I love Zutara as much as the next girlie, but I think people romanticizing Zuko catching Azula's lightning in the Final Agni Kai are doing Zuko's character a massive disservice. He would have done that for anyone. Not just anyone in the Gaang, anyone.

He did it for the division he ended up getting burned over. He did it for his subordinate that was going to fall to his death after the ship was struck by lightning. He did it for Lee, when he was kidnapped by Gao. He did it for Iroh, when he confronted his dad and tried to break him out of prison. He did it for the whole Gaang at the Western Air Temple. He did it for Sokka, Suki, and Hakoda at the Boiling Rock.

His whole character revolves around saving everyone else first. Hell, he tried to save Zhao of all people! There's no way that would have gone well for Zuko if Zhao had actually taken his hand. He always does what he thinks is right first before considering his own safety.

Zuko always saves other people. Even if, especially if, he can't save himself.

Could you do a live action Zuko x reader, they were betrothed to eachother before his banishment. They frequently had visits and got along really well. First time they met he saw her creating a blue butterfly from her fire bending. The reader can produce blue flames but is a gentle, kind person. Zuko is reading the latest letter she has sent him, praying for his safety and health. How does he feel about them after all this time? Maybe this fuel his fire to complete his quest and get home.

See You Soon

Prince Zuko x Fem Reader

Summary: Both Zuko and can't stop thinking about each other, after reading the most recent letters you sent to each other.

Word Count: 2.0k

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It’s been some time since the last time you’d seen Zuko face to face. Ever since his banishment, so about three years. You’d think those wounds would have healed, a betrothal that was nothing more than a concept faded in time. Anyone who’d know you would say you were well past it, those people obviously weren’t paying close enough attention. Sending each other letters, drawings and pressed flowers. Detailing everything unfolding in his quest to find the Avatar. Her day to day life with school and helping your mom with all the tailoring for the Fire Lord’s family. A very important part in your life considering your family had been tailoring in the palace for generations. Every once in a while you’d send him an embroidered Lion to represent power and leadership, hiding his name tiny within the mane. Although you found comfort in the words of reassurance he gave through ink and paper, it only made you long for something more. Reminiscing on all the precious memories that now feel like they were taken for granted.  

The two of you met by chance, your mother worked in the palace. She made all the clothes for the royal family. Often having you assist, holding her pin cushion or any other request she may have. At first not paying each other much attention, one day Azula came in, berating both your mother and self like she did to all other staff. Hearing horror stories from others in the palace made you terrified of her. The last thing you wanted was to get your family banished for looking at her wrong. Zuko noticed this, and nudged your arm; looking over at her and then rolling his eyes. Giving you a reassuring smile, Azula then nudged your shoulder with hers as she walked out. 

“That girl may be a princess by blood line but not respect from her people. She rules with fear when it should be grace,” you mother grumbled as you walked into the house. 

“That may be true but it must be hard, growing up competing for the throne. Having your entire life mapped out for you even before you’re born. That must be so hard on someone so young, I think I'd break,” pulling your hair out of the tight bun. Your mother smiled, setting the bags on the table. Cupping your face in her hands,

“I love that in a nation so pitiless and jaded that you have kept your soft spirit. You know that, but that girl spoiled down to the soul,” your mother laughs before turning back to her bags.

You laugh and walk into your bedroom to change before heading back outside. The weather was perfect to practice your fire bending. One of the perks of having a mother who worked in the palace was better education for you. Now that you had been learning to bend from a master, you were able to do more than you could ever imagine. At school all you learned was combat or defensive bending. At home, you liked practicing making different shapes. At the beginning it was simple stuff like circles or hearts, with time they were getting more intricate. Being able to make things like flowers, birds and even butterflies. You were in the empty field behind your family's home, working on your bending. You’d finally learned to make the butterfly flap its wings and fly around for a couple moments at a time before dissipating. Taking a deep breath and creating the flames, putting all your focus into manipulating its form. Holding your breath nervously as you watch it fly around you. The blue light glowing off the flame lit Zuko's face up, where he was watching from a couple feet away. You gasped out of surprise and backed away. 

“Sorry I didn’t mean to- when Azula nudged you, this fell off your top. I just wanted to return it,” he said, holding out the embroidered patch of a crabapple tree that was pinned to your top. 

“Oh, thank you. Wow I'm really surprised you took the time to return it, as someone with so much responsibility; it’s an honor,” you say, giving him a quick bow out of respect. 

“I’ve only seen masters create such detailed shapes with blue flame, can I help?” he asks, you nod in agreement as he comes closer. He stands behind you, pressing his chest against your back. Nudging your arms up with his hands telling you to create the flame before continuing, 

“Holding your breath limits the amount of time your fire can stay in the air. Like suffocating a candle with its lid. Fire can’t be without oxygen, can you feel my breathing against your back? Match it to yours then try to make the butterfly,” he said. 

You were so nervous but took a deep breath in before matching the rise and fall of his chest. Immediately you could feel the difference, like you had more control over the flames. Being able to make the wing movements sharp and clean. Making the flame circle around the two of you, forcing your bodies closer together. 

“See, isn't that so much better?” he asked. 

“Yeah, I never thought I could have so much control over my bending,” you said, moving to face him. 

“I have to get back but i’ll see you around?” he asked, as he took off in a rush which made you chuckle. 

After that night, it was like fate just couldn’t keep the two of you apart. He was getting fitted more often for leather armor and things like that. Noticing each other in lessons and sneaking glances. This progressed until eventually Zuko became unbothered with who saw the two of you interacting. One day he slipped a note into your bag, wanting to meet later that night. Your heart skipped a beat of course, and for the rest of the day it was all you could think about. The day seemed so much longer now that you had something to look forward to. Practically skipping home from lessons, even though you still had a couple hours before dark. You were happy to be home daydreaming. Your mom was home, cooking komodo chicken. Giving her a kiss on the cheek before heading off to your bedroom. Originally you were going to wear what you always did but part of you felt like the night was too special for your everyday attire. Normally keeping your hair up in a tight bun, you decide to let it down. It took you a while to convince yourself to leave it down but eventually you did.

Everyone was finally asleep, the house dark and quiet. You sneak out the window of your bedroom. Zuko was waiting for you right outside which made you gasp, not seeing it was him at first. He had a big smile on his face, which was refreshing considering he’s been going through alot lately. On a night with such amazing weather, the main city and markets were busy with life. Zuko and you however prefer the peacefulness of looking over the city from the peak of a hill not too far. Zuko was pointing out different constellations in the sky to you. Or showing him new little tricks you were learning with your bending. He always acted really impressed but you knew he was doing it for your benefit. You loved that about him, that he cared so much about your confidence. 

“You know, my father says it’s time to start looking for a girl to betroth,” he says. 

“Oh? Any girls you had in mind?” you ask playfully. 

“No,” he says back in the same playful tone, which makes you elbow him in his ribs. 

“In all seriousness though, how do you feel about that?” he asks, wrapping his arm around your shoulders and pulling you into his side.

“I think I'm waiting for you to ask me properly,” you said chuckling. 

Zuko also felt like he took all these moments for granted. He was currently in his room on the ship. Looking around at all the notes and drawings he’d pinned to the walls. They’d just left where he and his crew were docked, following a lead on the Avatar. Reading the most recent letter you’d sent him, it pained him to know you were feeling the same grief he was about feeling apart. He never really talked about it to his uncle or anyone but it was one of the main reasons he was so motivated to complete his quest. He felt like he was missing out on the most important years of his life. Uncle Iroh always talks about how memorable his late youth was, before he had real responsibilities as general. He missed everything about you. Especially how sweet you were, always finding the good in people. Even finding beauty and grace in Azula; his own mother couldn’t find that in her. 

Often when Zuko was anxious he would think about you comforting him. He knew he could be hot headed both emotionally and physically. This never phased you, even when he was in full blown flames. Always finding a way to calm you down. Somehow reassuring him without making him feel small or stupid. You always used to tell him that anger is a form of passion. That you loved the passion and resilience he had, and that one day he’d be able to channel it without anger. He found so much comfort in you so being ripped away was hard but reading your letters helped. Made him feel like everything wasn’t as impossible as it may seem. Like once he returns home he’ll know you’ll be there to support him. 

He laid back on his bed, your letter on his chest. Worried that you’d grow tired feeling his love through paper and ink. That you’d yearn for love that’s more present in your everyday life. This fear was doubled by the fact that he assumed telling you about this fear would make him come across as insecure. Maybe he was but he didn’t want you to know that. He hated being seen as weak, you were too kind to admit but he knows that exactly what you’d think. Currently thinking about one of the last nights you had together. In Zuko’s old room, laying on the bed together. You were playing with his hair and he had his arms wrapped around your waist. Both of you were pretty tired from training and school. Just melting into each other, enjoying the comfort you gave him. There wasn’t any talking but the silence wasn’t uncomfortable. You’d kiss him on his forehead every once in a while, finger combing his hair. Taking in your smell and leaning into your touch. He never felt so vulnerable in a comforting way with someone. 

Iroh came into the room, making Zuko jump up. Clutching onto his letter, immediately his uncle sensed something was off. His eyes were dark and puffy, not to mention quite red. The bruise on his face appeared to be swelling and it was obvious that he was beyond his limit. Iroh set down the wooden tray he carried in, handing him a cup. 

“I know you don’t want to hear this but mentally you are being strained. Bending and combat is easy for you because you’ve done it your whole life. Emotionally, some of your muscles are weak but I can see your slowly strengthening them. It’s important that you get lots of rest while you-” he went to look over at Zuko and stopped talking once he realized the boy was asleep. Iroh held back a laugh before taking the cup and letter out of his hands. Zuko gripped the paper and woke up but settled down once he realized it was him. 

“Rest now, and please truly let yourself rest,” he said, pulling the blanket over him and he laid down. Folding the letter gently and leaving it on the nightstand.

Now I'm thinking about how Azula sees herself. The part that I think is most telling is: "she was right, of course." So I find myself wanting to unpack why someone would want to become something that they view as monstrous.

A few months ago I was watching some YouTube videos about She-Ra that were digging into the psyche of Catra and Adora. That's when I was introduced to the concept of the Golden Child and the Scapegoat as dynamics of abuse and how each can shape a person's world view. While watching, I thought to myself: "This sounds kind of like the dynamic between Zuko and Azula." Azula in particular has a bit of both Adora and Catra and there are definitely some reasons for that.

Zuko is Ozai's Scapegoat, but Azula is his Golden Child and that is its own insidious dynamic, fraught with manipulation and abusive expectations. The audience is not shown much of the dynamic between Ozai and Azula. Most of what we do know is filtered through Zuko's perception of things, which is informed by his position as Ozai's Scapegoat. So we're largely left to infer why Azula is the way she is.

In my estimation, a lot of it stems from survival patterns, which boil down to seeking a feeling of safety. She's a perfectionist who takes a natural talent for firebending and pushes it to extremes because proving her worth is the best way to stay safe. She's constantly trying to assess threats and plan every move because that will keep her safe. She knows her father has it in him to be cruel. She's seen her grandfather be cruel to her father. She internalizes these ideas about how the world works and determines how best to survive and thrive in such a world.

However, as events progress, Azula hits a point where being the perfect monster, the perfect weapon for her father’s war, stops yielding the desired results. Mai and Ty Lee are pushed to their breaking points and rebel against her. Then, while already emotionally vulnerable, she has a moment where she believes her father is sidelining her.

For Azula, this is a clear violation of the social contract as she understands it. The entire point of becoming the perfect monster was so that she wouldn’t be treated like Zuko. She’s even sacrificed her closest friendships in the name of being what Ozai expects from her, so clearly she deserves the privilege and favor that were implicitly promised.

It’s difficult to say how much of what Azula professes to want is a genuine expression of herself. How much of it is just the best way to stay safe, to avoid being treated like Zuko? I think she probably suppresses a lot of what she might want for herself, like close friends, because stepping outside of being the perfect instrument with that kind of expression of personhood would surely be met with the same treatment that Zuko receives. It really is an insidious form of emotional abuse that can make someone think that what their abuser wants for them is what they want for theirself. Is the path Azula takes her own destiny, or is it a destiny someone else has tried to force on her?

There’s a well-known line from Zuko that I suspect applies to Azula as well.

These children live in a home where expressions of personhood get them punished, whether emotionally or physically. Being the perfect prince, being what Ozai expects from him, means Zuko has to suppress his authentic self. Surely being the perfect princess comes at great cost as well. I have to wonder who Azula is beneath the traumatized survival patterns.

She acts casual about "monster" being the correct label for herself because, even though she sees herself as monstrous, she believes that's the correct way to be. Through her understanding of things, those who aren't monsters are just too foolish or too weak to engage this harsh world with the cruelty it deserves. At a young age, she speaks of Iroh as though falling apart after Lu Ten's death is illogical, tactically unsound, and a sign of weakness. To her, the best way to survive and succeed is to be both better and crueler than everyone else. These are the ways she earns Ozai's praise.

However, Azula resents not being as loved by her mother as Zuko was. The very things that gain her favor with Ozai are the things that alarm Ursa the most. And she surely got that word “monster” from somewhere. Maybe an argument she spied on, where Ursa says something like: “You’re turning our daughter into a monster.” Azula finds herself in a position where it’s impossible to please both of her parents. Why wouldn't her mother want her to pursue these obviously correct choices? Why was she so much more fond of Zuko, who was less talented and too soft to rise to the necessities of their divine right to rule? As a child, Azula wouldn't have any of the psychological tools necessary to process this information in a healthy way. All she can do is try to rationalize it and dismiss Ursa along with anyone else who was too foolish or weak to achieve success, which equates to safety.

Ursa doesn't seem to get to Golden Child and Scapegoat levels. She's certainly not as cruel, rigid, or demanding as Ozai. And yet her favoritism towards Zuko has a lasting impact on Azula.

And then of course everything comes to the surface after Mai and Ty Lee choose to go against Azula. From there she spirals, trying to find a way for everything to make sense.

Here’s where the world view I’ve been talking about becomes very plainly stated. Safety, in Azula’s mind, comes from being the most successful, most powerful, and most feared person in the room. But then...

And this is what really touches a nerve.

Ursa’s not actually here, of course. Azula is imagining this exchange because, on some level, she wants her mother to say these things to her, to love her even though she’s a monster. As much as she tries to tell herself Ursa's love doesn't matter, she still craves it. And yet she hates herself for craving it because that kind of sentimental attachment is for the weaker fools and she has to be better than them. The only alternative would be to accept that her entire world view has failed her and becoming a monster wasn’t the correct choice. If it was a mistake then she did it for nothing. It’s the same kind of sunk cost fallacy that drives Zuko through much of his screen time.

Azula’s story is a tragedy. Both siblings want the love of both parents, but neither of them can get it. Zuko eventually realizes that the love of an abusive tyrant isn’t worth having and lets go of the cost he sank in to pursuing it. Azula has the adoration of that tyrant and she believes her value to him is what makes her safe. She tries to tell herself that her mother’s love isn’t worth pursuing. Even when the consequences of becoming the perfect monster catch up with her, she resists the idea of looking inward and asking herself the big questions. She clings to everything she’s spent gaining Ozai’s favor and follows that course to her own downfall. In the end, there’s nothing left for her to do but scream and cry as everything she’s internalized about how to succeed fails her and everything she gained by becoming the perfect monster is stripped away.

What I want most for Azula, whether in comics, animation, or novels, is an arc where she finds her way to some kind of balance. Or at least the beginnings of it. I don’t know what that arc would like for her or who, if anyone, could help her along that kind of path, but I want to see her find some semblance of peace. I don’t necessarily want to see her suddenly agreeing with Zuko and Aang. I think she could probably have opposing ideologies or thoughts on how the world should move forward while still finding her way to a more spiritually balanced life and unlearning her most harmful coping mechanisms. I want to see her get beyond the traumatized survival thinking. I want to see her stop simply executing her abuser’s warped world view and start to find a more authentic self and a sense of personhood that’s unencumbered by being the kind of person that Ozai wanted her to become. I want to see an Azula who can grow, look inward, and begin asking herself real questions.

tbh im excited for hakoda!! ik he isn't the best dad considering he left but... we know he's gonna be in full dad mode just like how katara would be but to the Extreme. i just feel bad because i know some of sokka won't want to see him because he'll think his dad will think he's "less of a man" for what happened 💔

My feelings for Hakoda are the same as my feelings for Iroh. I’ll just leave it at that.

But I do agree that Hakoda & Katara are going to be full protection mode and they are going to want to keep Sokka SAFE!!

& it might take some time for them to warm up (HA!) to the idea of the prince of the fire nation being Sokka’s safety person. & possibly more than that ;)

Ahhhhhhh “less of a man” such a brutal but true statement. Sokka will need to be reminded that his past trauma does not define him, just like it doesn’t define Zuko,,,, but i have a feeling that will be a hard concept for them both to grasp. (Especially as MORE events unfold…. :D)

The Queer Platonic Love of Aang & Zuko

Friend. What a weighty and intimate word in Avatar The Last Airbender. The series’ “found family” is iconic at this point, and is literally established as a “family” by Katara in the third episode. She pulls Aang back from the outrage of the Avatar state, saying “Monk Gyatso and the other monks may be gone, but you still have a family. Sokka and I, we’re your family now.”

 As I’ve said before, establishing this central safety net of trusted people is essential to Aang’s healing. Still, it’s interesting to me that they insist on this group as a “family” rather than something that might emphasize “friendship.” Something along the lines of ‘we’re your friends and we’re here with you.’ I can think of several animated shows that have done as much successfully. The show withholds the word “friend” for another purpose. I’ll happily admit that Aang and the others describe each other as “friends” throughout the series, but rarely is the use of the word (through pacing, repetition, or emotional context) given a sense of gravity in those moments. 

However, three scenes in the series rely heavily on the word “friend,” and each scene connects Aang more and more profoundly with Zuko, eventually revealing that the show’s entire plot hinges on the friendship between these two boys. In a series so latent with symbolism, what do we make of these star-crossed friends? The relationship between Aang and Zuko, I want to suggest, is meant to explore Platonic Love in all its depth, especially within a masculine culture that not only devalues it, but views its queer implications as inherently dangerous to the dominant power structures of an empire.

Get ready zukaang fans for a long-ass atla meta analysis...

“If we knew each other back then, do you think we could’ve been friends, too?”

The first time the word “friend” is uttered between them, Aang is perched on a branch, waiting for Zuko (who is laid out on a bed of leaves the Avatar made for him) to wake up after his blue spirit rescue. “You know what the worst part about being born over a hundred years ago is?” Aang waxes, “I miss all the friends I used to hang out with. Before the war started I used to always visit my friend Kuzon. The two of us, we'd get in and out of so much trouble together. He was one of the best friends I ever had...and he was from the Fire Nation, just like you. If we knew each other back then do you think we could have been friends too?” The scene stood out for me when I first watched it for the melancholy and stillness. We are not given a flashback like we did when Aang talked about Bumi or Gyatso in earlier episodes. We have to sit with Aang’s loss of a male friend. It echoes a veteran’s loss of a war buddy more than anything a western audience would expect in a children’s show about the power of friendship. Instead of simply mourning, Aang invites Zuko into the past with him. He invites Zuko to imagine a time before the war, a land of innocence, where they could live together. And between them there is a moment of reflection given to this invitation (...until Zuko shoots a fucking fire blast at Aang). 

The wistful mood returns when the two boys arrive back to their respective beds. Aang is asked by a loopy fevered Sokka if he made any “friends” on his trip, to which Aang sadly replies, “No, I don’t think I did” before tucking away to sleep. Aang’s mournful moments often stand out against his bubbly personality, but this moment stands out moreso because its the final moment for Aang in the episode. For the first time, he doesn’t receive comfort in his dejection. He doesn’t even confide in his peers. The solemnity and secrecy of this failed “friendship” is remarkable. 

It’s in the next symbolic gesture that I think Avatar reveals what’s at stake in the concept of “friendship.” Zuko, in the next scene, lays down to rest after his adventurous night, looks pensively at the fire nation flag in his room, and then turns his back on it. We realize, especially after the previous revelations in “The Storm,” that Aang’s gestures of “friendship” have caused Zuko to doubt the authority of the Fire Nation.

Now all three remaining nations have misogynistic tendencies, but the Fire Nation celebrates a specific brand of toxic masculinity, and Zuko longs to emulate it even after it has rejected and scarred him. In the episode, “The Storm,” which directly precedes “The Blue Spirit,” we see how Zuko failed to replicate masculinity’s demands. In a room of men, he disregards honorifics to speak out in the name of care and concern for people’s well-being over strategy. Though the war room was all men, we later see that The Fire Nation does not exclude women from participating in this form of toxic masculinity. (Shoutout to Azula, one of the best tragic villains of all time!) This gender parity prevents disgraced men, like Zuko, from retaining pride of place above women. So Zuko’s loving act and refusal to fight his father puts him at the lowest of the low in the social hierarchy of the Fire Nation, completely emasculated and unworthy of respect.

Since then, Zuko has been seeking to restore himself by imitating the unfeeling men of the war room and his unfeeling sister, barking orders and demands at his crew. The final redemptive act for this purpose, of course, is to capture the Avatar, who’s very being seems to counteract the violent masculinity at the heart of the Fire Nation. In most contemporary Euro-American understandings, Aang is by no means masculine. He’s openly affectionate, emotional, giggly, and supportive of everyone in his life, regardless of gender. He practices pacifism and vegetarianism, and his hobbies include dancing and jewelry-making. And, foremost, he has no interest in wielding power. (@rickthaniel has an awesome piece about Aang’s relationship to gender norms and feminism). 

In addition to the perceived femininity of Aang’s behavior, he’s equally aligned with immaturity. Aang’s childishness is emphasized in the title of the first episode, “The Boy in the Iceberg,” and then in the second episode when Zuko remarks, “you’re just a kid.” Aang, as a flying boy literally preserved against adulthood, also draws a comparison to another eternally boyish imp in the western canon: Peter Pan. This comparison becomes more explicit in “The Ember Island Players.” His theatrical parallel is a self-described “incurable trickster” played by a woman hoisted on wires mimicking theatrical productions of Peter Pan. The comparison draws together the conjunction of femininity and immaturity Aang represents to the Fire Nation.

When Zuko is offered friendship and affection by Aang, then, he faces a paradigm-shifting internal conflict. To choose this person, regardless of his spiritual status, as a “friend,” Zuko must relate himself to what he perceives as Aang’s femininity and immaturity, further demeaning himself in the eyes of his father and Fire Nation culture. The banished prince would need to submit to the softness for which he’s been abused and banished. This narrative of abuse and banishment for perceived effeminate qualities lends itself easily enough to parallels with a specific queer narrative, that of a young person kicked out of their house for their sexuality and/or gender deviance. 

I want to point out that Aang’s backstory, too, can be read through a queer lens. Although the genocide of the air nomads more explicitly parallels the experiences of victims to imperial and colonial violence, I can also see how the loss of culture, history, friends, and mentors for a young effiminate boy can evoke the experience of queer men after the AIDs pandemic and the government’s damning indifference. In fact, colonial violence and the enforcement of rigid gender roles have historically travelled hand-in-hand. Power structures at home echo the power structures of a government. Deviance from the dominant norms disrupt the rigid structures of the empire. Aang’s background highlights how cultures based in something besides hierarchy and dominance, whether they be queer cultures or indigenous societies, threaten the logic of imperialism, and thus become targets of reform, neglect, and aggression by the expanding empire and its citizens. Survivors are left, as Aang was, shuffling through the remnants, searching for some ravaged piece of history to cling to.

We begin the series, then, with two queer-coded boys, one a survivor of broad political violence, the other a survivor of more intimate domestic abuse, and both reeling from the ways the Fire Nation has stigmatized sensitivity. But the queer narrative extends beyond the tragic backstories toward possibility and hope. The concept of platonic love proposed here, though it does not manifest until later, is a prospect that will bring peace to the two boys' grief-stricken hearts and to the whole world.

“Do you really think friendships can last more than one lifetime?”

“Do you really think friendships can last more than one lifetime?” Toph asks before the four members of the group hold hands. Since Toph previously mourned her friendless childhood, it’s easy to appreciate this line for its hopefulness regarding the four central members of the Gaang. They long to appreciate that they’re all connected. As touching as this is, the soul-mated ‘friendship’ concept is actually uniquely applicable to Aang and Zuko.

When does Toph ask the question specifically? It’s after hearing the story of Avatar Roku and Firelord Sozin: how their once intimate friendship fell apart; how Fire Lord Sozin began, undaunted, the genocidal attack on Airbenders. After recounting the tale, Aang, the reincarnation of Avatar Roku, excitedly explains to the group the moral that every person is capable of great good and evil. While that moral could easily be ascribed to many people in the series, the connective tissue is stretched directly to Zuko in a parallel storyline. Reading a secret history composed by his grandfather Sozin, Zuko discovers that he is not only the grandson of the empirical firelord but of Avatar Roku, as well. We see how the rift between the Sozin and Roku echoed down across history to separate the airbending culture from the fire nation, and, on a more human level, to separate Aang from Zuko. The two boys find themselves divided by their ancestors’ choices— and connected by Avatar Roku’s legacy. 

This is what takes their “friendship” from simply a matter of the character’s preferences to something fated, something unique from the other friendships. The rest of the found family is positioned as circumstantial in their relationship to Aang and one another. Yeah, it’d be cool if they were all connected in past and future lives, but the audience receives no indicators in the series that it’s necessarily true. Only faith holds them together, which allows room for an appreciation that your “found family” friendships might simply be the trusted people you discovered along the way. 

Zuko’s friendship is characterized differently. Both his struggle to befriend Aang and his eventual “friendship” are explicitly destined by the story of Roku and Sozin. After this episode, the series depends upon Zuko’s ability to mend the divide inside himself, which can only be done by mending the divide between him and Aang. Their inheritance symbolizes this dynamic exactly. As the reincarnation of Avatar Roku, Aang can be understood as the beneficiary of Avatar Roku’s wisdom (he should not, as many jokingly suggest, be considered as any kind of biological relation of Roku or Zuko).  Zuko, on the other hand, has inherited Roku’s genealogy in the Fire Nation. These two pieces of Roku must be brought together in order to revive Roku’s legacy of firebending founded on something besides aggression. 

In addition to making the ideals of Roku whole again, the two boys must tend to the broken “friendship” between the two men. As the Avatar and the Crown Prince of the Fire Nation, Aang and Zuko parallel Avatar Roku and Firelord Sozin precisely. The narrative of the latter pair places destiny precisely in the hands of the former. And since both Aang and Roku expressed the desire for “friendship,” it falls in the lap of the corresponding royal to give up their imperial dreams so they can gain something more peaceful and intimate. For Zuko, this now can only be accomplished when he heals the rift within himself. 

Importantly, both the previous friendship and the destined friendship between Zuko and Aang are between two men. The coming-of-age genre has proliferated the trope of homosociality (friendship between individuals of the same sex) and its eventual decline brought on by maturity and heterosexual romance. (Check out the beautiful and quick rundown of classic examples, from Anne of Green Gables to Dead Poet’s Society, made by @greetingsprophet ). The story of Avatar Roku and Firelord Sozin replicates this established narrative. 

We see them playing, sparring, and joking intimately with one another. The two as young adults were intimately connected, the series explains, “sharing many things including a birthday.” Eventually their intimacy is interrupted by their worldly responsibilities and the spectre of heterosexual romance on Roku’s part.

Now, It’s not a huge leap for one to wonder if Sozin longed for something stronger in their “friendship.” We see no female romantic interests for Sozin. Instead, he continues to demonstrate his platonic allegiance to Roku. When Roku prepares to leave for his Avatar training, Sozin walks into his room and gives him his crown prince headpiece, a gesture of unique devotion that positions his friendship above his politics (which harkens to Plato and EM Forster’s ideas about platonic love that I’ll discuss in Part 3). 

One might note, too, how the wedding between Roku and his childhood sweetheart provides the setting for the escalation of Sozin’s violence. “On wedding days,” Sozin writes, “we look to the future with optimism and joy. I had my own vision for a brighter future...” He then pulls Roku away from his bride for a personal conversation, briefly recapturing the earlier homosocial dynamic with his friend. Sozin describes his affection for their intertwined lives. Then he links their shared happiness to the current prosperity of the Fire Nation. He imagines the expansion of the Fire Nation, which would also expand on the relationship between him and Roku. But the Avatar refuses the offer and returns to his wife, insisting on the value of traditional boundaries (both the pact of marriage and the strict division of the four nations). The abandonment of the homosocial relationship by Roku sets the site for the unmitigated empirical ambitions of Sozin. One wonders how history might’ve been altered had the two men’s relationship been sanctified and upheld. How might’ve Roku persuaded Sozin in his empirical ambitions if he had remained in a closer relationship to his friend? In their final encounter, Sozin reacts vengefully to his former platonic love: he lets Roku die protecting the home the Avatar shared with his wife. Sozin’s choice solidifies the divide between them, and makes the grief he’s experienced since Roku left him into actual death.

Instead of Avatar Roku and Firelord Sozin finding a resolution, Aang and Zuko are ordained to reverse their friendship’s disintegration. Yes, they must heal the rift in the world created by the Fire Nation’s aggression, but Aang and Zuko must also reverse the tradition of lost homosociality within a culture of unrelenting machismo. Despite Avatar: the Last Airbender’s ties to the coming-of-age genre, the arc of Aang and Zuko’s “friendship” counters one of its most prominent tropes. “Some friendships are so strong they can transcend lifetimes,” Roku says, and it’s precisely this platonic ideal that draws Zuko and Aang towards one another in ways that are revolutionary both in their world and in the traditions of our’s. To come together, as two matured boys, to form an adult platonic love that can persist into adulthood.

“And now we’re friends.”

Which brings us to the consummation of Aang and Zuko’s “friendship.” Having resolved their previous hostilities and having neutralized the outside forces that would rather them dead than together, Aang and Zuko can finally embrace and define their relationship as “friendship.” Now, if we look closely at Zuko’s expression, we’ll notice a pause, before he smiles and reiterates Aang’s comment. My initial response, with my zukaang shipping goggles on extra tightly, was that Zuko just got friend-zoned and was a little disappointed before accepting Aang’s friendship. When I took a step back, I considered that we are given this moment of reflection to recognize Zuko’s journey, his initial belligerent response to the idea of befriending the Avatar. When he accepts the term of ‘friend,’ he reveals the growth he’s undergone that’s brought peace to the world. With these two possibilities laid out, I want to offer that they might coexist. That the word ‘friend’ might feel to Zuko and the audience so small and limited and yet simultaneously powerful. The pause can hint at the importance of “friendship” and signal something more. This reading emboldens the queer concept of “friendship” that undergirds their relationship. That the hug that follows might be meant to define the depth of the platonic love that is at the very heart of the series.

Saving a hugging declaration of “friendship” for the announcement of peace in the series is quietly revolutionary. In the twentieth century, male characters could connect in battle, on competitive teams, and through crime. “In the war film, a soldier can hold his buddy — as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh — as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege — as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover — as long as he is riddled with bullets,” writes Kent Brintnall. Aang and Zuko’s hug starkly contrasts this kind of masculine intimacy. The show suggests that environments shaped by dominance, conflict, coercion, or harm, though seemingly productive in drawing people and especially men together, actually desecrate “friendships.” Only in a climate of humility, diplomacy, and peace can one make a true ‘friend.’

In situating the’ “friendship” between two matured males in a time of peace, the writers hearken back to older concepts of homosocial relationships in our fiction. As Hanya Yanagihara has described the Romantic concepts of friendship that pervaded fiction before the 1900s. In her book, A Little Life, Yanagihara renews this concept for the twenty-first century with a special appreciation for the queerness that one must accept in order for platonic love to thrive into adulthood. She writes, “Why wasn’t friendship as good as a relationship? Why wasn’t it even better? It was two people who remained together day after day bound not by sex or physical attraction or money or children or property, but only by the shared agreement to keep going, the mutual dedication to a union that could never be codified.” Aang and Zuko’s relationship, despite a history that would keep them apart, reclaims this kind of friendship. Their hearts, bound together by an empyrean platonic love, are protected from the political and familial loyalties that would otherwise embroil them. 

In addition to Yanagihara, another author that coats the word ‘friend’ with similar gravity and longing to Avatar is E.M. Forster, who braids platonic friendship in his writing with homoeroticism and political revolution. In Forster’s novel Maurice (originally written in 1914 but published posthumously in 1971 due to Britain’s criminalization of male homsexuality), the titular character asks a lower class male lover lying in bed with him,  “Did you ever dream you had a friend, Alec? Someone to last your whole life and you his? I suppose such a thing can’t happen outside of sleep.” The confession, tinged with grief and providence as it is, could easily reside in Aang’s first monologue to Zuko in “The Blue Spirit.”

 Platonic love as a topic is at the heart of Maurice. Plato’s “Symposium,” from which the term platonic love derives, is even directly referenced in the book and connected with “the unspeakable vice of the Greeks”— slang for homosexual acts. For Forster, the sanction of platonic love, both the homosocial aspect and the latent homosexuality, reveals a culture’s liberation. “If I had to choose between betraying my country and betraying my friend,” Forster wrote in his essay “What I Believe,”, “I hope I should have the guts to betray my country.” This echoes a sentiment of philial love described by Plato. 

Rather than revolutionary ideals, for Forster friendships, and specifically friendships that disregard homophobia, provide the foundation for peace, equality, and democratic proliferation. When Aang and Zuko embrace, they are embodying this ideal.  Platonic love and the word “friend” have a history intertwined with queer romantic love, and, while I won’t argue that Avatar attempts to directly evoke this, I will suggest that the series consciously leaves room for this association. Now, the show certainly makes no attempt to imply anything romantic between Zuko and Aang within the timeline we witness (nor any same sex characters, which reflects cultural expectations in the 2000s). And for good reason, the age gap would be notably icky, to use the technical term. (You might note, however, that the show actually allows for crushes to extend upwardly across the same age gap, when Toph accidentally reveals her affection for Sokka to Suki in “The Serpent’s Pass.”) Despite connecting queer friendships to the history of ‘platonic love,’ Avatar provides two critiques to platonic love for audiences to absorb. One is the pederasty with which Plato defined his ultimate form of love in his Symposium. Fans rightfully comment on the age gap between Aang and Zuko as something preventative to shipping them together. And beyond the fact of their ages, Aang’s youthfulness is emphatic, as I remarked earlier. Aang and Zuko are prevented from consummating their platonic love until both are deemed mature in the last moments of the series. And even then, their relationship is directed toward future development rather than conclusion. Instead of cutting away, they are allowed to exit their scene together toward a speech about hope and peace. This stands in stark opposition to the permanence of Aang and Katara’s kiss. The platonic love in Avatar, the kind EM Forster cherishes, is relegated to adulthood as opposed to other kinds of boyish friendships. The conclusion of Avatar, at least for me, actually feels especially satisfying because it settles our characters in the “new era of love and peace.” It is a beginning, and it feels more expansive than the actions the characters choose to take in the episode. Even as our characters conclude three seasons of narrative tension as the sun sets and “The End” appears on the screen, it feels instead as if their stories can finally begin. The characters are allowed to simply exist for the first time. Yes, Aang and Katara or Zuko and Mai are allowed to embrace and kiss, but it’s because the pressures of empiricism have finally been banished. They are now allowed to try things and fail and make mistakes and explore. Things don’t feel rigid or permanent, whether that be one’s identity or one’s relationships.

Ideally, within the morality of the series (at least as it appears to us with no regard for whatever limits or self-censorship occurred due to its era of production and child-friendly requirements), “friends'' are maintained alongside romantic partnerships. Both Zuko and Aang’s separate romantic relationships blossom within the same episode that they declare their “friendship.” In fact, a vital plotline is the development of Zuko’s relationship with Aang’s romantic interest. While anyone in the fandom is well aware of the popular interpretation of romantic affection between Zuko and Katara because of their shared narrative, I have to point out that romantic feelings across the series are made extremely explicit through statements, blushes, and kisses. Zuko’s relationship with Katara can be better understood in the light of the coming-of-age counternarrative. While the love interest often serves as a catalyst for separation for a homosocial relationship, the friendly relationship with Aang’s love interest—seeking her forgiveness, respecting her power, calling on her support, etc—is vital for Zuko to ultimately create an environment of peace in which he and Aang can fulfill their destined “friendship.” In fact, we can look at Katara’s femininity as the most important device for manifesting Aang and Zuko’s eventual union. It’s her rage against misogyny that frees Aang from his iceberg, midwifing him into the world again after his arrested development, the complete opposite of a Wendy figure. It’s her arms that hold Aang in the pieta after his death in the Crossroads of Destiny, positioning her as a divine God-bearer. Afterwards, its her hands that resurrect Aang so that they together can fulfill his destiny. It will be these same hands with this same holy water that resurrect Zuko in the finale. Only through Katara’s decided blessing could Aang and Zuko proceed toward the fated reunion of their souls.

The importance of this critical relationship to femininity becomes relevant to a scene in “Emerald Island Players” that one might note as an outstanding moment of gay panic. Zuko and Aang, watching their counterparts on stage, cringe and shrink when, upon being saved by The Blue Spirit character in the play, Aang’s performer declares “My hero!” Instead of the assumption of homophobia, I wonder whether we might read Aang and Zuko’s responses as discomfort with the misogynistic heterosexual dynamics the declaration represents. Across the board, Avatar subverted the damsel in distress trope. There’s a-whole-nother essay to be written on all the ways it goes about this work, but the events in “The Blue Spirit” certainly speak to this subversion. It’s quite explicit that Zuko, after breaking Aang’s chains, is equally dependent on Aang for their escape. And, by the end of the actual episode, the savior role is reversed as Aang drags an unconscious Zuko away from certain death. To depict these events within the simplistic “damsel in distress” scenario, as The Ember Island Players do, positions Aang as a subordinately feminized colonial subject, denies him his agency, and depicts the relationship as something merely romantic, devoid of the equalizing platonic force that actually empowers them. The moment in the play is uncomfortable for Aang and Zuko because it makes Zuko the hero and Aang the helpless object. Aang is explicit about his embarrassment over his feminized and infantilized depiction in the play. And Zuko, newly reformed, is embarrassed to see, on one hand, his villainy throughout the play and, on the other hand, see how his character is positioned as made out as a savior to the person who has actually saved him.

At the heart of the series is not the idea of a chosen one or savior. Instead, we are saved by the ability for one person to see themselves in another person and to feel that same person equally understands their own soul. This is the ideal of platonic love. Platonic love between two matured boys—two boys with whose memories and bodies bare the scars of their queer sensitivities—is an essential part of the future of peace. Many fans have a sense of this, labeling the relationship as “brotp” and “platonic soulmates.” I simply encourage people to acknowledge that platonic love, especially in this context, is not a limit. There is no “no homo” joke here. When we remark on the platonic love between Zuko and Aang (and across media more generally) we are precisely making room for friendship, romance, and whatever else it could mean, whatever else it might become. While I find Legend of Korra lacking and in some ways detrimental to appreciating the original series, it’s finale interestingly parallels and extends this reading of platonic love in a sapphic vein. And most recently, She ra Princess of Power was able to even more explicitly realize these dynamics in the relationship between Adora and Catra. Let’s simply acknowledge that Aang and Zuko’s relationship blazed the trail: that peace, happiness, hope, and freedom could all hinge on a “friendship,” because a “friend” was never supposed to be set apart from or less than other kinds of relationships. For the ways it disregards gender, disregards individualism, disregards dominion, platonic love is the foundation of any meaningful relationship. And a meaningful relationship is the foundation for a more peaceful world.  *Author’s note: I’m just tired of sitting on this and trying to edit it. It’s not perfect. I don’t touch on all the symbolism and nuances in the show and in the character’s relationships. And this is not meant to negate any ships. It’s actually, quite the opposite. This is a show about growth and change and mistakes and complexity. Hopefully you can at least appreciate this angle even if you don’t vibe with every piece of analysis here. I just have no chill and need to put this out there so I can let my obsession cool down a bit. Enjoy <3

Why Aang didn’t kill Ozai

First of all we need to start with Katara and her desire and conflict with revenge for her mother Kya from being killed by Yon Rha, while Katara didn’t forgave Yon Rha for his murder of her mother, she didn’t KILL HIM IN COLD BLOOD. She even was willing to spare his life and learn how to forgive Zuko for his past actions while hunting Aang. Even Zuko told Aang that he was right about what Katara need and that VIOLENCE IS NOT THE ANSWER. Aang replied IT NEVER IS. Then Zuko asked him about when he faces his father Ozai. While Yon Rha killing of Kya is horrible, it was inventible Azulon wanted the Southern Water Tribe kidnapped and later geocide just like the Air Nomads. Just encase if the Air bender Avatar is truly dead along with later Hama terrorist attacks on the Fire Nation citizen. Yon Rha would have been replace like a cog in the machine if he refused to kill Kya. Even the other Southern Raider would have killed Kya instead and charge him with treason against His Flaming Majesty Fire Lord Azulon and send him back home to be executed by fire and lighting. An elderly Katara by TLOK probably forgave Yon Rha considering the she is smart and wise enough to understand the circumstance of the war and cultural of the Fire Nation Military Junta. You don’t have to forgive the actions, to forgive the person, BECAUSE PEOPLE CAN CHANGE IN TIME!

Aang not killing Ozai goes against Air Nation spirituality and all life is sacred mentality of his people. If Aang killed Ozai it would have shown that the Fire Nation way of using there power for VIOLENCE AND DEATH IS CORRECT. It would have made OZAI A MARTYR TO HIS PEOPLE. Even FIRE NATION COLONIAL WITH EARTH KINGDOM BLOOD WERE WILLING TO ASSASSINATION ZUKO FOR OZAI AND WERE LOYAL TO HIM EXTREMLY. Ozai may be a Racist, Genocidal, Bigot, Child Abusing monster in OUR EYES, BUT HE IS COMPLETELY NORMAL IN THE FIRE NATION! In the Fire Nation you are raised to see yourself as superior to other Fire Nation citizen especially sub-human” Earth Kingdom “FILITH”  and Water Tribe “SAVAGES”.

The Moral dilemma was SOLVED WITH ENERYBENDING. Cope out? Sure, but Aang could have simply trap and bound Ozai’s hands and feet with Earthbending and keep him imprison in the Boiling Lake guarded with Earth Kingdom guards like the Dai Lee. Aang kept true to himself and his Air Nomad ideal unlike Avatar Yangchen who was biased toward human and neglect spirts and led to “dark” spirits attacking humans who trampled on their land and customs. Avatar Kuruk has a short 30 years old lifespan for fighting the dark spirits that Avatar Yangchen caused!

Zuko as FIRELORD in the Finale confronted his father Ozai and TOLD HIM TO HIS FACE “PERHAPS SOME TIME IN HERE [PRISION] WILL MAKE YOU CHANGE AS I HAVE FOR THE BETTER”. Zuko just like the Avatar originally believe that Aang HAD to kill Ozai for the safety of the world. He wanted Aang to be able to do it if necessary and he is still rightfully angry at his dad for the Agni burning and banishment.

I WATCH ATLA BACK IN THE DAY AT 7 OR 8 YEARS OLD. THE NICKELODEON ISN’T GOING TO SHOW A 12 YEAR OLD KILL A MAN ON A KIDS PROGRAM! LMAO! Why you think the joke about Jet’s “death” scene doesn’t show Long Feng crush his organs and bone getting crush by  the jagged earth spike wave or the blood coming from his mouth from internal bleed?!?!?!?!?

Even if one could go back in time and kill Hitler. You won’t change the racism, prejudice, and anti-Semitism that Germany, Austria-Hungry, Russia and etc had for the Jewish people. Yes, killing the Tyrant leader is a real world solution, but guess what? THE PROBLEM THAT ARE CAUSE BY THEM ARE STILL LEFT THERE EVEN DECADE AFTER THEIR DEATHS! Did Hitler and the Nuremberg Trials death? End Nazism in Europe and stop spreading to America and Australia? Had Gadhafi’s death ended the stop the enslavement of Black Libyans NOPE IT INCREASE MORE. Yes, Ozai deserves death for his crimes in the MODERN WORLD but guess what the Fire Nation is based on? IMPERIAL JAPAN, TOKUGAWA SHOGUNATE JAPAN  AZTEC EMPIRE, MONGOLIAN YUAN DYNASTY. OZAI IS FUEDAL WARLORD EMPEROR! HE IS COMMON PLACE IS ANCIENT FUEDAL ASIA. THESE MODERN DAY CONCEPTION OF WAR CRIMINAL AND EVIL FACISM ARE UNTHINKABLE! SOZIN LIKE GENGHIS KHAN SLAGUHTER MILLIONS OF INNOCENT PEOPLE FOR THEIR GLORIOUS EMPIRE. THE SHOGUN OF TOKUGAWA SHOGUNATE ORDER HIS OWN SON TO COMMITT SEPPUKU (SUICIDE) FOR HIS TREASOUS REBELLION. TZAR IVAN THE TERRIBLE STAB HIS OWN SON AND HIS PREGNANT DAUGHTER IN LAW. ALL FOUR OF THESE GUYS WORSE THAN OZAI DIED PEACEFULLY AND WORSHIPPED TO THIS DAY BY THEIR PEOPLE.

Ozai could have killed Hakoda, Bato, Mai, Ty Lee and had them thrown into the Boiling Lake instead he had them imprison even allowed them have sunlight and social time on the prison yard. By all means, Ozai should have had Hakoda and Bato drawn and quarted and disembowled  with their heads on spikes. Mai and Ty lee should be sent to the Royal Palace as possibly concubines or slave wards. AVATAR IS A KID SHOW WHICH IS WHY THIS DIDN’T HAPPEN!

Aang spared Ozai NOT because Ozai deserved it but because the Air Nomad ideal are WORTH IT! AND TO PROVE TO THE FIRE NATION THAT THE AVATAR IS NOT A RUTHLESS, KILLING MONSTER, BUT A KIND GENTLE YOUNG MAN! THAT WANTS TRUE PEACE IN THIS WORLD NOT BY THE EASY WAY OUT BY VIOLENCE AND DEATH... BUT THE HARD WAY: THROUGH NON VIOLENCE, PEACEFUL TALKS, AND LEGALLY PUNISHING THE TYRANT.

I'm still confused as to how Iroh can just chill in Ba Sing Se after trying to burn it to the ground a few years ago?? That's like Bush moving to Iraq lmao. Yet mainstream fandom acts like Iroh is an angel and the citizens of Ba sing se should be grateful while in reality he will be the most wanted by the Earth Kingdom after the war is over.

... Curious analogy about Bush O.o I’d say maybe he’s not outright Bush, since Bush wasn’t the commanding officer on the field... a quick wikipedia search tells me the one who led the invasion in Iraq was Tommy Franks, a now-retired general? :’D yep, sounds more like this guy moving to Iraq, then.

People have made many excuses about Iroh being free to live in Ba Sing Se because he helped liberate it from the Fire Nation in the end, and I’m not going to lie, narratively it’s not even a bad idea for Iroh to have dreamt he’d “take” Ba Sing Se in his youth only for the dream to have a completely different meaning than he thought it did...

... But that would only be genuinely sweet and heartwarming if he hadn’t been responsible for an actual 600-day siege on the city. 

It’s not even a matter of headcanon whether Iroh is seen as a war criminal or not: we literally have an episode in Book 1 where he’s captured by Earth Kingdom soldiers who are hellbent on making Iroh face justice for his actions. By Book 2, Iroh and Zuko acknowledge they’re criminals to both Earth Kingdom and Fire Nation authorities: they need alter egos so they can travel the Earth Kingdom freely, otherwise they’ll face obvious consequences. Therefore, Iroh was very much a wanted criminal, and for solid reasons beyond “he’s related to the Fire Lord”. That his later actions helped liberate Ba Sing Se from the Fire Nation can’t be denied, but it doesn’t mean he should have been forgiven automatically for everything he did in the past. Perhaps he could get away with some sort of pardon by the Earth King, but pushing that as far as “he can settle down in the city he had under attack for almost two years and live happily there with zero consequences” can be a little too far in the suspension of disbelief department indeed.

It’s those small things, really, that make Iroh’s situation so very wishful and not as well-written as it could/should be. Featuring him as a wanted criminal in one season, as a runaway living under an alias in another... and then as a welcome tea connoisseur in the next one, who lives perfectly happy in the Earth Kingdom because he helped end the war? I might have felt better about it if maybe the show had the chance to feature Kuei offering him a public, controversial pardon for his past crimes, but as it was, it felt like that ending was meant to whitewash Iroh beyond reason... then again, Book 3 at large whitewashed Iroh constantly, even when they were trying to show him as flawed they merely backtracked right away (in The Firebending Masters).

I guess it’s partly a problem caused by the writing room being so set on indeminizing Iroh and giving him a perfect ending... I mean, recently I’ve been seeing a lot about how Aaron Ehasz inspired Iroh on his stepfather, a man he deeply admired. This may be the biggest writing mistake I’ve ever seen by him, because while you absolutely can love your characters, and you can inspire them on people you love, merging both things together will easily skew your understanding of the character until the character just stops being fiction and becomes a mere stand-in for the person you love IRL. It’s no different a concept from Mary Sues and self-inserts that constitute a completely unrealistic idealization of the author themselves, only, in Iroh’s case it’s the idealization of a loved one through writing. And this, perhaps, can even explain why Iroh goes from goofy-occasionally-wise in Book 1, to generally-wise-but-still-mostly-funny in Book 2, to the absolute paragon and pinnacle of wisdom in Book 3 (despite half his wisdom is contradictory and even hypocritical). These changes in Iroh’s writing wouldn’t necessarily obey character growth and development, but rather, they would answer the Head Writer’s conscious or subconscious merging of the identities of Iroh and his stepfather, to the point where he obviously can’t acknowledge Iroh’s faults because that’d be a disservice to the stepfather he admired deeply... which, in turn, results in a disservice to the writing of the show, for Iroh’s accountability for his past mistakes is relegated to the burning of a flag and nothing else, and that’s beyond hard to buy.

I’ve also talked in other asks about the three facets of Iroh, it might shed extra light on why the fandom treats Iroh as they do, and why they disregard Iroh’s past crimes so easily while focusing only on how nice he is, how wise he is, how funny he is. It’s why they think this isn’t weird in the least, whereas once you detach yourself from the emotional component in the show slightly, Iroh living peacefully in Ba Sing Se ends up feeling like a rather poorly thought-out conclusion for the character. 

Imagine I wrote a redemption story for Ozai (... easier said than done, I know xD), where he ends up realizing where he went wrong and devotes his life to correcting his mistakes and help the world on a better path: if I sent Ozai to live happily ever after in a restaurant in Omashu, to say one thing, the place that was renamed for him and that used to bear a monument to his ridiculous ego, no less, people would immediately tell me I’m insane, no matter how well-written the story could be. And they wouldn’t be wrong to do so: it’s simply not reasonable to give a character who committed HUGE war crimes a simplistic happy ending without considering how much backlash and how many complications can arise from it. 

Seriously, imagine how many Earth Kingdom people will want to barge into Iroh’s teashop to yell at him because his actions got a relative of theirs, or a loved one, killed during the war? Imagine people outright sabotaging his teashop, even setting it on fire or something radical like that... it could happen! There’s seriously no reason to assume otherwise. We saw, in the Promise, a group of angry Earth Kingdom people yelling outside Yu Dao in protest to Zuko’s decision to keep the city as a Fire Nation colony: how many people would want to charge into the Upper Ring of Ba Sing Se to protest that Iroh has no right to live in this city, let alone to serve people tea carelessly when he’s responsible for so many awful deeds?

And there’s the other side of the coin: Zuko faces backlash on that same comic trilogy from the Fire Nation people, who see him as a traitor who’s selling out his people to the Avatar and the Earth Kingdom. Who’s to say some Fire Nation occupants of the city haven’t been lying low in wait to attack Iroh for his perceived treason of the Fire Nation, too?

In real life, usually tyrants and big war criminals run away someplace neutral and live their remaining days in relative peace while keeping as low a profile as possible, while knowing that if they step out of their safety zone they’ll probably be captured and held accountable for their crimes. In ATLA, they can open teashops in the very city they attacked for 600 days without a care in the world, and nothing comes of it :’)

Again, I blame the writing room’s unreasonable bias towards Iroh. Liking a character =/= giving them everything they could ever want without considering the character’s actual circumstances and the reactions this can elicit in the people around them. Hell, having Iroh setting up a teashop in the Fire Nation, close to the Palace or something, would make a bit more sense than doing it in Ba Sing Se + it offers him chances to advise Zuko properly, which Zuko DIRELY needs. But nope, instead we get what we got, and most people don’t even find it slightly strange because of Iroh’s three-faced nature :’)

Staff of Creation Theory Thoughts and Companion Theory

So, like most people in the Fair Game community, I’ve taken notice of the Staff of Creation Theory created by @fairgame-is-canon. To be honest, it took me a while to really believe in the theory -- no offense to fairgame-is-canon, he did a wonderful job creating it, and it’s got some serious backing by all sorts of great fairy tale meta. However, given how much of a blow 7X12 was to my confidence in the writing of RWBY, the new brand of pessimism it birthed in me felt that while the theory itself was good, it was also a stretch. But with more information being DISCORD-vered (Because puns) every day in the group page, I re-evaluated my feelings and started to think what I felt like a Clover resurrection would be like if this theory were true.

And as I thought on it, I found myself differing with the consensus as to some of the circumstances of the resurrection, namely Ironwood’s motivation for using it, how he would get the staff with the new Maiden, and the sacrificed being that would allow for it to happen. Again, I say this not as a slight to fairgame-is-canon, quite the contrary -- he’s one of the leading figures in the #CloverDeservedBetter movement, and I respect the hell out of him as well as consider him a friend -- but just as a fun ‘it could also go like this’ companion theory, so to speak. This one also won’t reference a lot of the meta aspects that back up this theory since that was all done by people far more apt to take it on than myself, but it will instead be focused on the story and character directions that would ultimately inform and follow this decision, in universe.

Now, with all of that said, let’s get to it!

The biggest point of difference between my version of the theory and fairgame-is-canon’s is Ironwood’s motivation for bringing back Clover in the first place. While I think it does make a lot of sense, I personally don’t fully subscribe to the theory that James will give his life to get Clover back. And to be fair, I think his thoughts on why Ironwood would bring him back are super well thought out -- I’m just coming out of V7 with a less than optimistic viewpoint over whether Ironwood can be redeemed at this point. I’m simply not really convinced he can be.

I can guess what you’re probably thinking: If I don’t believe James can be redeemed, then how will Clover be able to come back?

Well, I have a...darker opinion about how that’s going to happen.

To understate things, James is in a BAD spot right now. He lost control over the Winter Maiden, he no longer has access to the Staff of Creation (More on that problem in a minute), he’s all alone, his resources are exhausted, Grimm are destroying Mantle, and oh yeah -- SALEM IS ON HIS DOORSTEP WITH A FREAKIN’ GRIMM WHALE OF DOOM! So now, even his plan of retreating with the staff is utterly moot since Salem is -- again -- RIGHT THERE!

James needs a little bit of help, and a WHOLE LOTTA luck.

Say, wasn’t there someone who used to provide that for him?

So James hears that Qrow and Robyn were brought in, and goes to find out where Clover is, unaware that Clover’s dead.

But Qrow is fast to let him know that.

He SCREAMS at James for Clover’s death, swearing revenge in a rage. James doesn’t even know how to take all of this. Clover’s dead...he truly is doomed.

But during Qrow’s outburst, James notices something -- Clover’s pin in Qrow’s hand.

And then he gets an idea.

James confiscates the pin, and ignoring Qrow’s loud protests and promises of revenge, takes a walk over to the hospital wing.

He walks past Clover’s bed, oddly and notably offhandedly, and instead goes a few doors down...to where Winter’s hospital bed is.

Winter is apologetic for losing control of the Winter Maiden, but James is surprisingly not furious. Instead, he simply and stoically asks who the Winter Maiden is.

And whether intentionally or not, Winter reveals the answer to him.

It’s Penny.

With that revelation, the last piece of James’ plan falls into place, and far easier than he expected it to be at its conception.

Now, Penny may be the Winter Maiden, and emotionally, she’s a real girl first, but she’s also a robot, and a robot James has assured others in the past is under his control.

What if that wasn’t just fluff, said to comfort the already apprehensive council?

And what if, just like he did team RWBYJNROQ’s scrolls, James can take control over Penny whenever he wants?

From the safety of the airship, Penny is unintentionally propelled away from her friends and through the sky back to Atlas Academy. It’s absolutely HORRIFYING to watch, and tragic as even after receiving the ultimate moment of validation that she IS a real girl, Penny is reminded that real girl or not, she’s a robot at the end of the day and just as subject to a certain level of powerlessness as ever. Ruby stretches out her arm as much as she can to try and grab her -- she might even go into Petal Burst mode...but she fails.

James forces her to open the vault, grabs the staff, sacrifices a random minion of his (Or maybe Watts, and that’s why he kept Watts alive), and brings Clover back.

And the episode ends with James holding the staff, and a blinding blue light taking over.

The next one begins at the hospital. The flatline that is next to Clover’s body slowly springs back to life.

Clover wakes up in the same hospital bed that he was in in the previous episode, gasping as he recalls the last moments of his life. Instinctively, he looks to his stomach, which is now whole once more (Pun intended), maybe with a neat blue scar to match the staff’s color.

The nurses and doctors are astounded, and so is he but before they can say anything, Clover runs out of bed.

He's alive, and he needs Qrow to know that.

He RUNS to the jail and DEMANDS to see Qrow, pushing past the guards and running directly into the line of cells.

Qrow and Robyn are sitting in a cell towards the back when suddenly, Qrow hears his name called by an impossible person.

"QROW!"

Qrow and Robyn barely have a moment to register who is calling his name before Clover shows up on the other side of the cell.

It’s all Qrow can do to not lose his balance, and Robyn (Who is also more than a bit happy herself) helps him stay on his feet as he approaches Clover. You can see in Qrow’s eyes that he’s wondering if this is a dream, or if he’s truly gone insane.

But no...something gets through to him that this is the real Clover Ebi.

Through the bars, forgetting everything and everyone else just for this moment, they hug, unashamed of everything that they mean to each other. Qrow might tear up a bit.

Clover is about to call over a guard to release them, but then remembers...Qrow was put under arrest for more than just his murder.

That’s when both of them (Plus Robyn) ask how this is even possible.

And then, James comes in.

He tells Clover that he brought him back because he is his most loyal aide, and then directs him out of the jail cell. Clover really doesn't want to leave -- not without Qrow -- but James refuses. Reluctantly, Clover complies with James’ wishes, but before that happens, once James has left the cell, he promises Qrow and Robyn he'll figure this out and convince James to free them.

Throughout the volume, Clover comes to realize how fucked up James' priorities are, but still thinks his mind can be changed. During this time, he also visits the prison once or twice to confer with Qrow and Robyn. It's during those visits that we learn just why Clover trusts James so much. My theory is that James never made Clover feel like he was just his semblance, and was useful for his skills and kind heart.

But then, he inadvertently finds out that James indeed did only revive Clover for his semblance. James is stoic once this truth comes to light, and alongside the doubts that had already been overwhelming Clover over James’ priorities, this convinces Clover to finally leave James’ company.

It's exciting, non?

AND there's more

@whipped4qrow helped me out with this one

Clover then goes to the jail to finally free Qrow and Robyn...but they aren't there (Think Zuko trying to rescue Iroh in “The Day of Black Sun” in ATLA).

That's right! The Happy Huntresses freed them!

But Clover knows where they're going, and this time, he’s staying on Qrow’s side until the bitter end.

We catch up with Qrow an episode later, and after leaving the Happy Huntresses to pursue another Grimm, Tyrian finds him, and the two are set up for another fight. 

However, Qrow's all alone, and after fighting a bunch of Grimm (Probably not even using Harbinger), Tyrian is FAR more equipped to take him on than vice versa. He has Qrow on the ropes, but suddenly, Tyrian is propelled backwards by his tail, screaming as he flies through the air.

Qrow is on the floor, and panics because snow dust covers his vision. He’s unsure of what will happen next. 

But then, he sees a hand through the dust, and takes it.

And as the dust clears, he sees Clover standing there, holding his hand, and smiling.

“Need some help?”

Qrow smiles back. 

“You bet I do.”

And together, they beat the SHIT outta Tyrian!

I don’t have any real predictions beyond that, but I think this companion theory gives way to complete Clover, James, Tyrian, and Qrow’s character arcs.

...That’s all, folks.

Avatar: The Last Airbender (fic stuff)

Since I’m trying to work on something (ANYTHING!) and I seem to be in an Avatar mood of late, I’ll throw this up here.

These are fics, potential fics, and mostly-concrete ideas that have existed in the back of my closet for a very long time, since the good old days of watching ATLA when it was shiny and new and cool. Most of them are also so old that LOK didn’t exist yet or was in its infancy.

Note: These are mostly gen fic. If pairings come up they are not the central goal of the piece; they will be mainly canon as it existed at the time the fic was outlined. Treat them like the scenery (no ship war drama allowed in my workroom, that’s what stopped me participating in the fandom years ago).

I’d kinda like to put some feelers out and see what folks think would be most interesting to work on.

Read on:

The End of the Circle Post-canon continuation, my oldest ATLA fic, conceived and outlined before comics or LOK existed. Does some headcanon worldbuilding based on what was available at the time of the original series. Dragons and spirits and legends coming to life, oh my!

Status: outlined, some scenes written, firm endpoint, world built.

Summary: Roku warned Aang that he could not die in the Avatar State, or the cycle would end. Azula’s lightning killed Aang in the Avatar State. To their good fortune, Katara’s spirit water was able to bring Aang back to life, but there are Consequences—for the Avatar and for the world.

Wild Fire Canon AU/semi-rewrite. Also born before LOK was a thing so Druk doesn’t exist. It borrows some concepts from the idea of Toph and her badgermole family. It breaks some TLA canon around the edges but it’s all in good fun.

Status: outlined, many scenes, ending fully plotted.

Summary: The young Fire Prince was burned and disowned by the Fire Lord, cast away and abandoned on the hostile shores of the Earth Kingdom before his kindly uncle could aid him. Disfigured, angry, and lost, young Zuko finds solace in the wilderness when he is taken in by a most unusual protector: A dragon.

Phoenix Legacy Not-a-time-travel “time travel” fic. It was born after seeing Season 1 of Avatar LOK and...kinda liking it but not? (I mostly lost interest in LOK after S1.) And wanting to add some more classic feel to the season. No information from subsequent seasons was used to outline it (thus there is no Druk) but recently I have gone back and “fixed” Zuko’s daughter (giving her the correct name and appearance), and added her nameless daughter (Iroh II’s sister) for lulz. Basically a rewrite of LOK Season 1 with a TLA character along for the ride to shake everything up, because at the time I was disappointed that there was only Katara and no other Gaang members out there kicking the new Avatar into shape.

Status: outlined, a few scenes written, ending plotted; not to be a rehash.

Summary: A phoenix cannot die by fire—it can only be reborn. When Ozai claimed the title of Phoenix King, he had no idea what sort of spirit he might be invoking. When he lost his ancestor’s war and his crown, the spirit’s blessings were unknowingly conferred upon his heir: The hapless Fire Lord Zuko, determined to bring his nation to peace. Seventy years later, there’s a tragic explosion in a tea shop in Republic City, and exiled traitor Fire Prince Zuko wakes up to an unfamiliar world full of unfamiliar faces. The last thing he remembers is an Agni Kai under a Comet, catching lightning to protect a friend.

The Prince’s Prisoner Another ficling born before the comics or LOK were really a big deal and/or I didn’t know about them. Basically during TLA S1, rather than fleeing Prince Zuko’s clutches, Aang decides to remain his prisoner. The original reasoning for this was a kind of modified Peggy Sue: Aang effed up his final battle with Ozai for reasons, his soul is sorta sent back in time to do-over from his iceberg wakeup. The problem is that this is not a perfect process and he doesn’t actually remember everything, only some very important faces, feelings, and concepts. The idea of Zuko as a dear friend/teacher/trusted person is one of these things. Thus, in defiance of all visible logic, Aang trusts S1!Zuko with his life and keeps his promise to go with him. In spite of his Water Tribe friends continuously trying to rescue him, Zhao continuously trying to capture him, and Zuko himself continuously trying to avoid being befriended by his ticket home. (”I’m your prisoner, not anyone else’s.”)  Intended to be a funny and heartwarming friendship/journey story taking a different angle at the series.

Status: tentatively outlined with very few scenes skeleton’d out, season 1 definite, endpoint undecided but can continue throughout the series. The premise mechanic is a bit flimsy; it’s less concrete since it’s supposed to be fluff, angst, and friendship.

dragon!Zuko AU fic Everybody has to write one of these, it’s like a law. Here’s mine: Ozai’s cruelty during the Agni Kai with his young son invoked the wrath of Agni, bringing down a magic from a time before memory and no one knows if it’s a blessing or a curse. When Zuko’s face burned, the fire didn’t stop there, and when the flames went out a young dragon was left on the floor of the arena. Uncle Iroh came to his rescue before the rest of Court could gather their wits, and then had to get him on a boat and out of the Fire Nation before Ozai could decide whether to make him into a pet or a trophy. Part 1: Rather than going on a mission to hunt the Avatar, Zuko and Iroh are on a road trip to keep Zuko alive and secret from the world (Ozai wants to usurp his brother’s title of Dragon). Iroh and his crew end up raising this stubborn angsty dragon prince; since he can’t turn back into a human he has to come to terms with being a dragon most of the time (which can’t talk), and he can often be Very Dramatic about it. Part 2: Years later, there’s rumors of the Avatar’s return and Zuko (who has sort of learned to take a human shape again) sees an opportunity to spare his own life and go home by offering his father a bigger prize than a dragon’s head...

Status: very general outline, some scenes conceived and a general plot/endpoint. Part 1 is in the 3 years pre-canon, Part 2 is during canon, including the grumpy dragon hiding out in Ba Sing Se.

Years Gone/Avatar kids AU S1/pre-canon rewrite. Some whim of fate cracks open Aang’s iceberg three years early (a storm, a passing boat, pure chance?) and he tumbles out into the world in the same year that Prince Zuko was banished. Despite befriending some Water Tribe children who would love to go adventuring with him, he’s got to get home to the Southern Air Temple and that’s where he runs into young, angry, raw-wounded Prince Zuko on his first visit. The tiny chase ensues up and down the entire temple. Aang will of course be friendly but escape. And this begins a probably-ill-advised adventure with a lot of kids who are entirely too young to be camping across the world on a bison (but it’s exciting!), chased by another kid entirely too young to be leading a manhunt. The Comet is three years away so there’s plenty of time for adults to tear their hair out over this. Zuko is a tiny ball of determination, rage, and tears. Aang feels bad for him and tries to make with the befriending even as he’s dodging the fire tantrums. Occasionally during adventures Zuko just gets scooped along for the ride in Appa’s saddle, no one’s sure how these weird truces get called, but Iroh sips tea and directs the crew on a new heading and they’ll pick up their prince at the bison’s next stopover most likely after the kid pendulums back the other way and remembers he’s trying to nab the Avatar again. So Zuko spends 50% of the time yelling and chasing the Avatar and 50% of the time sitting in Appa’s saddle learning tentative smiles and being offered berries and seal jerky, all the way from the South Pole to the North. (It’s slightly terrifying to realize that Aang and Zuko are currently the oldest kids in the party and are actually in charge of this terribly irresponsible expedition.)

Status: general outline, a couple of scenes written, particular S1 plot points, no endpoint yet. Possible bonus content: Toph and/or Suki come along for the ride because why not.

The Blacksmith of Ba Sing Se This is a very old Lu Ten Lives! story. Lu Ten always knew Uncle Ozai envied him, but secure in his position he didn’t really care about it until he took an arrow in the back during the final battle of the Siege of Ba Sing Se. With unknown assassins among his own ranks and no safe place to retreat in the melee, the wounded prince decides to fake his own death by hiding in the rubble, and then swapping clothes with a slain Earth Kingdom soldier half crushed in the ruin. At first, it’s only to get to safety until he can get to the bottom of this. But Lu Ten is picked up by the EK medic teams after the surprising withdrawal of the Fire Nation troops, and ends up spirited away into the heart of Ba Sing Se—where he discovers that it’s hard to escape. He also discovers a whole new world, and a whole new perspective, and, keeping out of the authorities’ notice, eventually manages to make a life for himself as Chang the Blacksmith, a humble craftsman with a wife and kids. This...is much nicer than war, death, and Court politics. Years later: refugee Zuko walking home from his job at Pao Family Tea Shop runs across a little boy crying over his broken toy in the dusty street...

Status: nebulous outline with a few particular sketched scenes. Takes place mostly in Ba Sing Se, outcome indeterminate. It could be mixed with the Lineages concept from below.

Lineages / not Ozai’s kid AU Not really a concrete plot so much as a campy idea from long before the Avatar comics blundered through Ursa’s backstory. There was a phase in the fandom (I think the Search comics drew off of that) where it was popular to imagine almost anyone else than Ozai as Zuko’s Secret Real Dad (the boy deserves a better father) and Iroh was often selected as primary candidate. (I know, Iroh is already the real dad and stepped into Ozai’s cold empty shoes like a pro.) Me, deciding that I had to be different, decided to offer up Lu Ten on that altar. Justifications: Iroh and Ozai looked to have a pretty extreme age difference and there was no solid age for Lu Ten at the time of his death, but his picture looks mature enough. Deals with family secrets and the political issues of muddying the lines of inheritance in the middle of a war. Also takes a crack at Ursa having a clever hand with Azulon’s last will and testament on Ozai’s behalf, with provisos.

Status: nothing really more than a vague concept without enough plot to stand on its own. Without a viable framework, it could work better/well folded into The Blacksmith story, above.

I’m open to opinions and/or asks about these. Trying to get a spark going! (I need to be working in a fandom, ANY fandom at this point! ^_^;; )

CanvasWatches: The Dragon Prince

Netflix is making a live-action Avatar: The Last Airbender series.

Just… no? I realize time and development has been put into this. People are employed. But… the first series was magic, stop trying to recapture it.

Netflix has this problem where they want to propel themselves forward with original content, but that content is very mediocre. They try reviving old series and produce productions that disappoint.[1] The original concepts mostly fade into obscurity, are Stranger Things (which had one pretty good season, and then a mediocre second season), or is BoJack Horseman which I haven’t watched but haven’t heard a bad word about.

Then there’s their irritating handling of Anime.[2]

Netflix is willing to experiment and let creators do what they want. I admire that. But (and trust me, I hate to say this), they need focus testing. They need a stricter format. Edges for creators to bump up against and work around.

A standard season length, for one. An allotted time per episode maybe. Make production a puzzle to solve.

Instead they say ‘Let’s do the live-action Avatar series no one asked for, and is a passive insult to the original!’[3]

Which drags us into The Dragon Prince.

Spoilers! You might want to watch it for yourself (it’s nine episodes), but if you don’t mind spoilers, go ahead. I’m not the City Watch.

So, I think we’ve finally figured it out. We had Avatar: The Last Airbender, which was great. Then we distilled the creative staff, ran experiments and isolated elements.

Legend of Korra was good. Had the creators produce it, but not the head writer. The world was the same, but evolved in interesting ways. Good character concepts and real heart, but still missing the magic and character relationships that resonated so well in the first series.

Now, with The Dragon Prince, we get to see what happens when you isolate AtLA’s head writer, Aaron Ehasz.

You get a cliche fantasy setting, weak main plot, and a lot of cheap AtLA mimicry. But you also get some super charming child characters, intriguing (if not currently complex) villains, and small details that could build up to something great.

Which is to say: go to Bryke for the world and myth arc, go to Ehasz for the character interactions.

There it is! The ultimate break down! Let’s pack this up and…

Okay, fine. You want to hear my opinions on The Dragon Prince. That’s… fair, I guess.

So, in this setting, magic comes from six source: The sun! The moon! The Stars! The Ocean! The Earth! I think the sky?[4]

However, then humanity created a seventh magic! Dark Magic! Ooo, so evil, so dastardly!

Sigh.

Just once, I’d like dark magic to just be misunderstood. If they called it Life Magic, they’d probably have better PR.

Anyways, humanity went to war with the elves, but the Dragon King got sick of the fighting, so he sent the humans west, elves to the east, and divided the continent in half with a lava river.

Humanity didn’t really like this, so they killed the dragon king and his egg. So that’s vengeance.

Except this upset the elves because, y’know, murder’s bad. So they send a party from the assassin elf faction: The Moon Shadow Elves! They turn invisible under moonlight![5]

They’re gonna kill the Human king and his son to make things even. Because suddenly murder’s not so bad?

However, a member of the group is a child who couldn’t will herself to kill.

Basically, that cool and exciting setting you created when you were fourteen? Good news, it’s a Netflix Show now! Yay!

Also, the first season is Book 1: Moon.

And the title card is formatted exactly like Avatar, but with white text on a black background.

So the world isn’t special, and they’re deliberately aping some Avatar trappings. But that’s fine, there’s still the characters and plot. We could bicycle this!

So, what do we have with the humans? A beloved king with a dead wife and two children? Okay… both are sons,[6] so at least it’s not the usual nuclear structure. And, hey, the eldest prince is the king’s step son! Nice change.

Who else? King has an advisor that uses dark magic, suggested killing the dragon king and the egg, and talks above his station. But, hey, Lord Viren has two charming children, and he seems genuinely concerned about his king’s survival and the good of…

Oh, he gets a magic makeover in the final episode to make him look more inhuman, and spends the season plotting to take the throne.

Ugh. Of course.

Well, what about Viren’s children? Claudia is a mage like her dad, and is a cloudcuckoolander. Good choice. And she doesn’t do much that’s actively evil. We’ve got Ty Lee in Zuko’s role. I’m game.

Soren is… well, he’s going to be Azula. He doesn’t have her sadistic streak, but he’s been given the job of eliminating claims to the throne, is a competent combatant, and Viren motivates him with being in line for the throne.

He could turn, but my money’s on just being Azula.

Now, to be clear, Viren wasn’t obviously evil. There were plenty of early moments that hinted that he could be sympathetic and non-evil. However, he does spiral into torture and deceit, so once the season is over, there’s no ambiguity. Sorry.

Hey, what about the main cast?

Prince Callum is voiced by Sokka! Awesome! Jack De Sena needs more work. This time, he gets magic and impressive artistic skills! But he had to give up his sword abilities, and kept the daddy issues. But there’s still that snarky edge and loving brother personality, though the weight of them have been swapped.

He’s the half brother of Prince Ezran, who is the heir apparent of the kingdom. He’s… a goofy young boy. I dunno. Aang light. No overt talents. He’s fine.

So those two are hanging out at the castle, when suddenly their father tries to send them off to the winter cabin, despite it being not winter. He suggests made making a dirt man or going mud sledding.

Callum finds this suspect, and eventually logics out that King Harrow expects to be assassinated and wants to get his sons a safe distance away.

Meanwhile, the Moon Shadow Elves are planning their assassination, making a vow on a magic ribbon that will amputate a limb if they fail. Two targets: King Harrow and Prince Ezran to make up for killing the Dragon King and his egg. Even, you know?

Of course, they dragged a literal child along and had her make the same oath with the same ribbon, so screw ‘em. Child soldiers are bad.

This girl is Rayla. She’ll be the rogue of the main cast! Yay![7]

However, after making this promise, they find out she let a guard go so the humans know they’re coming. You’re off the mission Rayla! Turn in your fancy switchblades and ribbon!

Except the ribbon is magic and won’t come off until the job is done, so keep that I guess. And it’d be mean to take away your knives, so… look, stay at camp while the five adults go murder a dude and an actual kid.

Please remember, these jerks wanted to murder an innocent child.

Rayla decides to redeem herself, and sneaks into the castle. She finds the two princes, Callum attempts to martyr himself for Ezran, shenanigans occur in secret tunnels, and… oh, look, it’s the Dragon King’s Egg. Guess they didn’t actually kill that?

Well, let’s call the whole thing off!

Oh, nevermind. Rayla’s Uncle still wants to kill the king and prince. What a jerk.

So our three heroes escape the castle with the egg, planning on returning to the Dragon Queen. We got our mission!

Oh, and the elves killed King Harrow. So… that’s fun.

To be honest, I wouldn’t discount Lord Viren using dark magic to sidestep this. But he’s also trying to claim the throne, so maybe the king is actually dead.

Could go either way.

The kids head off to the royal cottage, where they stumble onto Callum’s aunt. She’s mute! (Maybe deaf, not one hundred percent on that, since lip reading was referenced but also some ambiguity…)

She’s a military General, fights with a shield, is super awesome, and I’m sad how Callum didn’t bring her into the scheme.

Like, yes, for the plot to work, Lord Viren needs to know the princes are alive and the boys have to be careful and having General Amaya know and supporting the boys would’ve caused other troubles.

But… c’mon Callum, literally signing to Amaya that Rayla is a monster and forcing the elf to do a Blue Spirit act is terrible. Like… they’ve established a sweet way for Callum to communicate a secret past her soldiers, and they didn’t use it for a sweet twist?

Ugh. Intentional miscommunication and unnecessary secrets. They are hitting a bunch of my hated tropes.[8]

The children run off and… don’t really do anything very interesting for a couple episodes.

The villain side of things is where the real fun is! General Amaya goes to the castle to report on the survival of the princes and stop Lord Viren from taking the throne.

However, Lord Viren offers her the throne. Again, how the scene is written and acted, I still found myself doubting what role Viren’s supposed to take. He seems genuinely concerned for the general populace, and offers compromises at every turn, and communicates honestly and…

I want Lord Viren to be a misunderstood good guy. I really want Dark Magic to not be an irredeemable evil. A story without a Big Bad, just factions with cross purposes would be great. There’s so many good escape routes for a more interesting story.

Then Lord Viren throws the man Amaya chose (her interpreter, Gren. He’s neat! I like him!) to lead the Prince Recovery Team into a dungeon, where he can watch Viren torture Rayla’s uncle for information.

Yeah… this is who our villain is.

In Gren’s place, Viren sends his children. Soren is given secret instructions to insure the princes don’t make it home alive, and Claudia is given secret instructions to prioritize the safety of the egg. So that’s our Zuko and Azula doing the Avatar hunt.

They have a fun dynamic as Soren doesn’t put much stock in magic and Claudia is an adorable dark magician girl![10] I look forward to more of them.

Now, back to the D&D campaign of the kids: Callum is trying to learn magic after stealing Claudia’s storm magic orb, and he’s pretty good at it. Rayla is worried about the ribbon cutting off her circulation and is an awesome rogue. Ezran… needs to learn healing magic so we can have a Cleric.

They accidentally drop the egg into a frozen lake and are afraid the baby dragon within is dying, so they head off to get help at a town. There’s a fun kid moment with Rayla turning a snowman into a snow-elf (it was a cute moment and Rayla needs more).

Then the group picks up a girl, Ellis, so abruptly that she might as well have been a player that joined between sessions. Ellis rides a giant puppy named Ava, so we’ve got a beast-master fighter!

Ellis tells the boys about a magic healer on the top of a scary mountain filled with scary monsters. With no options, the four go to the mountain.

They fight one monster, have some self reflection, get to the mountain, learn Ezran can talk to animals,[11] and the monsters there are illusions.

They get to where to where the healer is, only to learn that, nah, she’s just a powerful illusionist and Ava only has three legs.

The only way to save the egg is to hatch it. But they need a storm to do so.

Thus, Callum shatters his magic orb to release a storm, the egg hatches, and the titular Dragon Prince is able to gently bite off the magic ribbon Rayla couldn’t cut off with a magic sun knife.

(Either the dragon is magic enough, or saving the baby dragon was considered equal to assassinating Ezran).

Soren and Claudia use a spell to pinpoint the group!

Lord Viren inprisons Rayla’s uncle in a coin and transforms into an eviller looking form!

Also, there’s some mystery with a magic mirror? Cliffhanger stuff.

So… The Dragon Prince is not amazing. The dialogue and character interactions and relationships are great, but the story and world is paint by numbers.

The next season has plenty of room for subversions and interesting experiments, but… until I see it, I honestly think the show’s skippable in its current form. Filler episodes to build the world and characters would do a lot to help, and committing to nuances hinted at for Lord Viren would be great.

Also, hopefully they improve the animation. I’m not normally one to care about frame rates, but boy did the animation stutter a lot for a finished product.

It’s average.

Thanks for reading this review! Consider checking out my other writings, sending me comments and questions, check out my webcomic or RPG Blog, or whatever. Next time, Netflix is releasing an Anime I’ve been excited for nearer the end of the month. Keep an eye out for that, which will post to my Patreon first. I’m also slowly rolling out a Review of Digimon there!

Until we go flying with dragons,

Kataal kataal.

[1] Admittedly, modern fandom is filled with loud obnoxious people, but I haven’t heard anything good about Gilmore Girls: A Year in the Life, even from my less frothy-mouthed sisters. [2] If you’re gonna simuldub series in Canada, you can do it in the US, you jerks! [3] Everything can be improved. But actually remaking something just says the original wasn’t good enough. That’s why people hate reboots. [4] Can’t remember if that’s under the purview of the stars or not… [5] Which is Warcraft, Ehasz. [6] Unless there’s a spoiler with Ezran’s voice cast. [7] Canvas likes playing rogues. [8] Let’s see if season two can get inappropriate student-teacher relationship![9] Then they can get a free sandwich. And my eternal ire. [9] For the record: when Claudia inevitably defects and starts teaching Callum magic, that’s not going to count. The two are close in age and it’s not an institutional power imbalance. [10] I want a show about Claudia, Rayla, and Amaya on awesome adventures. [11] He’s a druid! Learn to heal, nerd.

Morning Thoughts

October 1st 12:26 AM ESTBy: Astoria Cathryn Andromeda

Yo yo it's spooky season.

This concept is something I learned about two days ago. It's from DBT, but it's very mindfulness meditation Buddhism inner peace, so I vibe with it.I have always tried to be like a really well-rounded person like in high school I was smart, a varsity athlete, a social crowd, a music thing, the church thing, an intellectual. But then I realized that I think in very very extreme black and white, and then I found out I'm autistic so it made sense lmao. I pride myself on being able to be in the middle and see both sides, and I still think that is true about me. However, I am an extremely passionate person, and therefore all my opinions often rather be passionate or if you would like to call it dramatic. I'm a Slytherin and I always have been every time I have tested, so honestly, I take it as my fucking aesthetic. If you don't know what I am referring to, although I find that almost nearly impossible, here is more information. :

"Slytherin is one of the four Houses at Hogwarts School of Witchcraft and Wizardry, founded by Salazar Slytherin.[1] In establishing the house, Salazar instructed the Sorting Hat to pick students who had a few particular characteristics he most valued. Those characteristics include cunning, resourcefulness, leadership, ambition, pride, fraternity, determination, and self-preservation ""Or perhaps in Slytherin,You'll make your real friends,Those cunning folk use any means,To achieve their ends."—The Sorting Hat[src]I am 100% ambitious, resourceful, determined, and ya I always got a safety net, and yea I'm prideful definitely one of my fatal flaws, that and self-deprecation. I am not racist though, for those who read the books, that's definitely some nazi shit and well I am literally autistic like straight to gas chambers I would have gone. Speaking of, I'm sure you've heard of Asperger's syndrome, and maybe you were wondering does she have Asperger's syndrome? First of all I don't, well ya I do if you go off it's definition made by Hans Aspergers on deciding which autistic people to send to death. Yeah he was a shitty guy, I mean he was a nazi, and he was like basically if you're smart and autistic you can stay because you might help society, and he just like set an iq=level, so definitely not cool, not a thing we should use anymore, very harmful to categorize people on their supposed future contribution to society.Everyone over the past two months, has just decided to jump back into their middle school harry potter phase on tik tok, and honestly I'm vibing. I always had a thing for draco malfoy, but then again I'm an absoulet whore for enemies to lovers trope, and Zuko from Avatar the Last Airbender got the redeeption arc that Draco Malfoy deserved. She who shall not be named was just super prejudiced, so he never got one and old creepy I bully children and hold not my wife's dead body got one. Like yes I get it he had a very abusive childhood, but that doesn't mean you get to give trauma to children. If you aren't on tik tok and don't know what i am referring to, it's a lot of fanfics, roleplay, and fan cams of harry potter characters. It's very wattpady and I love it. I think everyone like pretends to be like wattpad is so cringy or fanfictions or whatever or I guess used to, but people my age are like full force embracing it and I love it. Like you do you. You enjoy stuff without societal pressures. So here's my thing of the day, go do thing you love, or think about a thing you love, or read or watch a thing you love, just go enjoy some shit. It's your life my dude. Don't worry I'll leave

eye candy.

oops dropped some  

more.

oops

I am so clumsy

Also don't forget to

appreciate my main man who lived.

Fullmetal Alchemist: And Why I’m worried Avatar has spoiled me.

SPOILERS!

This was the series more than any other anime I had seen that I was hoping that could live up to the quality of the Avatar franchise. It was an Action/Adventure series about the same length as both series and it was even TV-PG, allowing even darker situations and themes, and it had a strong starting concept. Once again, however, I was ultimately disappointed.

The Humor. This is a rather small complaint in the grand scheme of things, but I felt the humor in FMA fell pretty flat most of the time. I think there are two reasons for this, first most of the jokes are just repeated time and time again and are the one comedic note a character has. Edward gets mad when someone calls him short, Armstrong has his weird physique obsession, and Hughes loves to go on about his daughter. The other issue is the tonal shifts the humor creates. I’d describe the humor in FMA as exaggerated, with background changes, chibiesque faces and other anime humor tropes. However this doesn’t really gel with the serious and dark tone of the rest of the series, this is why the humor seems to work better in the small number of “comedy” episodes such as the Flame Alchemist. Compare this to both Avatar series. In each, characters also tend to derive their comedy from one particular place, but it isn’t limited to a single joke. Sokka has his cynical sarcasm, Toph has her blind jokes, Katara has her deprecation of her brother, Bolin has his naive silliness, and even Mako get’s his overly uptight attitude and awkwardness. But they don’t just repeat the same joke over and over and the reactions of others is also a huge part of the jokes, from annoyance to anger to confusion. Additionally the jokes don’t tend to break from the tone too much. Sokka’s sarcasm is usually a result of the bad situations he tends to wind up in, and Katara tends to get on Sokka’s case when she is annoyed at him for some reason. These jokes are also much more subdued and realistic, they feel like real human beings who have these personalities would say these things in the situation they are in. In FMA, most of the time, it feels like characters become caricatures whenever their humor moments emerge. Also, a lot of humor relies on the reactions of other characters with FMA it's very easy to predict the over the top reactions that will happen. One of my favorite jokes in Avatar is when Bolin is checking to see if Aiwei is in his house “He's not home. Or he's hiding in there. (gasps) Or he's invisible.” To which Mako gives him an amazing look of annoyance that is simply expressed in a pursed mouth and a cocked eyebrow but the timing and sincerity of it always make me laugh.

2. The Pacing. FMA has a problem I rarely even talk about or notice, because I tend to find as long as the pacing is consistent it doesn’t matter much how fast or slow it is. With FMA the pacing is all over the place. At first The Pacing was quite good, letting a single story last only 2 episodes at most, but shifting from a continuing arc to one off episodes relatively well, though the time skip is bizarre. However this changes once the Lab 5 arc begins. 4 episodes are almost entirely in one building over one night with a continuous story that creaks along at a snail's pace. This was the beginning of the longer arcs that would mostly comprise the rest of the show. The worst offender was the Izumi arc which lasted 8 episodes, and the locations that were visited were: An island, a house, some streets, a meat shop, a military base, a bar, a mansion and some sewers. Basically each episode averaged one new location. By comparison, the Ba Sing Se arc in ATLA minus Appa’s Lost Days, was 7 episodes and covered many more locations: The Drill, the outer walls, the lower ring, a tea shop, Zuko’s apartment, the Gaang’s house, the palace, Lake Laogai, a zoo, a haiku club, a restaurant, a fountain area, a spa, The Dai Li headquarters, The Jasmine Dragon, The Water Tribe camp, The Eastern Air temple, The Catacombs and several other locations. Additionally, The entire second half of Book 2 could be considered a single arc that’s 11 episodes long from The Library to The Crossroads of Destiny, however while there is an overarching plot, each episode also has it’s own plot where a number of aspects are resolved each episode, making each feel like a complete story even if the larger story is only slowly developing. FMA has a habit of arcs essentially being one story broken into a number of parts which tends to kill the pacing. It could be argued that LOK is essentially 4 season long arcs going from 12-14 episodes each. While this is technically true, each episode feels independant from each other while also building on the overall plot. While people complain that the pacing gets slow in the middle of Book 2, it isn’t as bad as some of the FMA arcs and bounces back quite well in the second half. And Book 3 is one of the best examples of a slow buildup with an amazing payoff that I’ve ever seen.

3. The Villains. I’m going to be blunt here, the villains of FMA are pretty bland and boring, which is a real shame.There really isn’t much going on with these villains, at best they aren’t completely one dimensional and have some tragedy in their backstory. At worst they have one, continuous boring note they hit and that's it. This is such a waste given the naming convention for most of the villains. We have 7 villains named for the 7 deadly sins, there is so much that could have been done with this, exploring the nature of these concepts from the obvious to the imaginative, to the subtle. We could have seen how a being that is supposed to be an embodiment of a vice interacts with humanity, or how these supposed vices could also be virtues in certain situations. There are a million things that could have been done with this, but for the most part this just plays out as: a guy who will eat anything, a woman who dresses kind of sexily, and a woman who talks like she just woke up. One of the strengths of Avatar are the villains though each series handles them in different ways. First, ATLA tends to have more traditional villains, save for Zuko, though Azula teeters the edge between traditional and humanized, though this is what makes her one of the best villains in fiction by combining pure evil with humanity and tragedy. Back to my point though. Most of the villains are pretty simple, and all of them are essentially aspects of Ego. This is the exact opposite of FMA, taking one concept and exploring it in different ways. Zuko is about the infliction of one's ego on another person and how that can screw someone up and learning how that ultimately, feeding that ego won’t lead to real contentment. Zhao is a bully who enjoys inflicting suffering on others to boost his own ego and his actions both for and against his nation's interests are simply to serve his delusions of grandeur. Long Feng is all about control as an extension of his ego, he rose up through society to prove himself and demanded complete control of Ba Sing Se as an extension of himself. Azula is about the control of Ego as well as how it becomes a defense mechanism to replace a lack of love from those around her, showing how it is ultimately unsustainable because when it is stripped away there is nothing left. Finally, Ozai represents the power hungry nature of Ego and how it will never be satisfied, abusing and manipulating those around him for power and eventually being driven close to madness by a belief in his own power and invincibility. I love this aspect of ATLA as it examines all the aspects of Ego from subtle to extreme, with Ozai being the climax and showing just how terrifying and horrible an absolute devotion to Ego is. LOK takes an opposite approach, each villain represents a different ideology that is taken to an extreme but also humanizes them more than in ATLA. Amon represents how a devotion to extreme equality is misguided as it requires punishing the naturally gifted even though they may choose to use their gifts to help others (Like the Krew) and that in any political movement a figurehead is required and it can be the ultimate weakness. On the other hand it also shows how Amon started as a good person whose ideals were warped by abuse and even though he wants to try and start again he is ultimately killed because of the inevitability of repeating the mistakes of the past, while he may want to change in the moment, all it takes is temptation for the whole thing to start over again. Unalaq is a pretty boring villain but at least he does believe in the need for spirits to be a part of the physical world only taking it to an extreme. And we at least got Vaatu as a pretty cool embodiment of ultimate Darkness and Chaos. Zaheer is extremely interesting in how humanized he is without giving him any real backstory. All this comes from his actions which reflect someone who cares deeply about his friends and loved ones and genuinely wants to help people, but is also ruthless and willing to do ANYTHING to get his way even if it is hypocritical. He also represents a kind of violent Individualist Anarchism that is relatable in how it advocates for total freedom in the midst of an extremely oppressed society. However, it fails to account for how people, especially those who have been oppressed for a long time, don’t tend to act responsibly. More importantly, most people want safety more than freedom and are willing to turn to a horrible dictator to feel safe if necessary. Which brings me to Kuvira, a representation of Fascism who emphasizes Strength, Order, and Military might, from her jackboots to her mechanized army, with a face that could cut glass and an intimidating voice that will make you pee your pants. Seriously, while Hitler was a powerful Orator he didn’t have much else going for him, Kuvira is like if an Übermensch was also the Fuhrer. But beyond that, while her humanization is limited, the final reveal of her character while minor, ties all of her actions together as someone desperately seeking validation in opposition to her abandonment complex. Seriously, look at how long I went on giving just a brief description of each of the villains of Avatar and I could go into much more detail. FMA’s villains are so boring that I could use the same space to write about every single detail we know about all of the villains from backstory, to powers, to motivations and I would at most miss a few minor details.

3. The Plot. The plot starts out simple and interesting, however it eventually becomes way too convoluted with multiple factions with different motivations and goals that aren’t always made apparent so that we aren’t always certain what is going on and why. While it is okay to have some of these things, too much and you start becoming unsure what exactly is going on in relation to everything else. Another unfortunate effect of this is that there are a number of plot points that revolve around one group knowing some information that other groups don’t know. Again while occasionally okay, it is done too much. ATLA has a very simple plot with only a few twists occasionally, but for the most part, most episodes are self-contained stories so it’s difficult to get lost. LOK has more complicated plots, but each one only lasts 12-14 episodes and there is still plenty of stories that wrap up well in one or two episodes and the plots are all pretty interesting and engaging.

4. The Characters. This is more of a mixed bag, I like both Edward and Alphonse and think the relationship between them is pretty great. I do wish the show had taken more advantage of this and focused more on it, because the closest I came to crying watching this show was early on when Alphonse quietly lamented to his brother how he can’t feel anything anymore, specifically he can’t even find physical comfort in his own brother. However there are way too many side characters and most of them are kind of boring and onenote. A huge red flag for me is when Hughes died, this was probably the most likeable of the side characters and this should have been gut wrenching, but I only got a little misty eyed and mostly because of the kind of exploitative child crying during his funeral. It also feels like a number of characters who were supposed to have a bigger arc really didn’t, like Scar who winds up not really changing at all and stupidly plays into the villains’ plans. ATLA was pretty smart in knowing how to handle characters, have a small number of complex main characters with a ton of minor characters with a lot of personality who aren’t seen often, so they are memorable but their schtick isn’t over used. LOK didn’t have quite as interesting main characters, but made up for it with great side characters such as Lin Beifong, Tenzin and Varrick.

5. The Fights. While decent, I got rather tired of Ed using his arm blade to fight and all of the other Alchemists using just one ability the same way over and over. While I understand the specialization of the Alchemists, I wish they would use other abilities more or use their specialization in more creative ways. Avatar was always excellent about coming up with creative ways to use bending from the specializations, to just the imagination of how to use bending from utilitarian such as using sweat as water, to the fantastic, such as firebending magic shows.

6. The Tone. While FMA is praised for it’s dark tone, I think it has a habit of kind of wallowing in it’s darkness too much, especially in regards to the Ishvalan war. While it’s good to have dark moments and even an overall dark tone, I found FMA to not really utilize it’s darkness well. I often felt like the darkness was just dragging everything down into a kind of depressing miasma. The best example I can give with Avatar is Korra Alone which is the most consistently depressing episode of the entire franchise but it is all born out in Korra’s character whereas with FMA it’s mostly worldbuilding/ character development for side characters and doesn’t go into it enough to really justify how relentlessly dark it can get.

7. Winry. Ok this mostly comes up in one episode: Her Reason, but it is essentially just an exaggeration of her normal problems. She comes off as selfish, conceited, and acts like the world revolves around her. She doesn’t consider the emotions of others and never apologizes when she makes a mistake, letting those around her take the blame. At best she just comes across as a kind of boring love interest. Compare this to Avatar, where even the most love interest focused characters such as Yue, Suki and Opal are still pretty strong characters even if they aren’t super deep. And they have the ability to rebuff their love interests if they are acting like jerks without resorting to violence, something that Anime characters seem to have difficulty doing.

8. Izumi. OH MY GOD. If there is one thing I HATE about FMA it is Izumi. She is hateful, hypocritical, uncaring and oh yeah ABUSES CHILDREN! Now I get that in a dangerous world sparing is necessary even if they get their butts’ kicked. However, leaving two prepubescent boys on an island by themselves for a month with a guy who kicks the crap out of them IS ABUSE and no life lesson is worth the trauma that would have resulted from this in real life. There is also the insufferable tendency of the show to follow up her abuse with kindness which is the exact thing an ABUSER would do to fuck with their victims emotions. I could go on for awhile about Izumi, but instead I will compare with Avatar. Iroh is one of the most amazing characters in fiction, at first he may seem like the wise old mentor stereotype but it's quickly apparent that he is a bit of a goofball, but also deeply kind and caring, even putting up with his largely ungrateful nephew. And as we learn, Iroh used to be a very different person and his journey reflects the journey of other characters. In LOK we have Tenzin who is a rather flawed mentor in that he takes himself way too seriously and is rather inflexible in his ways. However he deeply loves his family and culture, learns a lot over the course of the series, and while he is a bit stiff he is also kind of a doormat so that even when he is acting his worst, it never comes across as malicious because if people were really fed up with him they could just ignore him and all he would do is harumph.

As for the Movie, all I will say is that while I liked what it did with the kind of silly plot point at the end of the series. However I don’t think it did enough with it, I wish that most of if not all of the characters had been universe swaps. And in addition, I wish it did more with this concept, turning Hughes into a stick in the mud, single, Nazi was a bad move. It would have been fascinating if they kept the same characters but showed how might they react in a vastly different situation. For example what if Hughes was his usual self, with a family, and because of this he is terrified that the weakness of Germany is a threat to his family, hence why he would reluctantly join up with the Nazis. Ideas like this could have given a lot of depth to the story. Oh, and the villain sucks. Yes FMA made a dimension hopping Nazi boring, with her entire motivation tying into the on the nose moral of “Racism is bad M’kay?”

However, despite all this, I don’t think Avatar has spoiled everything for me. When I look back to Trigun I remember how invested I became in the characters to the point of being moved to tears on multiple occasions and I consider Vash, Wolfwood and Milly to be characters I will always remember and love.

Storm (Aang x Azula) (request)

A/N: This short story is dedicated to @hadecharon93, one of my faithful reader who has always supported me and my work with patience and giving feedback, always aimed at moving me forward. I am tremendously fortunate to have such a person stuck with me all the way along. Last, but not least, I am grateful for her participation in my dissertation survey which I hope to show my gratitude through this story. 

At her request, this story is written from Aang’s POV and homage to ‘A Double Edge Sword’ written by the lovely author, sablefalls, who has touched many readers with his/her effort, depth and thoughts (s)he had put into the story. 

“I’m thinking of releasing my sister.”

He reacted to the news more calmly and accepting than Katara. Aang appreciated that Zuko was sharing his intention with them and, in his own way, asking for their opinion in the matter which he will undoubtedly carefully weigh against his own. Katara reacted much more strongly; primarily concerned with his safety and to an extent, his sanity, they knew will suffer under the hands of his sister.

“It’s up to you.” He said after a moment of thought in silence, earning himself a disapproving frown from Katara. He knew Zuko was burdened with the pressure and danger that entailed with the status of the Fire Lord – a sentiment neither he nor Katara would ever understand other than someone who grew up in such environment. Azula.

Politic was a dangerous territory and feud that went on between had ruin many others that was caught in its cruel crossfire. Zuko and Azula, in particular, had been the creations of such struggle. He would never understand what made someone want to kill one’s own blood in the name of power. The Royal family of the Fire Nation has been the subject of envy and veneration from the nobles and the people of their own and other nations. After all, they had it all – the wealth, status and power. He heard a saying from a passing by traveller that ninety out of a hundred of life’s problems can be solved by money. With that logic, Zuko and Azula are burdened with a mere ten out of a hundred problems and consequently, should be nine times happier than others. But he knew, at least to those two, that ten life problems was an anchor heavier and much more difficult than ninety of normal person’s problems.

So you didn’t only live happily up till now. Seeing…that your heart has been broken into pieces. He thought as he stared into her golden eyes. There was something alluring about those colours that never failed to capture his attention. Perhaps it was something held in those golden orbs than its peculiar colours.

He heard from the nobles and servants of how insanity ran in the Royal blood; of their doubts in the Fire Lord’s decision to release his sister; of the stories of the princess as a child, how competitive and heartless she was compared to anyone else and how once she butchered a bird into pieces and left it in the cage when she felt bothered by the noises.

Who would ever love such a damaged woman? They whispered, when her hands were soaked deep in blood.

He carefully studied the way she loomed over Zuko, her hands calculatedly positioned on his body in sisterly affectionate manner and her lip just a shy from touching his ear as she, as he experienced, spew venomous words in such a sweet manner. Despite her deceivingly frail looking appearance, he was aware she was more than capable of protecting herself against handful of men. Her prowess to do physical damage was impressive, but her true ability to inflict long lasting scars remained within her sharp tongue..and those sharp nails of hers.

She reminded him of a snake, a solitude kind of creature willing to strike their own kinds if needed. Trust never came easy to her. A friend, she scoffed at the concept, there was no such thing as friend in the court. Simply, there were two kinds of people; someone who stood in her way pointing the sword at her and someone who stood by her side with the sword behind their back ready to strike her down when she’s at her most vulnerable. Aang knew she loved her brother in her own way, shown in her willingness to dirty her hands for him, no matter how twisted that love was, after all, he was her only family member beside her father whom he knew little about their relationship.

And now this dangerous woman stared at him through her long wet lashes, her golden coloured eyes melting with the thunders in the background as he became hyper-aware of her touch on his bare skin. Her touch left trails of burning imprint as if to leave her brand on his skin. He’s caught in her eyes that is the storm and he knew he fell in too deep and he’s broken by her.

A/N: I hope this story was up to the satisfaction as it had been quite difficult to write this. This is my first try at this pairing which is full of angst, passion and dichotomous dynamics that are an endless subject of my fascination.