who my father is, but I'm not proud of him." He looks up to meet her eyes, and Song is struck by how young he looks. When she'd last seen him, he'd looked gaunt, malnourished, with sharp cheekbones. Now, his face had filled out and he looks - young? The scar makes him look older as well, but when you look on the opposite side of his face - all she can see is a kid, couldn't be older than a teenager.

And he was crying.

Stubborn as he is, Not Lee is resolutely ignoring the tears slowly falling from his eyes, but nevertheless - they fell. Song didn't expect that reaction. Tears are not what she expected from a Fire National. Anger, rage, violence - those are the things she's tasted at the hands of firebenders, but this? This is new.

"I'm sorry," Not Lee whispers, looking at his feet. "I came to apologize, I wanted to repay you for your kindness and return what I took. But I think I've overstayed my welcome." He scrubs at his face roughly with the heel of one hand. "But I am, truly sorry. I acted selfishly the last time I was in your home, and I took advantage of your compassion. And I understand that my nation has done even worse. I'm trying to make it better." He pulls his hair back with a band. "I know you have no reason to trust me, but I would like to purchase you a new ostrich-horse. And anything else you or your mother may require."

Without warning, Not Lee shifts from his seat position to a bowing one, kneeling with his head pressed to the dry earth. Song stares at him for a small eternity, before realizing that he's waiting, unmoving, for her response. For her judgement.

She lets out a small breath. "Okay," his eyes flick up to hers and her stomach twists. The way he bows is so precise - it must have been drilled into him hundreds of times before. Another thing she wouldn't have expected from a firebender. "Come to dinner."

He stands after she does and gives another slight bow. As they begin the walk back to Song's home, he offers to carry her water jug, and Song feels more weight than one lifted from her.

"What did you say your name was again, young man?" Mei pokes at Zuko's shoulder as she hobbles to the table.

"Mom, I'm sorry about her, she's getting older," Song sets a bowl of fragrant roast duck in front of him and Zuko feels his mouth begin to water.

"No, it's okay, I don't think I've actually properly introduced myself." He takes a quick sip of tea - bracing himself for whatever will happen next - and calmly sets the mug back down. "My name is Zuko," he begins slowly. "AndI'mkindoftheFirelord."

There's the sound of Song dropping a bowl in the kitchen, and Mei leans in a bit closer to Zuko.

"Sorry, dear, could you say that again? My ears aren't what they used to be."

Zuko opens his mouth to respond, but Song slowly enters the room, her eyes narrowed in on Zuko. "You said - you're the firelord?" He nods at her, waiting for her to swing a knife at him, kick him out of their home, call some earthbenders to rough him up -

Before his panic can start to set in, Song runs out the front door, slamming it behind her.

Zuko looks helplessly at Mei.

"Give her a moment." Mei brings her pair of chopsticks to her mouth. "Hmm, she still doesn't make it as well as I used to."

"What about you? Do you hate me?"

Mei sighs, putting her bowl down. "I'm too old for hate, dear. My time in this world is almost over. I can't spend it hating world rulers." She takes a sip of her tea. "But Song? She -" Mei sighs again. "She's been hurt deeply by the Fire Nation, in more ways than one. And it isn't just you. But for a long time, the monarchy has been the embodiment of everything terrible that's ever happened to her. And now you're here, standing in front of her."

Zuko nods. "I understand. And I am sorry, to you as well. I don't think I fully understood the reach of the war. I was always taught that the army acted with honor, that women and children were untouchable." He looks down at his folded hands. "I can see that was false."

"Unfortunately, you are correct." She reaches between them to refill Zuko's cup, then Song's, and hands them both to him. "Go to her. A bit of tea should help bring you some good favor."

The screen door opens and closes, and Zuko finds himself out on the porch. Song sits on the edge, absently massaging her leg, peering into the darkness of the forest.

"Can I join you?"

She shrugs, and he takes that as a yes. Handing over her tea, Zuko sits besides her and tries to find what she sees in the darkness.

For a few minutes, the only sounds are those of them drinking and crickets chirping. Then Song speaks.

"His name was Bao."

Treasured. Precious. Rare.

"That's a lovely name."

"What happened to him?" Song turns abruptly to look at him with shining eyes. "Did he...?"

Zuko shakes his head emphatically. "My Uncle and I traded him to a florist for safe passage to Ba Sing Se. The florist seemed like a good man."

"You went to Ba Sing Se?"

Zuko runs one hand down the back of his neck. "I might have conquered it, actually?"

Sing snorts. "That part I've heard about. You've lived an interesting life, Zuko."

"If by 'interesting' you mean messy, then yes." He sighs. "You had no reason to trust me. Why did you let me back into your home?"

Song laughs, tinged with bitterness. "My mother says I'm too trusting, too gullible." She swirls the dregs of her tea around the bottom of her cup. "But I think there's strength in being kind. And I really did want to forgive you. But you have to be ready."

"And do you think I am?"

She smiles softly at him. "For me, yes. But my guess is I'm not the only person you hurt in exile." She gulps down her remaining tea. "They may not be as forgiving as I am."

"I'm preparing myself for that possibility."

"Does it scare you?"

Zuko ponders it. "I think it does. The idea that I've hurt someone innocent so badly that they may never be able to move past it... that keeps me up at night."

Songs turns towards him, tucking her knees up to her chest. "We can't control how other people see us in this life. How they react to our actions is up to them - all that we can control is our response. You have to be ready to accept that someone may not be ready to forgive you, and you can't let that eat you up." She stares at him intently. "You have to confident that your own actions are enough. That they're good."

It's Zuko's turn to laugh sourly. "Easier said than done," his hand wanders to his scar. "Sometimes I'm still not sure if what I'm doing is right."

"You don't have to do it alone, you know," Song gives him an understanding look. "You need other people around you, Zuko, to remind you what's good."

He huffs, looking down at his hands, folded in his lap. "Do you want to be one of those people?"

"I think you have more than enough goodness surrounding you already. You just have to be confident enough to ask." She sighs, looking back out into the darkness. "Besides, I have to stay here with my mother. She doesn't have long."

"Are you sure there's nothing I can do? I could send my healers -"

She shakes her head, cutting him off midsentence. "It's her time." She begins to rub at her scars again. "I just didn't know how much it would hurt. We finally have some peace, and suddenly it's her time."

"I'm sorry."

"Don't be, not for this. It's due to you that she'll be able to die during peacetime." Her hands come to her eyes, wiping tears away before they can spill down her cheeks. "Her biggest fear was that she'd die and leave me alone to fend for myself during the war. You released her from that fear. Of course I forgive you, Zuko. My mother's no longer scared of dying because of you."

The two of them are silent for a long time, watching fireflies flicker off and on in the trees, listening to the crickets sing.

"I'm going to find Bao for you."

Song looks up in surprise. "You don't have to-"

"I want to, I'm sure he's still out there somewhere." Zuko rises from his seat. "If you ever need anything, anything, you write directly to me. I'll tell my staff that you're a priority."

"Are you leaving?" Song stands as well. "You could stay, if you want."

Zuko shakes his head silently. "I have to get back, and travelling by night is best for a Firelord who doesn't want his identity revealed," he smiles, his scarred skin relaxing into it. With that, he pulls his hair out of its topknot, grabs his pack and swords, and starts to disappear into the night.

"Firelord Zuko?" He stops and turns back at the sound of Song's voice. She makes the sign of the flame and bows. "Thank you, for everything." He bows back, lower than protocol dictates, but he doesn't care.

Three weeks pass, and the air has turned bitterly cold.

Song again makes her daily trip to the village well, with snow crunching under her feet instead of dead leaves. The soldiers have returned from their work in restoring fields for the season, and so the village feels alive when she steps into it. Despite the chill, children still run in the street, under the watchful eye of their mothers and fathers. Song feels a twinge of longing, but she tries to focus on the happiness she feels for the children instead. Song sets her water jug on the side of the well, breathing hot air into her palms to warm her hands after touching the freezing stone.

"Excuse me, miss, are you Song?" A voice comes from behind her, and she turns to see two men dressed in red tunics.

"I am," she replies, tucking her hands into the pockets of her hanbok. "And you are?"

They bow to her. "We come on behalf of Firelord Zuko, to deliver a gift." A third man rounds the corner with an ostrich-horse on a tether. "We found him at a desert settlement, he's been well taken care of, but if there's anything you need -"

They're cut off as Song runs to throw her arms around the neck of the ostrich-horse. "Bao!" She strokes his beak, looking into his eyes. "Do you remember me?"

Bao cocks his head to the side, pupils widening as he chirps softly, and then he lets out a loud whinny, pushing his head into Song's chest. He purrs, closing his eyes and relaxes against her.

"Sweet Bao, it's really me, you're really home," Song can feel her eyes dampening, but holds it together as one of the men hands her a bit of parchment.

"A note from the Firelord. He wanted us to remind you that you can write to him anytime you need anything."

Song nods. "And tell him I said 'thank-you' again." Bao whinnies loudly again, and she adds on, "Bao says 'thank-you' too."

"Of course, miss." With a synchronized bow, the men depart, and Song unrolls the parchment.

Song,

I've followed your advice and surrounded myself with good people. It helps.

Give my best to your mother - my Uncle still talks about her roast duck sometimes. I've established a fund specially for women and child victims of the war, inspired by some of what you and Mei shared with me. Write me if you feel like you or anyone in your village wants to apply for it.

And, thank you for trusting and forgiving me. I'll try to keep earning it.

May the Spirits continually bless you,

Zuko

She tucks the parchment into her pocket, fills her jug, and finds herself back in Bao's familiar saddle after more than a year. "Come on, Bao," she says as she takes the lead into her hands, guiding them back to the empty farmhouse.

"Let's go home."

[if you read through this whole thing, go drink some water! I'll know if u don't :) ]

[thevictorianghost]

The ATLA Comics and the Character Assassination of Zuko’s, Aang’s and Katara’s character arcs (in one page!)

Thank you to Emma/jerkbendinq on Twitter for providing me this image!

Look. I knew the ATLA comics were bad. I’d heard, per example, about what they’d done to the Southern Water Tribe. And, especially, the glorification of industrialization in a world where bending exists, which leads to Northern Water Tribe imperalism and colonization. Others have talked about this in depth and have the tools to talk about these topics.

But THIS! THIS I want to talk about!

Let’s start with this. I know nothing about the context of this scene. But I don’t need context. Because there is SO MUCH TO UNPACK HERE. 

But we do, John Mulaney.

Oooooh, but we do. 

I have too much time on my hands.

I felt so viscerally pissed when I read this that I decided to write this meta. 

So here we go.

Let’s analyze this. Line by line.

Zuko: If you ever see me turning into my father, I want you to... I want you to end me.

Aang: What?!

Up ‘till now, not that bad. Aang’s character’s integrity is kept intact for the moment. Remember the pacifistic monk who didn’t want to kill Ozai? I think he’s here in this reaction. 

Aang: No, I'm not gonna end it like this.

All right. 

But the emphasis on the words end me make me really uncomfortable. This doesn’t feel like Zuko talking. Somehow, these words feel like they could fit more coming out of Azula’s mouth than anyone else’s. 

Azula: You mean it’s not obvious yet? I’m about to celebrate becoming an only child!

But we’ve barely started.

Let’s continue to the next panel.

Zuko: Even now, after everything that’s happened, my family’s legacy is still a part of me.

I’M SORRY??!? 

Is this somehow a bastardized version of this scene from The Avatar and the Firelord??!?

Iroh: Because understanding the struggle between your two great-grandfathers can help you better understand the battle within yourself. Evil and good are always at war inside you, Zuko. It is your nature, your legacy. But, there is a bright side. What happened generations ago can be resolved now, by you. Because of your legacy, you alone can cleanse the sins of our family and the Fire Nation. Born in you, along with all the strife, is the power to restore balance to the world.

(I don’t particularly like this dichotomy either. Good and evil aren’t battling within Zuko. It’s his struggle between doing the righ thing and doing the wrong thing that is. But whatever. I’ll let THAT slide.)

What happened to the “bright side” in the comics?? What happened to the power Zuko has within himself to restore balance to the world?? His entire character growth somehow doesn’t matter anymore because of his father’s and his forefathers’ legacies? The “good” in him doesn’t matter anymore?? 

What happened to THIS scene?!

Katara: You mean, after all Roku and Sozin went through together, even after Roku showed him mercy, Sozin betrayed him like that‌?

Toph: It's like these people are born bad.

Aang: No, that's wrong. I don't think that was the point of what Roku showed me at all.

Sokka: Then what was the point?

Aang: Roku was just as much Fire Nation as Sozin was, right? If anything, their story proves anyone's capable of great good and great evil. Everyone, even the Fire Lord and the Fire Nation have to be treated like they're worth giving a chance. 

Or this?!

Zuko: For so long, all I wanted was for you to love me, to accept me. I thought it was my honor I wanted, but really, I was just trying to please you. You, my father, who banished me just for talking out of turn. How could you possibly justify a duel with a child?

Ozai: It was to teach you respect!

Zuko: It was cruel! And it was wrong.

Ozai: Then you have learned nothing.

Zuko: No, I've learned everything! And I've had to learn it on my own! 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. The people of the world are terrified by the Fire Nation. They don't see our greatness. They hate us! And we deserve it!  We've created an era of fear in the world. And if we don't want the world to destroy itself, we need to replace it with an era of peace and kindness.

What happened to Zuko’s stand against Ozai during the Day of Black Sun?? What happened to Zuko’s entire character arc from Book 2 onwards?? Suddenly, because he has his father’s blood in his veins, he’s doomed to carry his legacy? What happened to Zuko creating his OWN destiny, to change the world??

Sigh.

This wasn’t the most insulting line in that entire paragraph, though. 

THIS WAS.

Zuko: That’s why it’s my duty to heal the scars that the Fire Nation has left on the world.

I BEG YOUR PARDON?!?

NOTICE THE EMPHASIS I PUT ON THE WORD SCARS?!?

They keep comparing Ozai with Zuko THIS ENTIRE TIME. He’s terrified of failing the Fire Nation. He’s terrified of failing the world. He’s terrified of failing Aang and the Four Nations.

Zuko is terrified of becoming his genocidal abusive father.

AND SUDDENLY THEY BRING UP SCARS??!?

SCARS??

FUCKING SCARS???!?

(But we’ll come back to Katara.)

Let’s keep going or I’ll combust on the spot.

Zuko: But the Fire Lord’s throne comes with a lot of pressures.

Two things about this line.

First of all. It... bothers me that Zuko uses the term “the Fire Lord’s throne” instead of “my throne”. It’s like he still hasn’t accepted he’s the Fire Lord. Zuko’s throne doesn’t feel like it belongs to an individual who is allowed choices in this scene. It’s like he believes he’s all the Fire Lords who were his predecessors. And knowing that he thinks he carries his family’s legacy like a weight on his shoulders... that doesn’t bode well.

And second of all. Where is Iroh in all of this? What happened to Iroh’s mentorship? His kind words to remind Zuko that he can rake control of his own destiny? Is he still in Ba Sing Se? Taking care of the Jasmine Dragon? Has he completely left Zuko alone, enough so that the only person he can ever confide in is Aang, who has Avatar duties to fill?

What happened to this?

Iroh: You know Prince Zuko, destiny is a funny thing. You never know how things are going to work out. But if you keep an open mind, and an open heart, I promise you will find your own destiny someday.

Or this??

Iroh: I was never angry with you. I was sad because I was afraid you lost your way. And you did it by yourself.  And I am so happy you found your way here.

(Can anyone give Zuko a hug?? Please??)

Or even THIS??

Iroh: No. Someone new must take the throne. An idealist with a pure heart  and unquestionable honor. It has to be you, Prince Zuko.

Zuko: Unquestionable honor? But I've made so many mistakes.

Iroh: Yes, you have. You've struggled; you've suffered, but you have always followed your own path. You restored your own honor, and only you can restore the honor of the Fire Nation.

Oof. Okay. Let’s keep going.

Zuko: And if I’m being honest with myself... I need a safety net. The world needs a safety net. That’s what I need you to be, Aang. The safety net.

Again. Two things about this line.

What does Zuko mean when he says “the world needs a safety net”? What does he think ending him will accomplish for the world? Zuko’s DEATH could leave an opening for Ozai to take the throne! Because again, Aang has refused to kill Ozai in cold blood! As Iroh has said MULTIPLE TIMES by now and as Zuko has said himself, HE CAN RESTORE BALANCE TO THE WORLD TOO. It doesn’t all revolve around Aang. 

Speaking of Aang, here’s the second thing. Of course, Aang is the Avatar. But he himself alone couldn’t end the war during Sozin’s Comet. Zuko and Katara, Suki and Sokka and Toph, and the Order of the White Lotus all participated. Why should Aang be the only one to take this godawful decision? Why??

What happened to cooperation?? What happened to the Four Nations working together to end the Hundred Year War?? 

On to the next line.

Aang: Zuko, you're not your dad! And you're my friend! How can you expect me--"

One more time. Two things about this scene.

First of all, I’m going to be sarcastic, here. Forgive me, but I have to. 

Thank you, Aang, for pointing out that Zuko is NOT his father and that YES, you ARE his friend. 

Let’s go back to Aang’s speech at the end of the Avatar and the Fire Lord.

Aang: And I also think it was about friendships.

Toph: Do you really think friendships can last more than one lifetime?

Aang: I don't see why not.

Sokka: Well, scientifically speaking, there's no way to prove that...

Katara: Oh, Sokka, just hold hands.

If friendships can last more than one lifetime... why do you have to remind Zuko that you’re his friend, Aang? At least you’re not considering downright killing him and you don’t want to do this, you know!

Does that mean that if he wasn’t your friend and that if he was like Ozai, you’d kill him, though? Is that what you’re trying to say? Because the LAST time you were confronted with the idea of killing someone who WAS LIKE Ozai, oh no wait, who WAS Ozai, you said this!

Aang: This isn't a joke, Sokka! None of you understand the position I'm in.

Katara: Aang, we do understand. It's just ...

Aang: Just what, Katara? What?

Katara: We're trying to help!

Aang: Then, when you figure out a way for me to beat the Fire Lord without taking his life, I'd love to hear it!

What happened to that? 

Hm?

Next line. Once again.

Zuko: As your friend, I'm asking you -- if you ever see me go bad, end me. Promise me, Aang.

Again with these characters having to remind each other that they’re friends! Do you stop being friends while travelling the world and have to remind each other that you’re friends once you meet again? Is that it? (/s)

But that’s not what’s bothering me about this line.

What has Katara said since the beginning of this page?

Absolutely. Nothing.

And this line simply states that Aang is Zuko’s friend. But what about Katara? Are they still friends? They don’t interact much. She barely looks at him this entire page. They don’t talk. This whole scene is about Zuko and Aang. What is Katara doing here? Why is she here?

Oh. Wait.

The ONLY THING Katara does in this entire page...

When Aang looks at her, wondering what to do...

SHE NODS.

SHE. NODS.

She gives Aang the push in the right direction to... wait for it...

MURDER ZUKO WITH HIS BARE HANDS!

Is this supposed to be a callback to THIS scene??

Katara: You might have everyone else here buying your ... transformation, but you and I both know you've struggled with doing the right thing in the past. So let me tell you something, right now. You make one step backward, one slip-up, give me one reason to think you might hurt Aang, and you won't have to worry about your destiny anymore. Because I'll make sure your destiny ends... right then and there. Permanently.

Then what happened to this??

Or this???

Katara: I didn't forgive him. I'll never forgive him. But I am ready to forgive you.

Not only is it that KATARA AGREES TO MURDER ZUKO, she does it while being ENTIRELY SILENT. She never talks. She only nods. Katara has been reduced to become Aang’s silent advisor. 

What happened to THIS girl??!

Katara: I will never, ever turn my back on people who need me!

Or THIS girl?

Zuko: Katara! How would you like to help me put Azula in her place?

Katara: It would be my pleasure.

Or THIS girl?

Katara: ZUKO!

THIS GIRL?

THIS GIRL??!?

(*Bangs head against keyboard*)

And on to the final line. The nail in the coffin.

Aang: ... Fine. I promise.

There we are. He’s accepted it. He’s going to do it if he has to. He’s promised, right? Aang just... gives in. At least Aang doesn’t look thrilled at the idea of doing this. Which isn’t what I can say about Katara. Who looks damn ready to end Zuko right now if that’s necessary. Not that she says anything. 

But the simple fact that they are, THE THREE OF THEM, considering this SUICIDE PACT... 

...is infuriating.

Then we end with a view of the starry night sky as fireworks come to life.

Yeah, right. Sure. Talk about reading the room here, folks.

So let me recap ALL OF THIS.

Zuko is a character who has been abused for years by his father, burned at the age of thirteen and sent on a quest to find the Avatar. During the show, he learns that he doesn’t have to obey his father, that he can make his own choices and create his own destiny and legacy. He’ll be the new Fire Lord who will usher the Fire Nation in an era of peace, helped by Iroh and his friends.

Aang is a pacifist who refuses to kill Ozai, Zuko’s aforementioned abusive and genocidal father. Killing is not the answer for him; he desperately wants to find a way out, enough so that he gets into a fight with his friends about the mere idea of killing Ozai. He values his friends dearly and learns that the world doesn’t only rely on himself, that he has friends he can count upon. 

Katara is a warrior girl who doesn’t back down from a fight. After many trials and trebulations, after being betrayed by Zuko and forgiving him in the end, she has become one of Zuko’s closest friends and allies, especially in their fight against Azula. She’s not afraid to voice her opinions and will never turn her back on people who need her.

But according to the comics... none of that seems to be true!

Or didn’t we watch the same show?

What happened to all of that? What happened to these characters?

I dunno.

You tell me.

[army-of-mai-lovers]

Comparing ATLA’s Jet to Cowboy Bebop’s Spike

(this is so late, but. Happy birthday @the-hot-zone​, hope you had an amazing day) 

In my opinion, Cowboy Bebop is one of the greatest shows ever created. It hits a lot of my personal favorite attributes in a TV show: cowboys, fantastic music, absolutely spectacular animation, really deep themes and characters with rich inner lives, worldbuilding that’s thought out. Simply put, it’s a masterpiece. 

I started watching Bebop this summer, at the height of the ATLA Renaissance, and the first thing I noticed about protagonist Spike Spiegel is that he looked a hell of a lot like Jet from ATLA. And it wasn’t just the looks either: like Jet, Spike is the leader of a ragtag group of misfits living on the fringes of society. Like Jet, Spike is a smooth talker. Like Jet, Spike is compassionate and cares for other people, and like Jet, the world has hardened Spike to the point where his virtues can still lead him down the wrong path. And while Jet isn’t named for Spike, there’s a character in Bebop named Jet (he sort of plays the right hand person role that Smellerbee plays for Jet in ATLA.) They’re not completely similar--Spike isn’t fighting for anybody’s liberation, whereas for Jet that’s a core aspect of his character--but it was enough to make me wonder about how Jet was designed and how much influence Bebop had on his character design and on ATLA as a whole, and whether looking at Spike can illuminate some of the conversations we’ve been having about Jet. 

A little about the inspiration and process of ATLA: Bryan and Michael were working on shows like Family Guy when they decided they wanted to make something more sincere and more cinematic. They were both really inspired by anime. Bryan said “Back in the late '90s I was getting pretty disillusioned with working on sitcoms -- then I saw Princess Mononoke and I was emboldened. My heart was so much closer to that kind of story, those kinds of characters and that type of tone. After that, Cowboy Bebop really inspired us in terms of being a great example of an epic series that had a wide breadth of tones. Then FLCL came along and rewrote the rules for everything, as far as I'm concerned!” I haven’t seen FLCL, I’ll admit, but having seen both Bebop and Princess Mononoke--yeah, I get that. Both are incredible pieces of art that, for me personally, make me want to push myself as an artist, and I cannot recommend both enough if you haven’t seen them already. 

So, Bryan and Michael decide they want to make something inspired by shows like Bebop and movies like Princess Mononoke, they get a pilot order from Nickelodeon and, as is custom at the time, they start reaching out to East Asian animation studios to help them with the animation. This video is a great source for how ATLA in particular interacted in this environment, but suffice to say that Bryan built a relationship with the studio that did a lot of work for ATLA, JM Animation, and gave them a lot of creative freedom in making the visuals of the show. This included designing Jet and the rest of the Freedom Fighters. 

[ID: An image of Jet from ATLA from the shoulders up against a sky background fading from blue at the top to white at the bottom. He had dark skin, shaggy black hair, black eyes, eyebrows turned way up, a smirk on his face, and some wheat in his mouth. He is wearing a red jacket with a gray popped collar. End ID] 

[ID: An image of Spike from Cowboy Bebop from the shoulders up against a sky blue background with trees behind him. He has shaggy dark brown hair that has a slight bit more curl in it than Jet’s, dark brown eyes, light skin, and a closed mouth smile on his face. He is wearing a blue suit with a yellow shirt that has a popped collar, and a skinny black tie/ End ID] 

So, let’s look at the character design. Both Spike and Jet have these long, angular faces, shaggy dark hair, long necks, broad shoulders, dark eyes, some popped collar element to their attire, etc. While both characters are pretty tall and lanky, Spike’s height is more immediately obvious than Jet’s--in fact, I wouldn’t think of Jet as a tall character had I not seen some fandom height comparisons. The most obvious and immediate differences between how the characters physically look are their clothes, which are very different (likely due to the setting--ATLA is set in a proto-industrial war-torn society and Jet in particular has had to scavenge his clothes from Fire Nation troops, while Bebop is a space epic set in the far future), the lack of mouth wheat for Spike, Spike’s incredibly normal looking eyebrows versus Jet’s adorable long division eyebrows, and, of course, their skin tones. Colorism is something that people bring up a lot when talking about Jet’s character, and I have to wonder why Jet, a character that was so clearly inspired by this light-skinned character who was morally ambiguous in Bebop, was made darker-skinned when explicitly coded as a “villain” in ATLA. 

In fact, colorism is a super important aspect of how Jet and Spike’s stories are told. To its credit, ATLA has two MCs (Sokka and Katara) with dark skin (not that the fanartists who whitewash them notice) while Bebop has just one (Ed). However, it’s important to note that Sokka and Katara are each portrayed in ways that Aang or other lighter-skinned characters in the show simply aren’t. For example, despite both characters being literal teenagers, they are sexualized within the text of the show. Another example of the colorism in ATLA is, of course, Jet, a Brown boy leading a resistance against oppressive colonialist imperialist forces, being so unambiguously vilified. Yes, within the text, Jet has some sense of complexity, especially in Book 2, but even that is undermined by his death at the hands of the Dai Li. Jet is never given the subjectivity of a character like Zuko. In fact, it’s pretty clear that Jet’s redemption and subsequent death happens when it does to demonstrate what Zuko is capable of if he makes the right choice. Whether or not this is a good decision writing-wise is another discussion, but the fact of the matter is that in using Jet to further Zuko’s arc, bryke used a Brown teenage boy/victim of imperialist violence to prop up the narrative of a light-skinned prince/perpetrator of imperial violence. This is not to say that Zuko shouldn’t have been redeemed or that Jet shouldn’t have died or that the narrative shouldn’t have dedicated time and attention to Zuko’s story, but it is to say that ultimately, the writers of the show decided that Jet’s subjectivity was a tool to further Zuko’s actualization. 

Contrast this to Spike. Bebop is about a lot of things, but a core part of it is exploring Spike’s backstory and way of looking at the world. It’s part of what makes the show the show. It’s the thing that keeps you liking the guy even when he says or does something absolutely unconscionable. Nothing in the show is more important than Spike’s subjectivity. The show may have individual episodes that focus on the other main characters, but it’s pretty clear that it’s really *about* Spike. Where does Spike come from? What is his obsession with the past? Why do all these people want to kill him? Who is Julia? These are all prescient questions that I had as a viewer of Bebop, and these were questions that were not only important to understanding Spike Spiegel, but to understanding the narrative that the writers, director, and animators are telling. Bebop is nothing without Spike’s subjectivity, and the people behind the show invest in his narrative even though he does some pretty horrible things! (kills many people, is part of a crime syndicate at one point, says some pretty misogynistic crap, hell, the whole concept of the show is that he and his buddies hunt people down for money.) As I said before, Spike is morally ambiguous, an antihero, and the people behind Bebop run with that, because that is an integral part of the story that they’re telling. 

You could certainly argue that ATLA, being a show for children, needs clear heroes and villains, to be unambiguous in its depiction of right and wrong. And to an extent that would be correct. But let’s not forget that ATLA is not shy in its depiction of morally ambiguous characters. That’s an integral part of what the show is. Characters like Zuko, Iroh, Mai, Azula, and Ty Lee are beloved despite (or perhaps because of) their complex moral frameworks. Zuko, Mai, and Ty Lee in particular move between designations of villain, victim, and hero pretty fluidly (Iroh and Azula are two other conversations in themselves.) I personally am okay, and in fact delighted, to have Zuko, Mai, Azula, and Ty Lee in the show because I think their stories and the ways that they move between evil, good, and morally gray are incredibly compelling. We know why they act the way they do, and we can condemn or validate their actions while always knowing exactly where they’re coming from. 

But then I see Jet. Jet, whose village was burned down by the Fire Nation. Jet, who survived by himself and helped 5 other people survive along the way, while leading an organized resistance against the Fire Nation on wits alone. Jet, who somehow ended up in Ba Sing Se, his new family cut in half, wanting to start over. So much of him is a blank slate. Where Spike in Bebop, or Zuko, Iroh, Mai, Azula, and Ty Lee in ATLA, get fleshed out, have the writers convey specific information that helps the audience understand their actions and motivations, even if they’re wrong, Jet never gets that sort of care in his narrative. Jet never gets to be the center of ATLA, even for a moment, even in his own death. There’s always something more pressing, something more meaningful, than Jet. You could argue (I certainly would) that the show would be better if we spent more time with him, if the writers cared to understand him, but unlike Bebop and Spike, the show doesn’t revolve around the audience understanding Jet. The story is coherent without him. In book 3, despite the fact that Jet sacrificed his life for them, the Gaang only brings up Jet once, and that’s to condemn him. Jet’s story is a tragedy, an important one, but only insofar as it props up other pieces of the narrative. And that’s the most tragic part of it. 

[avatarstories]

izumi’s birthday pt 1: bad memories

AN: I had to split Izumi’s birthday up a bit. trying to fit it all in one chapter would have been just stupidly long. I will say this starts sad, and the second chapter is also sad, though more angsty than sad, but part three will be much happier and have a good resolution. 

TW: character death in childbirth (in past, but mentioned), noblewomen being sucky to Izumi. 

Izumi was never particularly excited to celebrate her birthday. It was a day of mixed emotions knowing that while her family celebrated her coming into this world, they were reminded of the sharp pang of losing her mother on that day as well. Nonetheless, her grandfather Iroh had insisted on throwing a party to celebrate her 17th birthday. Nobles from the outlying islands, diplomats from the Earth Kingdom and Water Tribes, and of course her father’s friends and their families who were essentially her extended family. The palace, usually quiet and peaceful (as she and her father preferred) was bustling with guests. Her father had been so busy  greeting guests and addressing some Republic City business with Sokka and Aang that she had barely seen him that day. So, she decided to take a walk to his office after she knew he had finished meeting with Sokka and Avatar Aang. 

As she walked down the hallway, she overheard two of the noblewomen, a governor’s wife and her daughter, visiting for her birthday festivities talking with each other in the portrait gallery. 

“I just hope she won’t be like her forefathers, with the Fire Lady curse,” the mother says. 

“Fire Lady curse?” the daughter questions. 

“Haven’t you noticed, dear, that all of the Fire Ladies who gave birth to bad Fire Lords have died in childbirth,” the mother answers. “Fire Lord Sozin’s mother died when he was born, as did Azulon’s. Lady Ilah died when she gave birth to Ozai. General Iroh’s wife died when Prince Lu Ten came. Princess Ursa barely made it through Princess Azula’s birth, and of course you know that Lady Mai died when the Crown Princess was born.” 

“It seems the spirits had it out for the Fire Ladies that brought bad men into the world,” the daughter replies. 

“Indeed,” the mother says “For our sake, let’s pray it’s not an omen about our next Fire Lord.” 

Izumi’s breath hitches. The mother turns and sees her. Izumi recognizes her as Lady Niko and her daughter Ichika. 

“Your highness, I hope you are well,” Lady Niko says with a bow. Izumi clenches her fists. What an asshole she thinks to herself.

“Good evening,” she says bitterly. 

“We were just off to retire,” Lady Niko states.  If she has any suspicion that Izumi overheard their conversation, she does not show it. Izumi says nothing. “Well, good evening then.” The women bow again before walking down the hallway. 

Izumi is left alone in the portrait gallery. Her father had the portraits of the imperial Fire Lords removed long ago, before she was born. Instead, they were replaced with paintings of more favorable parts of Fire Nation history. There was one of Avatar Roku, one of her grandfather taking back Ba Sing Se, of her father redirecting lightning, and most recently of her Aunt Azula discovering the true nature of fire and being gifted a dragon egg. Even still, there were not enough new paintings to replace the old, and black curtains hung in their place. 

Izumi finds herself reaching out to touch the heavy dark fabric and remembers the first time asking about them when she was maybe 8 years old.

"Why are there dark curtains on the walls in the portrait gallery?” Izumi had asked at dinner

“There used to be paintings there, but I had them taken down,” Zuko explained.

“Why were they taken down?” Izumi asked. 

“They were of bad men, and I did not want them on display,” Zuko explained. “I didn’t need the reminder of their poor examples. And I did not need them setting an example for you to aspire to,” he answered. 

“Well, I will not be bad. Girls are not bad like boys are,” Izumi said cheerfully. 

“Girls can be bad, Izumi,” Azula says. 

“But I’m a girl and I’m not bad. And so are Aunt Kiyi, and Aunt Katara. They are all very nice,” Izumi states, somewhat defensively. “You are not bad.” 

“I used to be bad, very bad,” Azula responds. 

Zuko looks at her across the table. “You don’t have to now-”

“She’s going to have to know sooner or later” Azula cuts him off. Azula didn’t talk much about her past, and for Izumi, Azula had always been one to chastise her for being mean. Izumi could not imagine Azula as anything other her stern and wise aunt. 

Azula and Zuko are having a conversation with just looks, like only people with secrets can. Izumi looks between the two of them. “Know what?”

“Izumi, I know we have not taught you much about the war yet, but during the war, I was a bad person,” Azula starts. “I hunted down your father and grandfather to try to bring them back to the Fire Nation as prisoners,  I chased Bumi and Kya’s mom and dad, Sokka, and Toph across the earth kingdom, I burned Uncle, I put Suki in prison, I tried to drill a whole in the walls of Ba Sing Se, then I actually took over Ba Sing Se, I killed the Avatar, well briefly, I had your mom and Ty Lee locked in the Boiling Rock, and then when my dad tried to take over the world and told me I could be Fire Lord, I tried to kill Zuko and your Aunt Katara when they tried to stop me. Even before the war, I was never nice,” Azula finishes. She sighs “Don’t believe anything is the way it is about you because you’re a girl, Izumi. Anyone is capable of destruction.” 

Izumi is quiet. She looks at her aunt, her fire bending teacher, her fiercest protector, the woman who walks her home from school every day, who brushes her hair every morning, who tucks her in at night when her dad has too much paperwork to do, who is the closet thing this motherless child has to a mother. She cannot reconcile Azula’s confession. 

“Dad is that true?” Izumi asks. 

“Izumi, where else would he have gotten the scar on his chest? That was from when I tried to kill him,” Azula responds before Zuko can.

Izumi does not want to believe these things about Azula. “Well, if you were so bad, then how did the family pass the People’s Approval every year?” 

“We did not have People’s Approval before me. That was something I created,” Zuko explains. 

“So there used to just be uncontrollably bad Fire Lords and Fire Families?”

“Yes” Azula and Zuko say in unison. 

“But we’re different, we learned from their misdeeds,” Zuko finishes. Izumi pulls her hand back from dark velvet.  A door opening down the hall pulls her from her thoughts, and she starts towards her father’s office. As she walks down the hallway, she cannot shake the thought that she might be predestined for destruction. 

“Is he with anyone?” She asks the guard at the door when she arrives. 

“No, your highness. Master Katara, Councilman Sokka, and Avatar Aang just left. Would you like me to announce you?” 

“Thank you, but no need. It’s just me,” she tells him. 

“Of course, your highness,” he says with a polite nod.

When she walks in her father is staring, with a wistful but melancholic look, at a small ink portrait of himself and Mai that was commissioned shortly after they were married. Her entrance pulls him from whatever thought or memory he was lost in. The thought of him sitting in here alone and thinking of her mother only augments her anger and unease, and it quickly settles in her as sadness.  

“Hey, turtleduck,” he says softly and with a smile when he sees her. 

“Hi,” she replies, her voice barely above a whisper. 

“Sorry, I missed dinner. Sokka, Aang, and I were working on something. And then Katara came in here to tell us off for working too late.” 

“That’s ok,” she says, trying to cover the sadness in her tone but Zuko notices.  

“What’s wrong, turtleduck?” he says walking over to her. 

“I’m almost 17, don’t you think I’m a little old for that?” 

“I don’t care how old you are, you’ll always be my little turtleduck.” 

Izumi smiles softly. Zuko was sweet father. “You were looking at that painting of mom when I walked in.” 

“I was, yes.” He pauses, "I was thinking about what I would tell her about you if I could.” 

“What would you tell her?” a few tears well up in Izumi’s eyes, and she tries hard to keep them in. 

“Well, I think she’d be happy to know you look just like her,” he starts. “And that you like to read and learn, and there’s nothing that you can’t teach yourself how to do. She’d be amazed that you can make your Aunt Azula laugh. And,” he says tipping her chin up so that she has to look into his eyes, “she’d want me to tell you that you could confide in your father with anything just like she did.” 

“I don’t want to celebrate my birthday,” she whispers. A tear rolls down her cheek, and Zuko wipes it away. 

“Why not?” 

“It makes me feel guilty,” she barely manages to get out.  She leans forward, and Zuko pulls her into an embrace. 

“Zumi, sweetheart, we’ve talked about this. You have nothing to feel guilty about.” 

“What if I just haven’t done the thing I’ll feel guilty about yet?” she strains. 

“What’s that supposed to mean, Zumi?” 

She doesn’t want to talk about what the noblewomen were discussing in the portrait gallery, and she diverts from her last question. 

“I took your wife from you. You’ve been lonely for a long time because I came into the world.” 

He holds her tighter against him. “That’s not true, Izumi,” he says firmly. 

“Yes, it is.” 

“Sit down, Izumi.” He guides her to the red and gold couch in his office and kneels in front of her. He takes one of her hands in her lap between his own, her gaze fixed downwards. 

“Look at me,” he says softly. 

She swallows and looks up, a tear rolls down her cheek.  

“It has been, and still is, the greatest privilege of my life to be your father. The first time I ever saw you, I didn’t think I could ever love anyone more. I would have rather died than see you get hurt.” He pauses and wipes a tear off his cheek with his sleeve, and then does the same for Izumi. “And you’re right, I am lonely sometimes, but it’s not your fault, Izumi. In fact, when I see you smile or do something that brings you joy, I wonder how I could ever have wanted anything else. So don’t you ever think that you took anything away from me because you are the greatest joy of my life.” 

She cannot stop the tears at his admission. She wraps her arms around his neck and he hugs her tightly to him. He doesn’t seem to mind that his robes are getting wet from her tears. Let’s pray it’s not an omen about our next Fire Lord plays again in her mind, and now with her father’s words, she only cries harder. He had so much faith in her, and she hadn’t proven anything yet about her ability to lead. 

A few minutes later when she had stopped crying, Zuko loosens his embrace. 

“I hate when my little girl is upset. You know Azula used to laugh at me because I’d cry when you got hurt or when you were sick. Then one time while I was in a meeting and Azula interrupted it clearly distraught because she found out someone had picked on you at school and she wanted the swiftest punishment imaginable, and I told her, 'now you know how it feels.'” 

Izumi lets out a little laugh against his robes. 

“Thanks, Dad.” 

“Want me to make some tea?”

“You’re turning into grandfather,” she quips, pulling out of the hug. 

“I’d consider that a very nice compliment, Zumi,” Zuko jokes. 

A short while later they are in the kitchens, each with a cup of tea in hand, but a darkness still sits heavy in Izumi’s heart. She knows she won’t be able to shake it off anytime soon.

AN: I love soft Dadko and protective Aunt Azula. I think it’s cool to explore Izumi’s understanding of her family and their past, especially in a way that it mixes with her own insecurities and fears. Next chapter, we get Bumi (who is actually of my favorite of the Gaang Kids, even though I tend to harp on Izumi.)

[raexxbb]

Critic of Cartoons (SPOILERS!)

KyI figured I would begin doing on here what I do in my life. Rate a cartoon 10 out of 0 (-10 being highest/best and zero being the worst of the worst nonsense-) while telling my thoughts as to why. The third one is older and full of adventure with tales beyond what’s expected. Now on Netflix:

9 -Avatar: the Last Airbender

This may get a bit long ‘cause I want to bring each character justice. I love this show so much. I only deducted one point for the smallest of reasons otherwise it probably would have gotten a ten.

There’s a strong love-hate relationship with this show. All of the characters are incredible in there own unique way. My only issue is with the fact that the ‘hero gets the girl’ and does so by being whiny. It’s such a cliche and literally the only reason this show has a nine. The romantic element has a strong scale to hold but this show does a poor job of holding it up. Aang is fine, and I love Katara just not them romantically. Aang’s crush on her right away just rubbed me weird. I guess, it’s fine to crush on a pretty girl but to push the crush so much until she feels the same way... Katara had multiple boyfriends along the show and didn’t show much interest in Aang other then as a friend. So, them romantically together I never saw it being as Aang also pushes the chemistry. That’s it, my only issue is there in that relationship. Alone every character is very well thought out and placed in such a particular situation it makes them each perfect.

This forced kiss is the most disgusting moment in the entire show. He pushes this on her right after she says she’s confused and doesn’t know her feelings towards anyone. He’s just being childish (yes, I register he’s twelve) but if you want an adult relationship this is the wrong way to go about it. I don’t see why Katara would ever consider moving into a romantic relationship after this. Pushy is such a red-flag for me. Maybe I’m the only one that feels this way but it just outright infuriates me. Just look at how uncomfortable she looks during this moment.

Another thing I’d like to bring to light is the fact that Aang maybe a bit sexiest. I state this lightly ‘cause of the play episode in the third season. The thought came to be while reviewing Korra. Katara fights against sexism and to empower women. However, Aang became overly insulted when a woman was acting as him in the Ember Island play. Toph loved the idea of a guy playing her, but Aang just couldn’t get over his part being played by a female cast member. It is rude. Yes, everyone knows he still isn’t a girl but that doesn’t mean she wasn’t doing a decent job representing him. The fact that Katara still enters into a relationship just makes me feel like she’s going against something she stood so strongly for. 

People may believe it’s because I favor Zuko and Katara but it isn’t that. Honestly, I’m no longer sure I like them as a couple anymore either. They have cute moments. There are just so many issues among all of the romantic relationships. Somehow, I found myself wishing it revolved more around friendship ‘cause the romance in this show wasn’t handled well at all.

The only reason I’d ever argue for Katara and Zuko to be a couple is because of the ending where he saves her life from Azula. I mean, yes, he put her in danger quite a few times but he was slowly redeeming himself throughout all of that. This wasn’t the only time he saved her and tried to give his life for hers. Throughout the third season of him trying to redeem himself, he tried the hardest with Katara because he had already betrayed her trust once. 

Although, I’m still not saying they would’ve been the best couple either. Let’s not forget: they’re young -teenagers and children. If someone has found their soulmate already, good for them. It’s just abnormal and I’m trying to look at these relationships with a bit of a more realistic thought process. 

There are a few times this show has been about friendship:

Toph was once worried about their friendships, however, one line from Roku gave her confidence and soothed her completely.

“Some friendships are so strong, they can even transcend lifetimes.” -Avatar Roku

Really love this quote from Roku~ 

Zuko’s redemption ark was beyond the best point in the show and had me balling the entire time, every time I’ve watched it gets my heart throbbing for this boy! What if his mother had taken him with her? His life would’ve been so different and probably a lot better! The scar would be gone. No father abuse for him! Of course, without him the Fire Nation would be even worse then it ever was.

“It was to teach you respect!” -Ozai

“It was cruel! And it was wrong!” -Zuko

“Then you’ve learned nothing!” -Ozai

“NO! I’ve learned everything! And, I’ve had to do it on my own.” -Zuko

That conversation with his father, where he finally stands up to such a horrible man was beyond astonishing. Especially seeing as it seemed like something Zuko would never do. 

Although, Iroh new all along that Zuko is great.

“Then would you come and take your rightful place on the throne?” -Zuko

“No. Someone new much take the throne. An idealist with a pure heart and unquestionable honor. It has to be you, Prince Zuko.” -Iroh

Uncle has always believed in his nephew. That he would be the one to take the Fire Nation and bring balance to the world. They’re the best relationship in this show once Zuko stops being so angry.

Of course, there’s also the Mai of it all. 

They’re occasionally good for each other. Their relationship is highly problematic. Mai is an awesome character alone, standing up to Azula when she’s terrified of her is great! However, Zuko and her argue nonstop and have an on-off dating history. It can be tiresome to watch. There just wasn’t any chemistry between them that I felt.

The only thing that I love about them is the prison scene. (Which could’ve been a friendship scene.)

Even when Zuko locks her away she chooses him. That is when I thought perhaps their relationship isn’t terrible. She still chooses him afterwards. Their behavior before is erratic and not that of a good relationship. Mai alone wouldn’t have been a trouble thing. Honestly, I relate to Mai as a gayer character then straight.

Although, that leads me to think about Azula, the girl of evil.

“My own mother, thought I was a monster...” -Azula

She’s only fourteen and she’s been raised by an abusive mad man. The entire background just makes me wish someone had tried to love her instead of shown her hatred. Her mother feared her, didn’t even say good-bye. Her brother had to fight her in order to save her from herself and father. 

The thing that made her truly snap was her friends (only ‘cause they fear her) betray her. The last people she had on her side! She just needed love as Zuko did. It would probably take her years to recover from the madness just as it took Zuko. She needs love and help. Who was going to give it to her after the third season? 

In the graphic novels, it’s revealed Zuko has her in a special insane asylum trying to give her the mental help she needs. But, she still seems tense and full of rage. It would’ve been nice to see further into that department of the Fire Nation.

These two are both extremely important. Their bond throughout the entire story is amazing. Him becoming his teacher was his true redemption, true honor came from that act. Of course, he learned so much from hunting Aang and trying to kill him as well.

Above all else, Uncle Iroh (-Zuko’s true father-) is definitely my favorite of all the characters. He’s just so warm and always does the right thing. He waited for Zuko when he went down the wrong path continuously knowing Zuko would realize his mistakes.

The White Lotus is one of the greatest things about this show.

“Don’t you know? All old people know each other?” -King Bumi

He’s just so hilarious and random. All of the great masters together in a secret society despite their nation’s differences is the most grandest thing.

Of course, another favorite is Appa.

The episode portraying animal abuse is heartwrenching. Him being taken from the ones that love and protect him only to be beaten and abused. This show goes beyond any other show in displaying all the different types of abuse in the world- emotional, physical... And it covers even more than this.

Another piece of me would’ve been interested in seeing if Aang had died and a water Avatar born to be the last Airbender. *Cough, cough* Maybe Katara? She is the most powerful bender in the show after all.

“I will never ever turn my back on people who need me!” -Katara

Perhaps instead of killing Aang off, just have them be wrong that he’s the Avatar and so whoever was actually got killed during the air temple raid. Causing the line to move on to water. Aang could’ve been trapped in an iceberg to be able to teach Katara air. Of course, that may not work if he weren’t able to waterbend and freeze a bubble around him. But, there’s definitely an air pocket in there. 

It is one of the most beautiful cartoons ever created. Besides the fact I never really enjoyed Aang as the main character. All of the others are just so much more interesting then him, in my opinion.

Toph is one of the many characters I didn’t discuss. That fact just is that Toph is beyond incredible. She is the character that is ahead of her time. She proves that being disabled doesn’t mean she a person that’ll stop trying.That’s all, her blindness doesn’t work against her. Instead it works for her giving her a stronger way to see the world.

I’ll be doing Avatar: Legend of Korra at a later time. Trying to make sure I go back and re-watch everything to properly review it.

I really wish they would go back and create a show called Avatars about all of the past lives. Maybe 2/3 episodes to display each of them. There are hundreds and I’m curious to know more about them. I’d love to see Kyoshi as a badass teenager.

[wheatbeats]

2018 is over and I feel compelled to write a retrospective of sorts, but since I don’t feel like talking about myself I’m gonna talk about Every Anime (Series) I Watched in 2018. Each one comes with a numerical rating out of 10 and a short blurb of what I thought about it.

Recovery of an MMO Junkie - 9/10 - Incredibly sweet and heartfelt, with mature adult characters who act as such. Drama and comedy both are mined from real issues rather than petty miscommunication, and is all the more compelling for it.

Land of the Lustrous - 10/10 - A delightfully unique setting with an enrapturing story and fantastically constructed characters. The moments of levity and sweetness only serve to make the deeply engrained sadness and loneliness more poignant. The CGI animation is shockingly gorgeous, and a triumph of the medium.

Kino’s Journey: The Beautiful World (2018) - 5/10 - Certainly entertaining in spots, but ultimately rings rather hollow. Not really an improvement on the original in any respect.

Princess Principal - 8/10 - An absolutely gorgeous setting brimming with atmosphere and style, and a fun ensemble cast. The series-wide arc is a little hard to follow or understand, but each individual episodic plot is really enjoyable and engaging.

The Vision of Escaflowne - 8/10 - A well-built fantasy that’s occasionally ridiculous but never not fun. The new dub is really slick and helps the series go down nice and smooth.

A Place Further Than the Universe - 10/10 - Extraordinarily sweet, earnest and heartfelt. Deftly written, smartly directed, and masterfully executed. I cried really hard, a lot. 

Tsuredure Children - 8/10 - Cute, ridiculous, and eminently relatable. If you’ve ever had a crush, you’re bound to identify with at least one character in this series.

From the New World - 5/10 - Had a glimmer of potential, but mostly ended up fake deep, poorly paced, and fucking ugly to look at. The more I thought about this series the less I realized I enjoyed it.

The Ancient Magus’ Bride - 5/10 - An extraordinarily promising start that’s disappointingly squandered by wildly inconsistent tone, static plots, nonsensical character arcs, excessive cliffhangers, and hollow stakes.

Princess Tutu - 10/10 - An expertly built deconstruction of fairy tales as well as a sweeping, gorgeous love note to ballet, classical music, and romantic storybook heroism. Wonderfully intricate plotting and stunning character work, a true gem.

Kaiba - 8/10 - Brilliantly unique and emotionally engrossing, if not a bit obscure and hard to follow at times. You never have, and probably never will again, see an anime quite like this.

Girls’ Last Tour - 7/10 - Deeply atmospheric and sometimes quite poignant, but also dreadfully, awfully, agonizingly slow.

Haven’t You Heard? I’m Sakamoto - 9/10 - A smooth and even mix between laughable absurdity and actual real emotional stakes. Somehow, I feel like I learned something about myself.

Megalobox - 8/10 - Briskly paced and action-packed, but by far the biggest draw is a classic 90s aesthetic reminiscent of pre-digital legends like Cowboy Bebop. This series lives and breathes style.

Legend of the Galactic Heroes: Die Neue These - 6/10 - Would have the potential to be interesting if it wasn’t so hollow and boring. I wanted to get more engaged in the politics of this complicated war, but the plot is held at arms length and the characters are more like walking philosophy textbooks than actual people. That said, the ship designs are pretty cool.

Hinamatsuri - 10/10 - Sweet, pure-hearted, and gut-bustingly funny. Any moment I wasn’t laughing until my sides hurt, I was near to tearing up from actually caring about these characters so much. Each episode was a joy and I loved every second of it.

Golden Kamuy (S1) - 7/10 - Absurd, charming, and goofy, with a surprising amount of gore. Seems to care more about food than plot, but I’m kind of into it.

Revolutionary Girl Utena - 9/10 - Brilliantly dense, symbolic, and metaphorical. Sometimes hard to understand, sometimes hard to watch, but always excellent.

Dragon Pilot: Hisone & Masotan - 7/10 - Gorgeously animated and undeniably charming, but still a little awkward, garbled, and uncomfortable at times. The most earnest vore anime I’ve ever watched.

Steins;Gate 0 - 4/10 - A total, utter, crushing disappointment. Follows up a spectacular prequel with a nonsensical, contrived plot, inaccurate characters, and piss-poor visuals. This series is only carried by its relationship to the original. I will never trust again.

Princess Jellyfish - 7/10 - Charming, varied characters populating an unfulfilling narrative.

The Big O - 6/10 - Plenty of goofy, stylish fun, but slowly devolves into an inscrutable, incomprehensible mess. R. Dorothy Wayneright is the best part of this series by far. Roger Smith is a louse.

Aggretsuko - 7/10 - Fun and relatable, if a bit simple. 

TOP 3

3. Hinamatsuri - This series came totally out of left field for me. I usually don’t emotionally respond to comedies very well but this one somehow hit all the right buttons. None of the humor was mean-spirited or put anyone down, the situations were absurd but didn’t cripple me with secondhand embarrassment, and on top of it all I really started to care about the cast. I wish I could get surprised like this more often.

2. Land of the Lustrous - As you can tell if you’ve been following me at all recently, this series has been absolutely consuming me from the moment I watched it. The plot is gripping and excellently paced, and I don’t know if I’ve ever been invested in another main character quite as much as Phos. It’s plenty easy to get wrapped up in thinking about the plot and the character arcs and the meta, but then when I go back and watch the series again I’m shocked by how good it is on a technical level, too. The CG animation is beyond gorgeous and the technical grace of each scene, the pacing, the colors, the music, the character animation, the voice acting, are all stellar. If this anime had more of an ending it would absolutely be my number 1 pick, but for now I just have to read the manga (AS SHOULD YOU, YOU COWARDS. IT’S EVERY BIT AS GOOD AS THE ANIME).

1. Princess Tutu - I, like many people, I think, reacted with derision at the title of this series, but by the time I was done I was completely blown away, and every time I thought about it more I was even more shocked. Every inch of this series shows some of the smartest construction I’ve ever seen in fiction, every layer is filled with stylistic flourish, brilliant writing, and metatextual commentary. You can dig as deep as you want and Princess Tutu will always have something to offer you. It’s been less than a year, I’ve already watched it twice, and I’m still discovering new things about it. A story this brilliant would be a once in a lifetime experience on its own, but Tutu is fulfilling on the surface level, too. Even if you’re not diving deep into what the series means you can still be just as enraptured by the characters. Fakir probably has the best redemption arc this side of Prince Zuko, and I could sing the praises of every other major cast member. And the music, the music! I was doomed from the start the moment I heard both The Nutcracker and Pictures at an Exhibition in the score. Princess Tutu takes some of the greatest masterpieces of western art music and builds off them, creating a sense of atmosphere as deep and vast and dramatic as the finest opera or ballet could ever be. Princess Tutu is one of the greatest works of fiction I’ve ever consumed, and absolutely the best I’ve watched this year.

BOTTOM THREE

3. From the New World - Immediately after I stopped watching this series I actually sort of thought I’d liked it, and I think the reason for this is because From the New World tries its very best to engage in ideas a bit deeper and more ambiguous than a lot of other anime do. But the more I thought about it, the more I disliked this series. Everything about the plot was confusing and off-putting, I didn’t find the characters particularly charming, and perhaps most of all, this series is butt-ugly. It might have a high score of MAL. but my advice is to give this series a hard pass.

2. The Ancient Magus’ Bride - I wanted to like this series so fucking bad. I fell in love with the prequel OVA and waited anxiously for each new installment to come out. I even bought tickets to my local Artsy Fartsy Theater to see the first three episodes when the screened there. And I liked them! Finally, an anime engaged in Celtic and English mythology, some of my favorites, and a protagonist with a truly gripping internal struggle. I was certain from the very first moment that this series would sit in my Top 10 list, and that Chise would be one of my favorite protagonists ever. And then it... didn’t happen. As the episodes unfolded I was treated to a series that had no idea how to establish or maintain stakes, how to relate its two main characters to each other, or how to use the wealth of mythology it was referencing and drawing from. How am I supposed to care when Chise gets stabbed in the chest every 2 episodes and then just kind of shrugs it off for the sake of drama? How am I supposed to be interested in the mythology when it’s all just watered-down fantasy archetypes with giant boobs? Don’t even get me started on the main villain. I feel very betrayed by this series and honestly I’m still bitter.

1. Steins;Gate 0 - This series is as much a lesson in betrayal as Ancient Magus’ Bride, but I think this one stings worse because it’s preceded by Steins;Gate, and anime I love dearly. I sincerely believe that the original Steins;Gate is one of the best anime ever produced, and this sequel struggles to live up to even a single aspect of it. As it began I was hopeful- I liked the darker tone, I liked the idea of a story within a failed timeline. But as I kept watching, I realized something awful: I was bored. All of the charm and intrigue was gone. The characters were all acting different, all looked different (why are all the girls wearing skintight winter coats? Why have their chests all inflated three sizes??), and there was no impetus for the plot. Steins;Gate was driven by simple goals; in the first half, it was to build a time-leap machine. In the second half, it was to save Mayuri. In Steins;Gate 0 the impetus is to... watch Okabe be sad. Hope he gets less sad. There’s nothing to keep the plot moving, and this listlessness was so overwhelming that the random bits of unforeshadowed action and unprecedented (for this franchise) violence felt cheap and confusing after the doldrums we just sat through. By the time the plot finally, finally, picks up towards the final quarter of the series, the damage is done. I don’t care anymore, I can’t figure out what’s going on, and I’m just so done with a franchise I used to love. One day I’ll go back and rewatch the original Steins;Gate and remind myself why I cared so much, but for now I’m nursing wounds. If you say the name “Kagari” in my presence, I’ll probably blitz the fuck out.

Here’s to a good 2019!

[helloyesthisisthoughts]

Avatar, Prince Zuko, Azula and Failure

Surprise bitches ya’ll thought I was just gonna tell little stories. Buckle up cause today I’m talking about avatar. And I really really REALLY like avatar.

Avatar the legend of Aang is a story with a special place in mine, and many peoples hearts. It’s run during my childhood was an agonising exercise in waiting, and as more episodes were released it never failed to live up to all the expectation and hype built up in its absence. To this day it’s widely regarded as one of the greatest shows ever created. But one characters storyline in particular was a masterclass of story telling and character development. As the title may have tipped you off too, I am talking about Zuko. Zuko is a character saved by failure. Raised as a prince, child to father who was essentially the human incarnation of fire fuelled evil, he was in prime position to become man equally heartless. So how is it he managed to avoid following in his fathers footsteps? To talk about that we have to talk about both fire lord Ozai, and Zuko’s charming sister Azula.

Fire lord Ozai is interesting only in that he’s potentially the only noteworthy character in the entire show that is one dimensional. He has no redeeming qualities, no depth, no real motivation other than “I am evil therefore I do evil” and yet his inclusion as a character this way is almost required. It’s almost definitely an intentional choice. In a show where even animals have extremely deep and strong characterisations, it’s unlikely that the writers just slipped up, or decided to be lazy with such a pivotal character in the story.

So why have a character so shallow in a show filled with such depth? A kneejerk answer would be a simple “Juxtaposition”. Him being evil and lacking depth in such a way created a contrast that allowed the writers to create an easily understandable end goal, and allow the story to focus more on other more important elements. Which is not untrue. However I feel the real magic in allowing Ozai to be so one dimensional is it acts as a pillar that signifies one half of Zuko’s internal conflict. Ozai as a character embodies everything that Zuko must grow beyond in order to find happiness, peace and redemption. If Ozai were a more complicated character, then the results of Zuko failing to find himself lack finality. It takes from the weight of what Zuko is fighting against. If the viewer sees Zuko fail, but understand that Ozai has some redeeming qualities, some understandable motivations, it means Zuko’s redemption or his lack thereof would always be reversible. It lowers the stakes.

So what, then, about Azula? Many people consider Azula to be equally one dimensional to her father. If Ozai represents the results of one end of conflicted self, what does Azula represent? At first glance it can appear she represents largely the same thing. A character raised in the same circumstance, but where Zuko’s inner conflict leads him away from Ozai’s path, Azula fully embraces it. It can be easy to look at her as what Zuko would become without his inner conflict. However I believe she represents something subtly different.

Azula is a character that never fails. From a young age she was a prodigious bender, the shining star of her family. She grew into a ruthless tactician with cunning political skill. She got whatever she wanted through her own power, and never failed to impress her father and her people. While yes she became everything Zuko always wanted, she represented how Zuko was saved by failure. In the end she achieved everything she ever thought she wanted and doing so broke her. Her perfection fell apart and she failed only because had never failed before. She never got a chance to grow.

Zuko in contrast was nothing but failure. A terrible bender lacking in natural talent as a child he was the laughing stock of his father. His failure to act appropriately in a war meeting had him exiled and scarred for life. And this failure set him down the path of self discovery and redemption. He continuously failed to capture the avatar and in doing so began, slowly, to discover what it was he wanted. It was only when he finally succeeded in what he thought he wanted (To capture/kill the avatar and return home) did he truly realise what it is he wanted. And that in itself was a moment of failure. He failed, in a critical moment, to redeem himself.

When we look at these three members of his family we can see that Ozai represents what Zuko believes he wants, and Azula represents what he’s really chasing. By having Ozai act as a personification of pure evil it becomes obvious that any character, with any amount of depth, cannot reach him. As Azula strives forwards, and realises that Ozai is not goal that can be reached (Shown by her becoming firelord, as he steps forward to take the title of Phoenix lord) the burden of chasing her fathers will, instead of discovering and pursuing what she really wants breaks her. She represents the dangers of living without failure. She acts to show how without failure, Zuko would be destroyed by his own lack of growth. A message that rings true with all people.

[neoglows]

Kpop squad as Avatar: The Last Airbender

Also known as “My bitches as Avatar: The Last Airbender”.

If you haven’t seen it, it’s on Netflix, it’s amazing, go watch it or perish. If you have watched it, you’re perfect and I love you.

Okay, first things first. In the ATLA universe, the world is divided in 4 nations (fire, earth, air & water).

Some people are capable of “bending” one of the elements (controlling them). So there’s airbenders, waterbenders, earthbenders & firebenders.

One individual, the Avatar, is capable of bending all four elements and is responsible for maintaining harmony between the world's four nations.

There’s also people who can’t bend shit, which is the majority of people, but for the sake of our egos let’s pretend we would all be benders <3

Victoria

Earthbending

Earthbending, one of the four elemental bending arts, is the geokinetic ability to manipulate earth and rock in all their various forms.

The key to earthbending is utilizing neutral jing, which involves waiting and listening for the right moment to strike and, when that moment comes, acting decisively. In other words, earthbenders generally endure their enemies' attacks until the right opportunity to counterattack reveals itself.

Alternative skills

Kyoshi warrior fighting style. 

The Kyoshi Warriors are an order of female warriors named after Avatar Kyoshi, who founded them to protect her homeland, Kyoshi Island. Each village of the island had its own band of warriors.

Though their fighting style and clothing mimic those of Avatar Kyoshi, they seemingly did not implement any of the bending arts in their physical movements. They are clad in ornate, armored, green kimonos, metal headdresses, and white-faced makeup designed to intimidate opponents. The Kyoshi Warriors used metal fans as their main weapons like Avatar Kyoshi, but also implemented katanas and retractable shields.

Javi

Firebending

Firebending, one of the four elemental bending arts, is the pyrokinetic ability to control fire. It is unique among the bending arts, as it is the only one in which the performer can generate the element.

Fire is the element of power, consisting of overpowering force tempered by the unflinching will to accomplish tasks and desires. Firebending draws its power from the sun, and the first human firebenders derived their firebending techniques from the dragons.

Alternative skills

I think she would also have lightning generation skills.

Lightning generation is an advanced sub-skill within firebending that allows the user to produce lightning by separating the positive and negative energies internally, before directing it up through the arm and out the fingertips. The technique is extremely precise and deadly and is referred to by some as the "cold blooded fire".

Bárbara

Waterbending

Waterbending, one of the four elemental bending arts, is the hydrokinetic ability to control water in all of its various forms.

Water is the element of change. The moon is the source of power in waterbending, and the original waterbenders learned to bend by observing how the moon pushed and pulled the tides.  The fighting style of waterbending is mostly fluid and graceful, acting in concert with the environment.

Alternative skills

I think she would also have healing skills.

Healing is a sub-skill of waterbending that allows the bender to heal wounds; by using water as a catalyst, they can redirect energy paths around the body, concentrating more energy into a wounded area and allowing that area to heal at an accelerated rate

Nani

Airbending

Airbending, one of the four elemental bending arts, is the aerokinetic ability to control and manipulate air.

Air is the element of freedom. The Air Nomads detached themselves from worldly problems and concerns; finding peace and freedom was the key to solving their difficulties in life. Airbenders continually sought spiritual enlightenment, and, as a result, all children born into the Air Nomads were benders. The first airbenders learned their art from the flying bison.

Alternative skills

Chi blocking is an ancient technique that has been practiced in secret for centuries.Blocking someone's chi renders the victim's muscles useless and temporarily disables a bender's abilities. It is mainly used by nonbenders as a way of self-defense or even to attack.

Characters

Javi

Sokka

"That's all I got. It's pretty much my whole identity. Sokka, the meat and sarcasm guy." - katara’s brother

- he doesn’t have bending abilities but he’s the strategist of the group

- very sarcastic and very done with the bender’s shit, but still supportive

- always making bad puns, thinks he’s the funniest person in the world

- protects his loved ones to death 

- tragic love life

Vic

Zuko

"I used to think this scar marked me – the mark of the banished prince, cursed to chase the Avatar forever. But lately, I've realized I'm free to determine my own destiny, even if I'll never be free of my mark."

- the honor guy

- son of the fire lord, tried to be the bad guy in the 1st season but he was very bad at it

- seemed dark but actually he was just emo, having issues w his family and struggling with his identity

- kinda socially awkward but u can’t help but love him

- angsty, went trough a lot of emotional issues but it just provoked him to lash out and isolate himself bc he wouldn’t let himself be the emotional bitch he actually is

- turns out to be a huge softie, who asks random frogs for advice and just wants friendship & acceptance

Bárbara

The Cabbage Man

"My cabbages!"

Okay I’m kidding

Katara

"I will never, ever turn my back on people who need me!"

- the last waterbender of the southern water tribe, sokka’s sister

- squad mom, but she’s of a very protective nature in general and will literally aggresively fight for anyone she thinks deserves it even if it’s a fucking stranger she’s never seen before

- the term INTENSITA was created in her honor

- has a lot of love in her heart and wants to believe the best in people

- very compassionate, warm and caring but also powerful and kind of a badass

- lots of inner strenght & resilience

- not so good at making jokes or letting go of the past tho

Nani

Toph

“I am the greatest earthbender in the world! Don’t you two dunderheads ever forget it!”

- runnaway rich kid, blind earthbending master, literal fucking legend at the age of 12

- very stubborn and direct

- values her independence a lot and hates being treated like a weak little girl

- confrontational and a sarcastic little shit

- quite carefree and adventurous though

- shows affection trough teasing and/or hitting but she really does love and is there for her friends always

- loathes being told what to do & wearing shoes, loves uncle iroh so yes i relate to her stfu

Characters interactions

Vic & Javi

Javi & Bárbara

Nani & Vic

Vic & Bárbara

Nani & Javi

Bárbara & Nani