While trying to find Chekov Bones stops to do some awesome doctoring 

thoughts on scrappy doo becoming the darling of the Scooby doo fandom for killing the universally hated Mindy cailin's Velma in the season 2 finale?

'Velma' got a second season? Huh.

I just know that when I was a kid, I loved Scrappy-Doo. And since I haven't watched anything Scooby in several decades, he's never had a chance to leave a bad impression on me. So I'm glad to see him embraced again, although I am concerned that this is a ploy to endear the show to the fans and he's really been working for The Man (a set that includes but is not limited to Mindy Kaling, HBOMax, and Warner Bros management) all this time.

I have to make time for 'Mystery Incorporated,' though. A lot of people say that one is pretty good.

William B. “Bill” Watterson II.

did your interaction with your regulars here on tumblr also dry up almost completely after the appstory suddenly decided that it was going to force you to autoupdate every single app its users ever installed?

I have an Android phone and I use Tumblr exclusively through the website. I have no context for this. XD

Anyway, I can't say I've noticed anything that didn't correlate with the various famous instances of Tumblr driving off vast chunks of its userbase. If anything, the NAtLA surge is still going pretty solidly.

So while rewatching Avatar: The Last Airbender recently, I noticed a trend

A number of spirits we see have an animal form, specifically animals we recognize as "normal" for us. For example:

- Wan Shi Tong is an owl and his knowledge seekers are foxes

- Tui and La are koi fish

- Hei Bai is a panda

-The guardian of the mother of faces is a wolf (The Search)

Heck there's even the talking Baboon spirit and the monkey missing its face that we see in the Spirit World at the end of Season 1.

Basically every time we've seen a "normal" animal, they've been a spirit.

My point? I argue that Bosco is a spirit bear that's chilling and living the good life in the mortal world just because he can.

there is a serious lack of discussion about how mai is zuko’s safe space. we see this in their first appearance together (that’s not a flashback). when mai asks him a simple question, “aren’t you cold?” and zuko, who has a hard time opening up and expressing emotions that aren’t anger or angst, freely and openly starts to tell her his worries about going back to the fire nation. and while people love to chastise mai on her reply, “I just asked if you were cold, I didn’t ask for your whole life story”, I think they misunderstand her approach to this. zuko is worrying and overthinking about something he cannot change, something that will only drive him crazy and she tries to distract him with a joke. and it might fall flat, but she realises this and suddenly she is comforting him with her touch. her hand reaching out so casually towards scar like it’s not a big deal, because it’s not. they’ve known each other for a long time, they’ve grown up together and their relationship was a long time coming. and zuko leans into her hand, and her kiss, without thinking twice about it. because mai is familiar, and mai is comfort and that can be seen when you contrast it to song’s attempting at touch his scar, and how quickly he was to stop her. but it’s not only this moment that showcases mai as his safe space, but also when he’s back in the fire nation. when he’s stressed out and going through a tumultuous time, not knowing what’s right and wrong or what he should do next, it’s mai he goes to. we see this in “nightmares and daydreams” when he spends all day at her house, when he can’t stand being in the palace anymore, mai and her house and her bedroom is his safe space. and here we see her trying to comfort him, trying to say the war meeting is stupid, it would be be boring anyway, and shall we go for a ride around town? it’ll be fun… and even though he’s still sad, he goes back to her house on the day of the war meeting and she’s making him tea. and even when he does get invited to the all day war meeting, she goes to the palace with him and waits for him all day, to see if it went well and to comfort him if it didn’t. when he says that it was everything he thought wanted it to be, she’s immediately happy for him, reaching out to touch him with a smile on her face. mai is who zuko feels safe and comfortable around, even in his vulnerable moments and it’s something we should talk about.

I actually kind of like you

The comics have been frustratingly vague about their timeline, aside from the bulk of 'The Promise' definitively taking place a year after the cartoon ends. It doesn't help that the art during Gene Yang's run makes everyone look younger than they did in the cartoon. And most of how we place things is based on promotional material, not anything in the stories themselves, so it's subject to easy retcons.

What we can say, though, is that Azula is 14 in the cartoon, 15-16 in 'The Search,' and 16-17 by 'Imbalance.'

If her solo comic takes place a while after that (and I'm not aware of any reason it can't take place before or during 'Imbalance,' so your mileage can definitely vary here and this is all a big target for future retcons as soon as the timeline gets crowded, based on my experience with Star Wars fiction), then it's possible she's 18. But it's also possible she's only 16.

As far as I can tell, anyway.

so if it takes place after imbalance isn't azula 18 in her solo comic?

I don't try to track the internal chronology of the comics. You would be better off asking an actual comics expert like @loopy777

I just read your fic "Stainless Steel Sleuth" and I loved it. The ATLA series leans itself so well to noir themes and settings im surprised it isnt done more in the fandom. And the idea of setting it in the real world in a time period that would resemble the one in ATLA, what with the 100 year war being WW2 in a way, that was genius. We need more ATLA in the real world type settings. Have you ever though of like an idea for a "ATLA in the real world" story that was still somewhat following the plot of the show? You know like war and the avatar and whatnot.

Thank you! I'm really glad you enjoyed it, as figuring out how to translate the Fire Nation's war into something in the real world was the biggest headache for that whole project. XD

What's tricky about any attempt to translate AtLA to a real world setting is mapping the cultures. It's easy to make the Air Nomads into Tibet, and the Water Tribes have a variety of Arctic cultures that can be chosen as a reasonable representation (@mostly-mundane-atla has a lot great information blogged for that). But the Fire Nation and the Earth Kingdom can be problematic. For a WW2 setting, especially, it's tempting to make the Fire Nation into Japan and the Earth Kingdom into China. But I think the Fire Nation has too much Chinese influence for that to be satisfying, especially since Mai's character design draws so much from tropes of the 'Chinese Girl' and she's the star of that story.

Hence my vague compromise in the backstory where Ozai is leading his own rogue state that mixes followers from Japan, China, and other nations in the area. I did align him with Japan's imperial war of conquest, since they were the active would-be imperial power of the time, but otherwise did a very precise dance centered on Manchuria.

And I do, in fact, have another AtLA AU set in the 'real' world! Getting this Ask prompted me to port my Wild West AU over to AO3. That's a little less real, though, in that I use Steampunk technology and make the mythology around Geronimo into fact, but I still brought in as much history as I could. It was also easier to map, since it was all contained within American cultures. Despite being a short story (and a sequel), this one actually does directly adapt some of AtLA's plot, but mostly just the finale. That choice was a practical one, as it let me cram in the most amount of favorite characters.

It's entirely likely I'll do more writing in this vein, since I like modern history and I like playing in AUs, and I don't see any reason to rule out something with a more classical Aang-led plot. I would never just replicate the plot beats of the AtLA cartoon, but if we allow for something like my Traitor's Face fic where I allowed myself to do a lot of original storytelling, then that's entirely possible.

That said, neither of my 'historical AU' projects were meant to be 'historical AUs.' They ended up that way because I love drawing on history when I can, but I started with the intention of writing a Detective Noir and a Western, classical pulp stories whose look and feel carried down the ages from when those kinds of stories were first being told. I love pulp fiction (despite never seeing the movie "Pulp Fiction"), so that will probably drive my next attempt to bring AtLA into the real world.

Of course, I share that love with AtLA itself. "The City of Walls and Secrets" is fully a Noir tale, and everyone agrees "Zuko Alone" doesn't even try to pretend it's not a Western. So maybe I'll end up doing a 80's Coming Of Age comedy-drama just like "The Beach," although how I'd fit Aang's quest into that, I have no idea. ;)

Skeletor has forever destroyed our ability to come up with voices for skeleton characters.

Texts From Superheroes

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I think they would've been friends

Is Zuko a Gary Stu? A lot more people are becoming anti-Zuko especially after the comics. Thoughts?

Well, it depends how we're defining "Gary Stu." I tend to prefer a strict definition for it and "Mary Sue," that of a self-insert wish-fulfillment character. I also don't personally consider it to necessarily be a negative; one of my favorite fictional characters is George Lucas' Flash Gordon Gary Stu, Luke Skywalker.

But the common internet usages for the term typically translates to "character favored by the narrative and/or storyteller(s) to a degree that harms the story." So I'll address both definitions.

I don't think Zuko is any kind of wish-fulfillment character in the AtLA cartoon, nor do I think the narrative shows him any favoritism. In fact, I'd say the story goes out of its way to make things harder for Zuko than the basic character arc demands. It could've had him switch sides at the end of Book Earth, and I don't think there would have been much complaining. Likewise, the story could have had gAang come around to him a lot sooner in Book Fire, rather than spending entire episodes (and in Sokka's case a two-parter) reconciling him with the gAang one-by-one. I think his character arc is improved and given more impact by the desire to cover this extra rocky ground, although I also think 'The Boiling Rock' didn't need to be a two-parter and all of early Book Fire's filler episodes with the gAang should have been relocated to after Zuko's defection so that they'd have the added interest of showcasing the expanded gAang's new dynamic.

Ah, but then we get to the comics. I'm going to assume we're talking about Gene Yang's comics specifically, since Zuko has not appeared substantially in anything written by anyone else. It's easy to harp on these comics' use and treatment of Zuko, but I want to be clear that they're poorly written on pretty much every level. The dialogue is bad. Major plot threads are abandoned without comment. Everyone is mischaracterized. The humor is more juvenile than anything in the cartoon. What stories are told spin their wheels until they get wrapped up in a rush. There's bad, racist, pro-colonialism messages baked into them all. Etc and so on.

And yes, I do think these comics favor Zuko to their detriment and his. Gene Yang has admitted that Zuko is his favorite character in the cast. But even if he hadn't, we can see in 'The Promise' that the presentation has a lopsided preference for Zuko over Aang, the other main character of the story. Zuko is not portrayed as wrong for pressuring Aang to promise to kill him, despite Aang being uncomfortable with it and the whole idea being against Aang's major beliefs; compare that to the cartoon, where Zuko was portrayed as wrong and bullying in his attitude to try to get Aang to kill Ozai. In the matter of the former Fire Nation colonies, Aang and Zuko have opposing approaches, but rather than the story taking the stance that they need to compromise and mix'n'match their ideas, Zuko gets to utter the line, "I was right all along," while Aang has to be lectured by Katara, admit to being wrong, compromise with the Air Acolytes, and break off his relationship with his ghost mentor.

In 'The Search,' Zuko goes on to find his mother and learn her backstory, something that ends up not troubling or challenging him at all. She gives up her new identity to become his doting mother again and Zuko doesn't have a single doubt about it. He gets an adoring little sister in the form of Kiyi, despite her having a real problem with her mother choosing to become Ursa instead of keeping her familiar form. And his questionable treatment of Azula is not addressed; like Aang in 'The Promise,' she's the one who has to compromise (or in this case refuses to compromise).

You can see the pattern here of Zuko's presentation. This is where we can start to question if Zuko is Gene Yang's self-insert, but to do so, we would have to assume a lot of stuff about Gene Yang. For example, he breaks up Zuko's romance with Mai and then starts hinting at something with him and Suki; does that mean Gene Yang wants to date Suki? Then why bring Mai back so prominently in 'Smoke & Shadow' and then both go easy on her mistakes and break her up from Kei Lo at the end? Maybe Gene Yang wants a harem with both Suki and Mai, but if that's the case, then it's pretty odd that he ends his run on the comics with Zuko dating neither.

We could do the same for other aspects of Zuko's presentation (Does Yang want a tiny powerful Firebender as a little sister? Does he think all colonizers are awesome? Does he advocate denying first-amendment rights in times of danger? Is his favorite food to eat at winter time extra-spicy fire noodles?) But we'd probably run into similar questions we can't answer, leaving us to either assume way too much that would likely be wrong or admit that it doesn't matter.

Which brings us back to the much simpler idea of the character being favored beyond what is warranted. That helps with examining 'Smoke & Shadow,' where Zuko is actually portrayed as making some wrong choices for once in all of Yang's run of comics, like ordering his people's homes invaded and trashed on a vague hope that he'll find some information about Azula- but before that, he's somehow enlightened enough to make rainbow fire, and afterward, he solves everything with a quick apology to his people.

Usually, the narratives ignore Zuko's flaws and twist themselves into weird shapes to justify things. It's like Gene Yang started with the intentions of having Zuko make mistakes and grow over the course of the various stories, but then chickens out, so we're left with themes that feel incomplete or outright harmful. Zuko doesn't need to grow beyond his desire to have a Fire Nation elite (and their pet Earth Kingdom spouses and servants) rule over the former colonies forever, he gets to say, "I was right all along." He starts by locking Azula away in a straight-jacket, but then doesn't find a way to reconcile with her and treat her more humanely, because she goes fully homicidal and then runs away so he doesn't need to deal with her. But in 'Smoke & Shadow,' we get one example where, probably because Yang doesn't see it as that bad in the first, Zuko is allowed to temporarily be wrong before returning to a state of grace.

I think Gene Yang is trying to tell good Avatar stories. But, among his (many, many, many) mistakes, I think he's letting his favor for Zuko influence the stories he's trying to tell. He's trying to give his favorite character juicy dramatic material that lets him grow into an even more awesome character- but then he shies away from depicting his favorite in too harsh a light, ruining the whole thing.

The stories don't feel like they're going anywhere with him, despite him being a main character.

So if that fits with your definition of "Gary Stu," then yes, Zuko has become one in the comics. But he didn't start as one in the cartoon, and I don't think Gene Yang writes stories out of a desire for his favorite to marry Suki because Sword Girlfriend > Knife Wife.

Perhaps that's he never got Maiko back together; he likes Mai too much to make her the one in the wrong, but then that would mean Zuko needs to learn and grow, and that can't be right. ;)

More Maiaang art, reference was used.