#potentially showing a sympathetic side to zuko immediately

[cyanide-sippy-cup]

The new show seems to be making quite a few decisions I'm not a fan of, however I will say that no matter how bad or different it gets, at least it (so far) looks like The Last Airbender.

[autisticzukka]

what is this hakoda zuko arranged marriage you speak of? i am intrigued

okay so the long story short is that it’s a slight rebuttal of a popular post that is very fun but i find like... unrealistic in a really intriguing way like, how would this ACTUALLY play out. I’ve talked about it at length in my server a few times, and it’s one of those AU’s -- like the genderbend zukka ATLA rewrite or the zukki fic that starts with sokka failing to assassinate zuko -- that lives rent free in my head and I’ve written a couple thousand words for.

tw for like VERY unrequited zuko in love with hakoda and the inherent comedy of sokka being in love with his fire nation stepmom.

so here’s hakoda, chief of the southern water tribe, happily not-married to Bato. and here is a more balanced war, where the north and the south are actually  allies, rather than whatever the fuck they were in ATLA. Yue already has a fiance and the Northern chief refuses to remarry. that leaves hakoda responsible for biting the bullet and doing a political marriage even though, as he points out at length, he is an elected official and if he stops being elected it’s no longer a marriage with the chief of the south pole. intelligently but mostly selfishly motivated (yue’s fiance is his nephew, after all) pakku points out that its not like the fire nation knows... that. the fire nation is dumb. ozai’s stupid.

faced with such inarguable points hakoda stiffens his upper lip, pre-emptively ends things with bato on the understanding that if this is another kya situation they’ll get back together and that he’s still the most important person to him but the tribe comes first yada yada, and deals with katara throwing the mother of all tantrums. it is slightly softened by the fact that in return for him marrying the fire nation noble, a thing everyone can agree isn’t traditional, the north has finally agreed to train katara. she heads out before the wedding, in protest but also so as to not cause an international incident.

(on her way, she’ll find aang. with the war less dire, katara will be sympathetic towards his desire to live without committing violence, even if she deeply can’t relate. they’ll have a hot girl romcom summer of self discovery and coming to terms with the dichotomy between duty and love as they become master benders. at some point they pick up toph. they ARE a throuple.)

sokka meanwhile is like.. not cool with it.. but ? kind of relieved? like. he’s the eldest kid. he’s 18, and he’s been a man of the tribe as far as legalities for several years. it would have been entirely understandable if his dad had asked HIM to do it. he had his emotionally crushing romance with yue, and as much as he was like ‘im kind of a prince’, he finds he doesn’t actually want some of the responsibilities and demands that would bring. yue’s life sucks.

back in the fire nation, zuko never demanded a quest and never went on it. he’s spent years hardening into something that, while brittle, can survive the pressures of the court around him. he still has his scar. he still wants his father to love him, but he knows by now that it’s not something he’s capable of earning. he watches his sister, never the most stable person, start to have complete breakdowns of sanity once she hits puberty, and helps her cover for it and receive medical treatment on the down low. he’s the heir, but he lives knowing that if he was ever in a position to inherit his choices are to abdicate or have the baby sister who he raised kill him and destroy herself and the country in the process.

when he realizes the plan is to marry azula off rather than someone more reasonable-- mai is RIGHT there, for fucks sake-- he doesn’t realize ozai’s true intent is to fuck this up through malicious compliance and false shows of good faith. he panics, and does the zuko thing: he blurts out that this is unacceptable and immoral and she’s only 16 and Ozai sees the true opportunity for two birds with one stone. send zuko, let him piss someone off so badly he gets killed or divorced, and he gets rid of zuko from the line of succession permanently. there are those who are incredibly attached to teh idea of a firstborn for firelord, and it’s been a constant thorn in unpopular ozai’s side to nto be able to name azula his heir apparent without costly rebellion. but if he can taint him in the mind of the fire nation so much that birthright is easy to supercede-- yeah. this’ll work PERFECTLY.

so zuko is sent to marry hakoda, chief of the water tribe.

literally NO ONE was expecting it to be a member of Ozai’s immediate family. besides the fact that his oldest child is half hakoda’s age and his brother has 20 years on hakoda, it would have been sus as fuck - the treaty is not favorable enough to grant that kind of secession of interests. it becomes quickly apparent that this young man -- hakoda reminds himself of that repeatedly. not kid. not kid. young man. don’t think of him like a kid, it’s hard enough on both of us already. -- is not a horrible threat. he’s scared shitless and shakes with what he thinks is bravado. he’s desperate to make the marriage work. he’s desperate to not go home. he’s got a giant fucking scar on his face from where the fire lord punished him for some grievous but unstated offense.

zuko “daddy issues” fire nation sees his husband to be and, despite being scared shitless, immediately begins to soften a little. like... he’s not nearly as scary as he thought he’d be. his face can be stern, but it just as easily breaks into huge smiles, and his eyes are crinkled with laughter. he’s incredibly handsome. and his biceps are. his biceps. are. his hands are...

like. zuko thinks. okay. maybe. maybe his marriage duties. won’t be so horrible as he thought. maybe he’s ready for this. and he knows what to expect, Uncle had discreetly provided him the means and the contacts to acquire an intimate education in the whirlwind of activity that was the two months before leaving. and like, once he’d gotten past the nerves, it was often even... good? or at least... not bad? he thinks that even if hakoda isn’t a professional expert, he has a certain.... je ne sais quoi, if you will.

((DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF DILF))

sokka sees his new stepfather and immediately falls in love because he’s that kind of dumb bitch. (the core of this au is that i cant breathe thinking about sokka falling in love with his hot young stepmom his age who his dad doesnt even want to fuck. like. i CANT. sokka masturbates to ‘hand caught in the washing tub’ fantasies which are even more absurd for requiring zuko to be DOING LAUNDRY. i find it so funny.)

bato watches them at the wedding feast while hakoda is very clearly trying to treat zuko as an Equal Adult Partner and mostly managing to seem like someone having a serious conversation with a seven year old about the game they’ve made up. zuko is clearly enamored with it, soaking up the attention, blushing and doing his best to Bravely Flirt, which at one point includes awkwardly attempting to feed Hakoda by hand. bato has to excuse himself to have a teary eyed giggle, hoping that Kya is in the spirit world looking down and laughing with him. he can’t resent the kid even a little bit, when hakoda is sitting there looking so incredibly fucking befuddled as to what he’s supposed to do with this star struck infant he’s legally wed to

anyways all of this... is very funny. their wedding night... is less so. zuko does not take the rejection from hakoda very well, especially because he’d been caught wanting. HE’S the one who should be rejecting hakoda. and he catastrophizes almost immediately about his potential value to the water tribe, his future treatment, that endless inescapable freezing cold loneliness is the good ending for him here... hakoda, meanwhile, drops zuko off at his home, reassuringly informs him that there’s NOTHING else expected of him and he will be well taken care of, and books it to bato’s. bato refuses to let him in on grounds of ‘you can’t sleep under the same shelter as me on your wedding night to that kid, have a fucking brain’, and he ends up crashing at sokka’s.

sokka, who had KNOWN that his dad wouldnt, but also upon seeing zuko and zuko’s awkward flirting was like... but how COULDNT he???? sokka is relieved.

the core of this fic is that i find it endlessly hilarious for zuko to try and seduce his husband while sokka simps around zuko and bato tries to be heartbroken or betrayed but mostly ends up with a giant case of hysterical schadenfreude. but the thing that CLINCHED it for me, like THE scene. several years after being married, settled into their life. they’re partners and they see each other as people. and zuko just fucking snaps one night

he just kisses him, desperate and clawing and climbing and maybe a little drunk. he knows hakoda is going to push him away, maybe even hit him, but he doesn’t care anymore, he doesn’t care. he can do anything he wants to him as long as he just-- finally does something. zuko is 21 and married to the surface of the sun and the surface of the sun jr is his best friend and clearly in love with him-- so clearly not even zuko can miss it-- and like. listen. listen. zuko is not a patient person. but he’s been patient for this. he waited and he matured and he is a fucking amazing husband and he wants this, he wants him. he wants to be wanted.

but hakoda doesn’t push him away. hakoda doesnt yell at him, or hit him. hakoda gentles the kiss into something soft and closed lipped. he pulls away slowly, and his eyes are so sad for zuko, so pitying. he strokes his cheek with the back of his hand so gently. he says, I’m sorry. I don’t want you.

and zuko daddy issues fire nation swallows

and he nods

and he leaves, even though its his own fucking house

and he knows he’s never going to be good enough

like FUUUCK i am OBSESSED WITH THAT

[somestorythoughts]

Avatar Villains

One of the best things about The Last Airbender and the Legend of Korra - and I know that’s a long list - is that good and bad are complicated, and overall they’re complicated in different ways.

Aang and his gang are dealing with a main threat, Korra deals with a different threat each season that’s an obvious difference. The Fire Nation Aang faces is imperialistic. We see when Zuko challenges a general in his father’s council that choosing sacrificing a part of the army is considered reasonable by most of the council, and later that the Fire Lord had no problem publicly scarring his son for speaking out. Then there’s general Zhao who is gradually progressing through the ranks and whose strategies would probably fit in perfectly with those of the council. It seems that several of the people who advance in the Fire Nation do so through that cruelty, and at least a few are just evil.

But you also have Iroh, who is honorable and may not have immediately started as a rebel but is always shown to be displeased with the way things are progressing. You have Zuko who despite his mission still has honor. And we see them early on, and much later get to the complications of the winners writing the history books, Tai Li and Mai, Master Piandao, and the village on the lake. It’s not a nation made of evil people.

Then there’s Master Pakku who refuses to teach the last Southern Waterbender, the Dai Li who control the Earth Kingdom and brainwash their own people, a king who knows nothing of the outside world, and rebels willing to flood a village. This statement is probably overly simplifying things, but the main way this show complicates good and evil is that there is honor, decency, and rewritten history on the “bad” side, and misogyny, murder, and corruption on the “good” side.

With Legend of Korra, there is not a single villain who doesn’t have a point. That’s their complication. Unalaq and Amon in my mind are the least sympathetic villains. Unalaq may have had a point about the world being unbalanced by the lack of spirits, but a dark avatar? Seriously man? Do you really need to destroy everything to balance it? Amon meanwhile is manipulating the non-benders, who should have the right to learn chi-blocking freely and who definitely have reason to be worried about the government. But he manipulates them for his own power, so really its less that he has a point and more that his supporters have reasonable grievances.

Zaheer has a friend group of villains and I think that’s really cool? They work well together, care about each other or at least aren’t trying to stab each other in the back, when he and P’li kiss Ghazan’s like “seriously guys? now?” and that’s great. Seeing that team together is cool. And I don’t support anarchy, its messy, results in too much chaos, and on top of that there’s a decent chance that people will eventually just make new rules and then its not anarchy anymore. Rebellion/revolution/fixing the goddamn system yes, total anarchy no. But he’s right when he talks about corruption and mistreatment of people from those who are supposed to protect them. That’s a very real problem.

And Kuvira. She’s a great character, and I agreed with her until the potential of the re-education camps sunk in and she went nuts with the spirit weapon. I don’t know enough about facism to say whether or not Kuvira was, but I think she was at least in the vicinity. Wu was never going to actually be in charge of everything, and takes most of the season to gain a sense of responsibility. So I can’t blame her for deciding to keep him out of office, and from what I know she did start out genuinely trying to stabilize the Earth kingdom and reduce the bandit attacks as well as taking care of her people. I don’t know at what point during those 3 years she finally went too far (maybe its in the comics. Haven’t gotten there yet). She’s one of those villains who has a point but goes too far, into unacceptable territory.

So yeah. Good villains.

[magic-and-moonlit-wings]

Reaction to ‘Wizards’

There were some elements of Wizards that I was quite pleased with and others I found disappointing.

Here are some notes I took while watching it: 

“I was busy,” says the guy who was ASLEEP.

Cuckoo clock in bookstore looks like Bular’s head.

Green Knight can teleport, confirming potential parallel character to Angor Rot and Tronos Madu, both yellow-eyed assassins with teleportation and tragic backstories (later confirmed, yes, there are parallels between this character and those two besides the visual one)

Jim always tips at the cafe; yup, that sounds like Jim 

Gunmar saving Jim: irony. Is Jim going to go to the Gumm-Gumm camp now? 

Confirmation that portrait was Arthur and Guinevere and she is “gone”, presumably by magic or killed by a troll - is she dead or did she just leave? (Later confirmed, dead)

Morgana’s name is carved on the tree under Arthur’s and Guinevere’s - was she in love with Guinevere too? 

Is that Nari with Morgana and Guinevere? (Later confirmed, yes)

Stone doll Callista finds looks like Angor’s totems - same village? He said it was “Gunmar’s war” that destroyed it, and she says it was a human attack, but Angor might’ve seen it as a retaliatory attack by the humans which Gunmar’s actions had provoked?

Arthur being the one to cut off Morgana’s hand makes Merlin SLIGHTLY less of an asshole for using it in the Amulet, but a lot of this still could’ve been avoided if Merlin had been willing to shut up and listen. 

Oh, except it wasn’t Arthur who cut off Morgana’s hand the first time anyway? 

Episode 3 ends without Steve getting knocked on his back, so that scene must’ve been his sparring match with Lancelot in Episode 2 instead of keeping it an Episode 3 tradition (like how Zuko and Iroh hug in Episode 18 of each season of Avatar the Last Airbender)

Why would Douxie be grossed out at the idea of swimming naked? Swimsuits have only been around for, what, 80 years? Presumably it was a specific lack of desire to see Steve naked.

Neat take on the Lady of the Lake. 

AAARRRGGHH used to have a triple set of horns - what happened to the other two? Receded, amputated, knocked off? Also, Gunmar says AAARRRGGHH is ‘holding back’ when they spar and has yet to win against him - if AAARRRGGHH was doing that on purpose, this supports my theory that he was debating how safe it was to stay on Gunmar’s side for some time before deserting. 

Morgana possessed? 

Angor Rot saved Morgana/recovers her body and gives a funerary-sounding blessing, showing he was sympathetic to humans before losing his soul  

Oh, and Nari gave her the new hand 

Wait, so who steals Angor’s soul in this timeline? 

Called it on that servant guy being a Changeling - he appears in the background of, like, every scene that episode where they’re talking about Morgana using unexpected strategies to sneak into Camelot. 

Wait, except his human form is an adult - so is he a polymorph? Or Familiars can be taken as adults but babies are easier to contain and have less ‘established personality’ to match after replacing them? Or has Morgana already been creating Changelings? AAARRRGGHH calls Jim “impure” when they meet in Dwoza, suggesting Gumm-Gumms already know what Changelings are, except Morgana wasn’t working with them yet

Is Callista going to be Deya? (Later confirmed, yes)

Show seems to be matching up with old theories about Deya being the first Trollhunter, confirming that the show, comics, and novels are all separate continuities (since comics and novels show pre-Deya Trollhunters). 

Gumm-Gumm berserkers - mind-controlled or grit-shaka’d (talisman of “no fear”), to throw themselves into sunlight like that?

Steve seems ready to refer to any half-decent older man as his dad, like when he refers to Merlin as ‘Wizard-Dad’. Maybe it’s because I was watching Brooklyn 99 recently but I’m reminded of Jake Peralta.

Big Jim’s crystal neck protrusions look like Strickler’s knife collar back when I thought that was part of his body. Glowy lines look like Gunmar; tie-in to Gunmar born of a “corrupted Heartstone” since Jim is “corrupted” now?

Aw, Krel called Ricky his dad. 

How did AAARRRGGHH fit through the HexTech door to the backroom?

“Cat and mouse” line cuts to a shot of Archie obviously imitating Nari (confirmed a few minutes later)

Toby has obviously seen Ghostbusters. “When someone asks you if you are a god, you say YES!”

Decoration in bookshop looks like Angor’s head.

Was that lightshow of Nari searching the world for Jim’s soul just a visual metaphor for her powers or did literally everyone on Earth see that?

“There’s a force neither of us can escape - gravity!” says the woman who can fly.

Morgana’s occasional echo-y voice in Trollhunters matches Bellroc and Skael - possession/magical-influence related?

So did Merlin have that book on him or did his body turn into the book?

Are all dragons fluffy and/or shapeshifters in this universe? 

Might’ve been smarter to keep Merlin’s staff intact and destroy the Grimoire so the Arcane Order never knows where to find the Genesis Seals, just saying.

If Morgana didn’t become “the Eldritch Queen” until, like, IMMEDIATELY before Angor approached her (therefore days earlier at most in the unaltered timeline), how had he heard of her to seek her aid? Was he actually reaching out to the Arcane Order? At least this explains why he didn’t go to the Trollhunter for help - there was no Trollhunter to approach yet.

Big Jim ‘dies’ in the same pose as AAARRRGGHH in Trollhunters Season 1 and Draal in Unbecoming, both false death scenes, for five-second foreshadowing Jim was alive. 

Mixed feelings about him being human again - like I’ve said, I didn’t think the Troll Jim subplot was well-executed but I also felt like, now that it’s been established, the show needs to stick with it. Since everything’s over I’m going to headcanon Jim having shapeshifting powers now and being able to switch between human and troll at will, he just didn’t think to try to do so on-camera.

Also, I feel like Jim’s relationship with Claire is once again completely overshadowing his relationship with Toby, instead of them being different kinds of relationships with equal weight. 

Barbara is going to be pretty shocked when her human son shows up again. She and Strickler don’t appear at all in this series, even in cameo. 

Maybe Jim’s not a troll anymore because, with Merlin and Morgana both dead, their magic is “broken” and that’s what was holding his transformation in place? Merlin’s through the potion, Morgana’s through the Changeling femur, both through the Amulet.

Is Jim still going back to New Jersey? Blinky’s got to, unless the trolls there have elected a new leader or they’re bringing the New Jersey Heartstone back to Arcadia.

Series ending scene also would work as the final scene of a movie, setting up a sequel hook even though it’s supposed to be over now. 

Seems like wizards are long-lived and age really slowly? Possibly a “will not die but can be killed” situation, like vampires, or unicorns (at least in The Last Unicorn) 

Additional thoughts after finishing the show and thinking for a while: 

I don’t get how Morgana could end up with such a reputation among trolls - enough to have superstitions about her, seen when Dictatious objects to Usurna saying her name - when they only interacted with her for like a few days at most. I guess she made a pretty strong impression on Gunmar, who passed that on to everyone else? Or maybe she cultivated that reputation over time via the Changelings?

Speaking of the Changelings, does this mean that, while Morgana designed the process to create them, she doesn’t make each individual one? Otherwise she would’ve had to pre-make a bunch in the time between getting her new hand and being trapped in the Heartstone. Although, if she can steal Angor’s soul remotely (with the idea she was already trapped in the Heartstone when that happened), she can probably also make Changelings remotely. 

I’m kind of sorry the Changelings got invented so quickly; I figured there would be some trial-and-error to that process.

How I think the Original Timeline went: 

Morgana would’ve turned to the Arcane Order seeking magic allies, later in the day that gets changed when the time-travelers arrive. Possibly she seeks out Nari, specifically, remembering her from childhood. 

Merlin then sees Morgana as the Future Threat and he or one of the knights (not Arthur) cut off her hand in the resulting fight. 

Merlin makes the Amulet. It chooses Callista, who is still in Camelot’s dungeon at the time, and she agrees to fight Gunmar in exchange for her freedom. 

She fully intending to go back on the deal and run for it, but then something-something-something and she learns her original name and saves the world anyway. Probably she’s the one who took down and imprisoned AAARRRGGHH in Dwoza, which inspired the other trolls there to follow her. 

Morgana finds out about the Trollhunter shortly before Angor arrives to ask her for magic, which is why she orders him to hunt the Trollhunters down.

Arthur thinks Merlin killed Morgana and wants to avenge her, leading him to the Arcane Order for the original not-time-loop-prompted attack.  

Show did a good job establishing and developing Douxie’s relationship with Merlin

Also, how did that bookshop end up a center of Merlin’s power? He’s only been in the modern world for a few months. Did he set a shop up off-camera while the trolls were travelling to New Jersey and the Akiridions were discovering Earth? 

How did Ricky Blank lose his head, anyway? Can Hex Tech fix him? Krel says magic and Akiridion tech combine harmoniously. 

[ghoultyrant]

Azula: Sympathetic Monster?...

(Cross-posted to Vigaroe)

I was really jarred by how the end portion of Avatar: The Last Airbender handled Azula.

For most of the series, Azula's characterization was very consistent: she was someone whose relationship to socioemotional considerations was that those are a weakness other people have. Azula and Zuko shared parents, but their respective relationships illustrated this dynamic through contrast:

For Zuko, his mother was a warm and loving parent, and when she disappeared this was a bit of trauma that seems to have permanently changed how he interacted with the world. His father was someone he respected and wanted to impress, and even after he was permanently scarred by the man he still seemed to desire to gain Ozai's respect. These relationships mattered to him on a deep and inescapable level, and even his relationship to Azula built on this idea: though virtually every interaction we see between the two is one where Azula makes Zuko miserable, when she first showed up in the show and acted like a caring sibling, he wanted such a scenario to be real desperately enough that instead of being suspicious on the basis of her past behavior he actually bought this inexplicable change completely up until an officer made the mistake of referring to Zuko and Iroh as prisoners.

Zuko can't stop craving positive familial relationships even when there's a persistent pattern of open and deliberate abuse.

Azula, meanwhile, is abhorrent to her mother and doesn't seem terribly bothered by this idea. Her father's unpleasant treatment of her brother is something to smile about, or even help arrange to happen. Zuko's suffering is a game, not something to be bothered by, because she doesn't care about him. She doesn't seem to care about any of them, or indeed about anyone at all except perhaps herself -and that's more assumed than actually illustrated.

This extends much further than just their immediate familial relationships. Azula's 'friends' are minions she coerces/terrorizes into working for her. Zuko starts the series with no peer-type friends that we ever see unless you count the edge case of Mai, but with a sister who treats emotions and social connections as a weakness to be picked on it would be pretty amazing if he did have any friends.

This is a very consistent point of contrast between the two characters, one that tells us a lot about Azula's character, and it's a character that's pretty difficult for most people to sympathize with. She's the kind of character that often gets labeled a psychopath or sociopath, and which is often treated as unambiguously an evil so dark that the audience is not intended to feel even slightly bad if justice comes in the form of a gruesome death or the like.

... and then the end of the series tries to tell us Azula wants the love of her parents. That she tormented Zuko because their mother always loved him and not her, and she couldn't understand why. That she did everything she did because she desperately wanted her father's approval, so much so that when he leaves her behind to go be Phoenix King this is pretty much the last straw for her sanity. That she actually did care about her friends, and tormented and terrorized them because... she thought making them fear her would do a better job of ensuring loyalty than making them love her?...

The whole thing is bizarre. In the first place, it's irreconcilable with literally everything about her character prior to this interpretation being invented. In the second place, the story is actively undermining it as it's introducing the concept: we get a flashback showing that Azula was a horrible little monster all the way into early childhood, and also get flashbacks implying that Ozai was actually a pretty okay father prior to his wife being taken away from him -and these flashbacks are happening after the series has started trying to sell us on the idea that Azula wasn't born evil. The first flashback I'm referring to directly undermines this idea by depicting Azula being a monster for no clear motive in early childhood: the second undermines it indirectly, by making it so you can't explain L'il Azula's awful behavior as being a product of her desire to chase her father's approval, since it goes back to before he was modeling/encouraging awful behavior.

More than the actual plothole/narrative plausibility angle, though, what bothers me most is... a thing that needs a bit more grounding.

So let's get to that.

One of the major background elements of Avatar is being humanizing and sympathetic. Our first 'antagonist' is Zuko, and though he's on the 'bad guy' side the show quickly lets us know what is motivating Zuko and makes it clear he's a figure deserving of sympathy and potentially even pity. He's not simply the enemy who we must defeat/foil/evade/etc, but a person who has good and reasonable reasons for his own actions, and it's just unfortunate they place him at odds with the protagonists.

Zuko is the strongest example of this, but especially in the first season it's fairly typical for entities to start out framed in a manner that suggests straightforward 'bad guy-ness' and then the story reveals that it's not as straightforward as that, or is entirely untrue. A rampaging spirit monster assaulting innocent villagers for no obvious reason turns out to be hurting and angry because of real metaphysical harm done to them, and once they are made to understand that things will get better and that the people they've kidnapped weren't behind it the rampage stops and the kidnapped people are returned. An insane and hostile king turns out to be an old friend playing tricks. Etc.

Unfortunately, the writers seem to have struggled to hold to this consistently. This humanizing, sympathetic approach to people is applied to a fair amount of entities, but... not to everyone, and even the people it gets applied to it gets caveats. With the semi-exception of Zuko's sympathetic backstory not showing up until the episode after the two pilot episodes, generally a hostile character is either revealed to be sympathetic before the episode they were introduced in ends, or the story never tries to humanize them. Zhao is a straightforward gloryhound villain whose karmic death is treated as wholly deserved, and no attempt is ever made to follow up on any possible tragedy in his death. We never meet any of his loved ones, let alone see them being heartbroken by his death. We never see him have any friends, or at least not any friends who aren't themselves treated as fairly one-dimensionally villainous. The one-off Fire Nation officers running prisons in the Earth Kingdom and the like are generally one-dimensional villains we're pretty much supposed to view as deserving a righteous punching. When we meet the Dai Li and their master, the whole thing is an Orwellian nightmare that's never suggested to have a sympathetic reason for existing, and which deliberately keeps its own king out of the loop on important matters because... it's a sinister Orwellian organization, that's just what you do if you're an evil power behind the throne.

Azula and, to a lesser extent, Ozai, end up suffering because the writers seem to have spent most of the story running on Villain Tropes Logic, and only later on remembered that this is supposed to be a narrative in which everyone is a person deserving of humane and sympathetic treatment. Ozai's handling is plausible enough, but this is more due to the fact that while Ozai's influence has been made apparent all the way back to the third episode of the series, Ozai himself has been a largely undefined shadow figure, motives and goals inscrutable enough you could drape just about anything over what we see and end up with something plausible.

Azula doesn't benefit from this murkiness. She's had a strong and consistent character that has been developed consistently and clearly on-screen over a notable number of episodes, and attempting to rework her into being a Terrible But Sympathetic Person is like building a house in a swamp and then when you realize you're not happy living in a swamp you... change the wallpaper.

This is obviously bad practice in the first place, but there's also a subtle dehumanizing element to this attempt to humanize Azula, and that is the thing I'm uncomfortable with. In effect, the story's handling tells us that the Azula we knew is not someone who it's okay to view with sympathy, or treat humanely or with empathy. It has to invent a new version of Azula who, instead of being essentially exempt from the usual socioemotional experience, is actually deeply tied into it and just being awful as part of that.

This is frustrating, because the Azula we knew could be treated in a humane and empathic manner. Just because Azula doesn't really value these kinds of connections and experiences doesn't mean she's inherently destined to be a monster where the only acceptable response is to put her out of everyone else's misery. A different environment could have shaped Azula differently -it's likely that she'd always have had a streak of pragmatism or ruthlessness to her, given what we see, but it's easy to imagine how Ursa could have made more of an attempt to understand why her daughter was eg torturing small animals for fun and then adjusted how she handled Azula's upbringing. The Azula we got has a backstory that paints her as almost feral, with a father who's barely present, a mother that doesn't really want to have anything to do with her, and no evidence of any replacement parental figures to shape Azula into thinking about the world differently.

If you take a girl who isn't all that interested in social connections in the first place, give her tremendous latitude and power simply because of who her parents are, and then never allow her to experience anything like a partnership to see the benefits it brings and understand what is necessary to reap those benefits, is it really a surprise when she ends up viewing the world through a lens that makes human relationships a weakness? She got all the power she could want without ever having to befriend anyone, and she got to see her father become a broken man when her mother was taken away, not to mention see how wimpy Zuko was as a child coddled by their mother.

This is easy to use as a base to keep Azula's awful canon behavior while framing her as a human being we should try to empathize and understand. Restructuring her motives into being pretty much the exact opposite of her entire character up to this point is unnecessary, a bit disheartening, and while the show could potentially have tried to make some 'No So Different' point about Azula and Zuko it... didn't. There's kind of an interesting point that the show is consistent about having them both be Sympathetic Evil when it's framing them as seeking the approval of their father, but it gets lost in just dismissing Azula as crazy where Zuko's behavior was treated as completely sane when he was doing pretty much literally the exact same thing.

It's a frustrating finish to one of the series' strongest characters.

[whentheynameyoujoy]

Kylo Ren Is Getting a Zuko Redemption Arc, and This Reylo Shipper Is Anything but Thrilled by It - Part 2

So here’s my chief problem with the idea of a potential Kylo Ren redemption arc:

On the whole, the Star Wars sequels are overstuffed, impressively underwritten, and the story they tell greatly suffers from being presented in a movie form.

I’m not joking: when it comes to worldbuilding and character development, the sequels – by necessity of their allotted time and creative choices made in TFA – gloss over many things that should have been addressed by now; things that are vital to Kylo Ren’s character and the degree to which he can be perceived as sympathetic at all, now and in the future.

Coming back to the Prince Zuko comparison, we know what Zuko’s deal is from the start – and yes, that includes the eleven episodes before The Storm which reveals why exactly he’s so obsessed with capturing Aang. From the very beginning of the show, there are clues hinting at the fact that Zuko’s not what he originally seems to be, i.e. a clear-cut fearsome baddie: Sokka humiliates him during the raid on the Southern Water Tribe; Zhao openly insults him, the crown prince, to his face; he’s humanized by his jolly good-natured uncle from moment one; he’s still a Firebending rookie who hasn’t mastered the basics at the age of 17. Throughout the show, we are privy to Zuko’s thoughts, we see him in different situations that challenge him and his sense of morality; we see him talk to people, and people talk about him, subtly revealing pertinent facts; we learn about his past in no uncertain terms and about his relationships; we learn what he’s fighting for and why.

All of this information creates a full nuanced image of a complex character who’s experiencing a constant inner tug-of-war between his good and bad impulses, and as a result frequently makes the wrong choice. And although we may not agree with his decisions and may even denounce them, we always know precisely why he made them, what they’re based in, and where Zuko’s coming from.

The Star Wars sequels, on the other hand, frequently leave us guessing and filling in the gaps to explain how the most basic things are set up and what the exact nature of characters’ defining moments is, if they’re even mentioned at all.

Let’s try an experiment: take everything you think you know about the story, themes, and characters of TFA and TLJ. Now, remove everything that comes from the cast and crew interviews, from the comparisons with the Star Wars expanded universe, from your headcanons or the wikis or other people’s metas and fanfic, so that only the movies themselves remain.

There’s not much left, is there?

So here’s what we know about Kylo Ren with absolute certainty:

He’s the son of Princess Leia and Han Solo, the famous rebel fighters, and the nephew of the last living Jedi;

He’s very powerful and apparently felt the calling of the dark from early on;

He greatly admires his grandfather and wants to finish what he started;

At some point, Snoke turned him to the dark side;

Leia sent him to train with Luke in order to temper his dark inclinations;

Luke briefly considered killing him; Ben interpreted this as an ongoning attempt on his life, attacked Luke, and killed all the other padawans;

He’s invested enough in the First Order to immediately notice Finn’s hesitation on Jakku. He later pursues Finn, screams at him that he’s a traitor, and takes delight in hurting him;

He still feels the calling of the light and suffers because of it.

And here’s what we don’t, yet should know by the end of the second act of Kylo Ren’s story:

What does he think Vader started, why does he want to finish it, and what’s his Vader worship a reaction to?

What’s his relationship with Snoke? What did Snoke offer him besides raw power that made him turn to the dark side as a (presumably) young man?

What is it about the First Order that would appeal to a kid surrounded by rebel heroes, enough for him to actively fight against what they built, even killing scores of people along the way?

What’s his stance on the New Republic?

What was his family life like? What was the chink that allowed Snoke to crawl in?

What were his feelings about being sent to train with his uncle? Did he consider it to be a rejection by his parents, a complication to his conversion to the dark side, or an honor which was then sullied by Luke?

A lot of these complaints stem from the fact that we know virtually nothing about how the galaxy is set up politically. Now, far be it from me to defend the prequels, but if they did one thing correctly, it’s that they tied Anakin’s fall to his open disgust with the failings of democracy. Sure, it was stupid, wooden, and gave us “From my point of view the Jedi are evil”; but at least you could follow Anakin’s seduction from point A to point B, and understand what it was that appealed to him about Palpatine.

The virtually non-existent political content of the sequels, on the other hand, directly parallels the original trilogy: a simple tale of good guys vs. bad guys which can get away with not going into details. The sequels, however, are not a simple tale of good vs. evil; they’re a continuation and elaboration of the original stories which openly makes a claim at complexity and shows that the good guys have failed. Knowing how and more importantly why it all went to hell is important. Yet despite the fact that we should be getting swamped with prequels-levels of exposition dumping, we still have no idea about:

Who’s Snoke? Where did he come from? Where was he holed up when Palpatine was in charge? What does he want to achieve besides “power for power’s sake?”

What’s the ideology of the First Order? What is their goal beside “world domination”? Are they a leftover from the times of the Empire? Are they trying to re-establish the Empire?

What was it that made the Republic start crumbling immediately after Luke left?

And unfortunately, this lack of information affects characterization.

I see a lot of people make the argument that the politics of the sequels aren’t important because they’re (presumably) not important to Kylo – so why should we dwell on something that’s (presumably) not important to our chief antagonist?

First of all, I would strongly disagree with this interpretation. To a degree, Kylo clearly does care as evidenced by the fact that he obviously has some kind of an ideological reason not to join Rey at the end of TLJ, and utterly loses his mind when confronted with Finn at the end of TFA (and no, I refuse to believe that he would perceive a defection of an unimportant floor-sweeping foot soldier as some kind of a great personal betrayal that would warrant him screaming like a mad man because his – presumed – abandonment issues were – presumably – triggered).

And secondly, political and ideological motivation is rather important when we’re talking about a character who actively fights for the unsubtle in-universe equivalent of the Nazis. The generally accepted metaphor of “an immature boy going through a rebellious phase” doesn’t work if it involves mass killings, goose-step marching, and installing a fascist regime. What we have in Kylo Ren is a motivation based partly in ideological persuasion that’s mostly undefined, and partly in immature emotions which have a very vaguely explained origin. The creators obviously want Kylo Ren to appear sympathetic, but since almost nothing about his beliefs and only a little bit from his personal past has been revealed, his speeches about being “torn apart” come across as annoying whining of a murderous man-child.

The end result is less a Jaime Lannister, and more a “Hm, I wonder if Ratko Mladic still has good inside him?”

Now, you absolutely can make a redemption arc out of this. The problem is, you need LOTS of time to do it properly, and Episode IX – with its 3 hour running time at best and a large cast of characters that all need closure – simply won’t have it. Kylo’s deeds are too monstrous and numerous to be rectified by a simple gesture; a major atonement, accompanied by a belated explanation of his personal beliefs, would be necessary. Plus, there are other factors that further complicate a neat turn to the “grey side”: unlike Zuko, Kylo Ren wasn’t born on the dark side, is a grown adult, and hasn’t experienced another way of living that would make the transition easier for him. Finally, as I said in Part 1, I don’t think death is in cards for him, making a Vader-like redemption by self-sacrifice impossible.

In conclusion, I don’t share the worries of Star Wars fans that The Last Jedi has firmly done away with any hope of Kylo Ren being redeemed and having a future with Rey.

I’m much more pessimistic than that.

Reylo, continued Force bond, eventual turn; I believe we’re getting all of that – and it’s going to be rushed and written like hot garbage.