emma-o-yt

[emma-o-yt]

Prince Blaine, my beloved NPD headcanon. The most misunderstood in the cpc fandom

[emma-o-yt]

That was the point of a previous post of mine.

If life was good, A would be Azula and B would be Mai and Ty Lee. But of course the fandom does what it does and people say that A is Ozai and B is Azula.

[emma-o-yt]

If life was good, A would be Azula and B would be Mai and Ty Lee. But of course the fandom does what it does and people say that A is Ozai and B is Azula.

[emma-o-yt]

a very quick doodle from this meme lol

[emma-o-yt]

[emma-o-yt]

Azula in The Search

It's not new information that the ATLA comics mischaracterised everyone. This is about Azula. You know that "no she's crazy and she needs to go down" line. It's like the writers took it and ran with it for Azula's character in the search.

She had a stress induced psychotic episode in the finale. This led to her bending being sloppy and for her to be much physically weaker, getting spent quickly in her Agni Kai with Zuko. She kept her sharp mind and quick thinking as she uses the environment (Katara) to her advantage in order to beat Zuko. She can somehow use lightning despite it being stated that one needs peace of mind or whatever but bending philosophy is not consistent anyways.

The Search has her put in an insane asylum in order to extend her psychosis. In the finale, her delusions were focused on betrayal because her entire philosophy crunbled and everyone she loved was against her anyways. Ursa was there because she was the first person to have ever betrayed her. In the comics, it's suddenly so that Ursa is the sole focus of her delusions and she's the one who turned everyone against her.

And ya know, interesting idea. Ursa emulates everything Azula was trying to be the opposite of. So her becoming the main symbol of her persecutory delusions makes some sense. Too bad the writers ain't gonna do shit with that.

Remember how Azula still had her tact? Well here, she makes impulsive decisions so the plot can move forward. You know who was still impulsive by the end? Zuko. He didn't learn jack when he burnt Toph. Take the finale. He goads Azula into using her most deadly attack. He doesn't take into account his surroundings (Katara) and so loses epicly when he had the advantage. It's a common problem that redemption arc means cool character become boring. So the writers kept Zuko's arrogance, short temper and impulsivity so he wouldn't be too different. But nooooooo, Azula bad, Zuko good.

Remember how Azula was weaker in the finale because her mind wasn't all there? Well despite being restrained frequently for the past...months? Year? She somehow has tons of physical prowess and raw bending power. Because Zuko is apparently right, Azula has never worked a day in her life for anything and gets handed everything on a silver platter.

It reminds me of the egregiously bad Cell Saga in Dragon Ball Z. Everyone gets hit with the stupid stick so the plot happens but especially Vegeta. He was shown as quite the schemer in the previous arc but not here. Toriyama admitted he was useful to get the plot going. Then Cell somehow regenerates from a single drop of semen he ejaculated on the ground while the Z fighters weren't looking. This somehow makes him come back at over 100% power too so he looks like a threat.

The Search is just the start of Azula's horrific comic writing. Her entire character being centred on her psychotic break starts here. And oh boy, oh boy, it's awful.

[emma-o-yt]

one really interesting thing about Zuko and Azula's sibling relationship in the show is how irrelevant it ultimately is.

they were pitted against each other as kids. during Zuko's banishment, she would have been an active political threat to his position as heir (which he did care about, and want-even if it was simply as an extention of Ozai's affection), as well as his survival would endanger her hypothetical throne. after he defected, they were on opposing sides of a war; by the time that war ended, he was a seventeen-yr-old fire lord and she was in an asylum. the fact that they were maybe, once upon a time, brother and sister?

it matters to us, sure. does it really matter to them? Azula duels him above a boiling lake, and then her soldiers cut the cables of the gondola he's on. above said boiling lake. they blast each other off a fucking blimp at the air temple and Zuko leans over Appa to watch her fall to her presumed death. as for their last agni kai, there's no way Zuko didn't consider that it would be one to the death. he didn't kill her in cold blood, but why do you think he taunted her about the lightning. Zuko gets to 1) piss off Azula further or 2)possibly end the fight right then and there if she falls for it.

they grew up together. they have a singular, strangely sweet bonding moment in the dusty remnants of an idealistic childhood they both made up. it's so sad. it changes absolutely nothing in the end.

they hate each other. it's more complicated than that, but not complicated enough to save them.

[emma-o-yt]

Azula in The Search

It's not new information that the ATLA comics mischaracterised everyone. This is about Azula. You know that "no she's crazy and she needs to go down" line. It's like the writers took it and ran with it for Azula's character in the search.

She had a stress induced psychotic episode in the finale. This led to her bending being sloppy and for her to be much physically weaker, getting spent quickly in her Agni Kai with Zuko. She kept her sharp mind and quick thinking as she uses the environment (Katara) to her advantage in order to beat Zuko. She can somehow use lightning despite it being stated that one needs peace of mind or whatever but bending philosophy is not consistent anyways.

The Search has her put in an insane asylum in order to extend her psychosis. In the finale, her delusions were focused on betrayal because her entire philosophy crunbled and everyone she loved was against her anyways. Ursa was there because she was the first person to have ever betrayed her. In the comics, it's suddenly so that Ursa is the sole focus of her delusions and she's the one who turned everyone against her.

And ya know, interesting idea. Ursa emulates everything Azula was trying to be the opposite of. So her becoming the main symbol of her persecutory delusions makes some sense. Too bad the writers ain't gonna do shit with that.

Remember how Azula still had her tact? Well here, she makes impulsive decisions so the plot can move forward. You know who was still impulsive by the end? Zuko. He didn't learn jack when he burnt Toph. Take the finale. He goads Azula into using her most deadly attack. He doesn't take into account his surroundings (Katara) and so loses epicly when he had the advantage. It's a common problem that redemption arc means cool character become boring. So the writers kept Zuko's arrogance, short temper and impulsivity so he wouldn't be too different. But nooooooo, Azula bad, Zuko good.

Remember how Azula was weaker in the finale because her mind wasn't all there? Well despite being restrained frequently for the past...months? Year? She somehow has tons of physical prowess and raw bending power. Because Zuko is apparently right, Azula has never worked a day in her life for anything and gets handed everything on a silver platter.

It reminds me of the egregiously bad Cell Saga in Dragon Ball Z. Everyone gets hit with the stupid stick so the plot happens but especially Vegeta. He was shown as quite the schemer in the previous arc but not here. Toriyama admitted he was useful to get the plot going. Then Cell somehow regenerates from a single drop of semen he ejaculated on the ground while the Z fighters weren't looking. This somehow makes him come back at over 100% power too so he looks like a threat.

The Search is just the start of Azula's horrific comic writing. Her entire character being centred on her psychotic break starts here. And oh boy, oh boy, it's awful.

[emma-o-yt]

I wanted to add on to this analysis of Zuko "feeding" the turtle-ducks because I think that Ursa's behavior in this scene is just as interesting as Zuko's. This scene is the first time that we ever meet Ursa. This sweet scene between mother and son is our baseline for understanding for what she is like as a person and I think it provides essential context for what we see of her later on.

Almost as soon as the scene begins, Zuko decides to make fun of his sister by mimicking her failure to feed turtle-ducks correctly. As part of the "joke" Zuko decides to physically throw food at a baby animal. Ursa is, unsurprisingly, disturbed by this. However, I think her response is outstanding.

Ursa begins by immediately asking "Zuko, why would you do that?" By using Zuko's name, she addresses him directly and invites him to respond. Although she does not demand a verbal answer, phrasing her admonishment as a question encourages Zuko to reflect on his behavior and why it has upset his mother. The pause in the conversation gives him a chance to explain himself if he wants to.

In choosing to ask why Zuko would do such a thing, Ursa also demonstrates that she understands that he must have had a reason even if she can't immediately comprehend it. Even if he doesn't respond verbally, she still expects there to be an answer that can be understood and therefore addressed. This is something that Zuko did and something that he can stop doing.

When the turtle-duck attacked him, Ursa quickly pulled it away from him without hesitation. She is disappointed, but she doesn't want him to get hurt. Even when Zuko doubles down on his behavior, fails to apologize, and begins insulting the turtle-duck for doing the same thing to him that he had just done to it, Ursa remains gentle. She speaks to Zuko softly and slowly lowers herself to sit beside him, so that she isn't looming over him or shouting in such a way that might be intimidating to child raised in an abusive environment.

When Zuko asks why the turtle-duck attacked him, Ursa's response is incredible. "Oh Zuko, that's what moms are like. If you mess with their babies [chomp] they're gonna bite you back!"

Here, Ursa repeats his name more softly than she had used it before, signalling that she is no longer upset. This helps relieve the likely anxiety Zuko is feeling about being in trouble after years of living with Ozai. Then, rather than simply admonishing Zuko, Ursa explains the cause and effect of his behavior; he messed with the turtle-ducks, so the turtle-duck bit him. In this moment, she isn't just telling him that his actions were wrong, but teaching to think about the consequences of them.

Ursa also compares the turtle-ducks he had been terrorizing to herself, someone who Zuko already loves and cares about. This allows Zuko a chance to view the turtle-duck in a new light. Rather than a group dumb animals who act without reason, it is a mother and her babies who he has just hurt. The compassion and sympathy he naturally feels for his mom is transferred to the animals. 

But even more brilliantly, is the way that Ursa compares herself to the turtle-ducks. Not only does she explain that the turtle-duck had been protecting its babies, she tells Zuko plainly she would act in exactly the same way if he was hurt, because she is his mom. That is what moms are like. Even while expressing disapproval and explaining why his actions were harmful, Ursa continues to affirm that Zuko is safe with her. She will protect him. She will fight for him. She will never hurt him. 

All of this is done as she begins playfully mimicking a turtle-duck coming to bite him once again. This hammers her point home while also cheering Zuko up. They both end the interaction laughing. Holding each on to each other in a warm hug that clearly shows their shared love and affection.

In a single interaction, she simultaneously acknowledges his wrong doing and encourages empathy for the turtle-ducks, all the while reaffirming her unconditional love for him.

In this scene, Ursa clearly demonstrates that she is capable of being an outstanding mother. Kind, empathic, patient. She is incredibly emotionally intelligent in a way that allows her to make her son feel safe, even as she admonishes him for his bad behavior and guides him into becoming more compassionate. The bond between Ursa and Zuko does not exist because he is incapable of cruelty, but because she is willing to sit by his side and care for him even when does terribly cruel things.

This is unfortunately never how we see Ursa treat Azula.

If we were to apply this strategy of dealing with Zuko’s cruel behavior to Azula’s callousness later in the episode, then she would have started by saying “Azula, why would you say such a thing?” She would likely approach Azula slowly and search for a way to help Azula understand death without scaring her about the reality of it. Perhaps she might have asked the same question Zuko did (having clearly learned from Ursa herself earlier the same day), before reaffirming to her daughter that no one in the family is going to die because they all look out for each other (even if they annoy each other). If she is really paying attention, she might even promise to talk to Iroh about his future gifts. They could both laugh together about how silly he is.

This is not what we see Ursa do. 

Instead, her response to Azula's callous words is consistently cold and blunt. “Azula! We do not speak that way. It would be awful if uncle Iroh didn’t return.” 

Here, the use of Azula’s name does not invite a response. Ursa’s tone is far sharper than it had been with Zuko and what follows isn't a question, but a command. This is Ursa telling Azula what she must do, rather than inviting an explanation of what she is actually thinking. There is no pause in the conversation where Azula is able to consider why what she had said might have caused anyone distress, and Ursa never encourages her to do so. 

By failing to ask Azula why she is saying these things, Ursa demonstrates that she has no interest in understanding the cause of her daughter’s attitude. She never acknowledges Azula’s thoughts or feelings. Nor does she expect her to have a reason for her behavior. While Zuko is assumed to have some kind of motivation to explain his actions, Azula is automatically condemned as malicious without a second thought. 

This is a particularly strange assumption, considering that Zuko’s attack on the turtle-duck didn’t have an inciting incident to justify his cruelty. Meanwhile, Azula’s frustration at Iroh is a clear result of his dismissive and misogynistic “gift.” If Ursa recognized the source of Azula’s frustration at all, she still didn’t acknowledge it or offer any alternative way for her daughter to deal with those difficult feelings. Zuko’s unprompted physical aggression towards an innocent animal is given more benefit of the doubt than Azula’s morbid (but ultimately harmless) question about the line of succession. 

An indeterminate time later, Ursa arrives to inform the children that their father has requested an audience with Fire Lord Azulon. Azula once again makes a callous comment about the possibility of a relative (this time her grandfather) dying. In response, Ursa snaps.

“Young lady! Not another word!”

Here, Ursa doesn’t even use Azula’s name. Instead, she talks down to her, reducing her to her age and gender. The choice to refer to Azula in such a way strips away any familiarity between two of them, drawing dividing lines between mother and daughter. Ursa frames herself as an absolute authority by virtue of her age. She does this in order to, once again, command Azula rather than explain what she did wrong or communicate with her.

(It is also notable that, due to the previous scene, we know that Azula's gender and the expectation that she become the "young lady" Ursa is referencing to is a sore spot for Azula. This might be because Ursa does not understand this part of her daughter, or it might be because she is disturbed by Azula's disinterest in feminine things and is hoping to pressure her back into a more submissive role by reminding Azula of her place.)

In this moment, Ursa doesn’t just fail to reach out to Azula in the same way she had reached out to Zuko, but ends up intimidating her. With a furious expression, Ursa looms over Azula, large and imposing as she blocks the room’s only exit. Every word is sharp and cold, brokering no room for self defense. In an instant, Azula transforms. In five words, her carefree and relaxed demeanor disappears as she flees the room as quickly as possible. Her face is blank, all signs of emotion carefully hidden as she runs away from her own mother. 

Later the same day, we see Ursa grab Azula by the arm and physically drag her from the room before either child has a chance to explain what they were fighting about. 

(While not inherently abusive in itself, she is still interacting with two children that have lived in an abusive environment their entire lives. Whatever Ursa's intentions might be, they still do not change how the children will interpret her anger.)

For now, as Azula leaves, she overhears her mother ask “what is wrong with that child?”

This is the first question we see Ursa ask of Azula, but it isn’t one that she is supposed to have an answer to. Ursa isn’t speaking to Azula, she is speaking about her. Literally behind her back. Instead of asking “why?” she asks “what?” as if there are no real thoughts or feelings behind Azula’s attitude that Ursa, as her mother, could be trying to understand. 

Here, Ursa doesn’t just describe Azula as doing things that are wrong. She says that there is something wrong with her. Not her attitude. Not her behaviour. Not her father’s bad influence. There is something wrong with her. 

Zuko’s misbehavior is understood by Ursa as actions that he has taken but that are, ultimately, separate from his person hood. If Zuko does something bad, he must have a reason. Azula's misbehavior is attributed to a fundamental part of her being. Ursa isn’t looking for answers about why Azula says these callous things, because she doesn’t expect Azula to need a reason. She just is.

The fandom often attributes Azula’s bad behavior to Ozai’s influence and her choice to “ignore” Ursa’s lessons. But the truth is that, unlike with Zuko, Ursa never actually tried to encourage Azula to have empathy for others or to think about the consequences of her attitude.

Ursa tells, rather than teaches, Azula what to do. She expects her to be obedient and becomes angry when isn’t, but never actually takes the time to explain why her actions are wrong. The endless patience and sympathy she gives Zuko is simply never granted to Azula. Ursa never reaffirms to her daughter that, no matter how cross she might be, she will still love and protect her because that is what moms do. Only her son receives that kind of unconditional love. 

This isn’t because Zuko never did anything wrong as a child. We only understand how deeply loving and supportive Ursa was to him through the context of him throwing things at innocent animals. It isn’t because Ursa lacks the emotional intelligence to balance admonishment with affection. She does this effortlessly for her son… just not her daughter. Even Ozai isn’t standing in her way. He isn’t present for any of these scenes and Ursa is completely free to interact with Azula however she wants.

In the end, it was nothing but Ursa's choices that caused her to treat Azula more harshly than she ever treated Zuko. We don't know, for certain, why this is but we have seen the consequences clearly. Zuko felt loved by his mother, Azula didn't. This isn't because Zuko was simply idealizing his mother too much to see her flaws or because Azula imagined a distance between them that wasn't there. There is a real difference in how Ursa treated her children that cannot simply be explained by "Zuko is pure of heart" and "Azula is a rotten monster."

Neither sibling is wrong or right about their upbringing. There is no fight over Ursa's true nature to be won. Just two very different relationships with the same complex woman.

[emma-o-yt]

If the new movie doesn’t have Azula in it at all I’m gonna crash out. That girl deserves a healing arc she was literally a 14 year old during the show why is it taking so long for the writers to give her a healing arc.

X

[emma-o-yt]

sorry if i’m being a party pooper but because rabies is apparently the new joke on here ??? please remember that rabies has an almost 100% fatality rate after symptoms develop so if you’re bitten or scratched by an animal that you aren’t 100% sure is vaccinated then GO TO A DOCTOR. it’s not a joke. really. 

[emma-o-yt]

I wanted to add on to this analysis of Zuko "feeding" the turtle-ducks because I think that Ursa's behavior in this scene is just as interesting as Zuko's. This scene is the first time that we ever meet Ursa. This sweet scene between mother and son is our baseline for understanding for what she is like as a person and I think it provides essential context for what we see of her later on.

Almost as soon as the scene begins, Zuko decides to make fun of his sister by mimicking her failure to feed turtle-ducks correctly. As part of the "joke" Zuko decides to physically throw food at a baby animal. Ursa is, unsurprisingly, disturbed by this. However, I think her response is outstanding.

Ursa begins by immediately asking "Zuko, why would you do that?" By using Zuko's name, she addresses him directly and invites him to respond. Although she does not demand a verbal answer, phrasing her admonishment as a question encourages Zuko to reflect on his behavior and why it has upset his mother. The pause in the conversation gives him a chance to explain himself if he wants to.

In choosing to ask why Zuko would do such a thing, Ursa also demonstrates that she understands that he must have had a reason even if she can't immediately comprehend it. Even if he doesn't respond verbally, she still expects there to be an answer that can be understood and therefore addressed. This is something that Zuko did and something that he can stop doing.

When the turtle-duck attacked him, Ursa quickly pulled it away from him without hesitation. She is disappointed, but she doesn't want him to get hurt. Even when Zuko doubles down on his behavior, fails to apologize, and begins insulting the turtle-duck for doing the same thing to him that he had just done to it, Ursa remains gentle. She speaks to Zuko softly and slowly lowers herself to sit beside him, so that she isn't looming over him or shouting in such a way that might be intimidating to child raised in an abusive environment.

When Zuko asks why the turtle-duck attacked him, Ursa's response is incredible. "Oh Zuko, that's what moms are like. If you mess with their babies [chomp] they're gonna bite you back!"

Here, Ursa repeats his name more softly than she had used it before, signalling that she is no longer upset. This helps relieve the likely anxiety Zuko is feeling about being in trouble after years of living with Ozai. Then, rather than simply admonishing Zuko, Ursa explains the cause and effect of his behavior; he messed with the turtle-ducks, so the turtle-duck bit him. In this moment, she isn't just telling him that his actions were wrong, but teaching to think about the consequences of them.

Ursa also compares the turtle-ducks he had been terrorizing to herself, someone who Zuko already loves and cares about. This allows Zuko a chance to view the turtle-duck in a new light. Rather than a group dumb animals who act without reason, it is a mother and her babies who he has just hurt. The compassion and sympathy he naturally feels for his mom is transferred to the animals. 

But even more brilliantly, is the way that Ursa compares herself to the turtle-ducks. Not only does she explain that the turtle-duck had been protecting its babies, she tells Zuko plainly she would act in exactly the same way if he was hurt, because she is his mom. That is what moms are like. Even while expressing disapproval and explaining why his actions were harmful, Ursa continues to affirm that Zuko is safe with her. She will protect him. She will fight for him. She will never hurt him. 

All of this is done as she begins playfully mimicking a turtle-duck coming to bite him once again. This hammers her point home while also cheering Zuko up. They both end the interaction laughing. Holding each on to each other in a warm hug that clearly shows their shared love and affection.

In a single interaction, she simultaneously acknowledges his wrong doing and encourages empathy for the turtle-ducks, all the while reaffirming her unconditional love for him.

In this scene, Ursa clearly demonstrates that she is capable of being an outstanding mother. Kind, empathic, patient. She is incredibly emotionally intelligent in a way that allows her to make her son feel safe, even as she admonishes him for his bad behavior and guides him into becoming more compassionate. The bond between Ursa and Zuko does not exist because he is incapable of cruelty, but because she is willing to sit by his side and care for him even when does terribly cruel things.

This is unfortunately never how we see Ursa treat Azula.

If we were to apply this strategy of dealing with Zuko’s cruel behavior to Azula’s callousness later in the episode, then she would have started by saying “Azula, why would you say such a thing?” She would likely approach Azula slowly and search for a way to help Azula understand death without scaring her about the reality of it. Perhaps she might have asked the same question Zuko did (having clearly learned from Ursa herself earlier the same day), before reaffirming to her daughter that no one in the family is going to die because they all look out for each other (even if they annoy each other). If she is really paying attention, she might even promise to talk to Iroh about his future gifts. They could both laugh together about how silly he is.

This is not what we see Ursa do. 

Instead, her response to Azula's callous words is consistently cold and blunt. “Azula! We do not speak that way. It would be awful if uncle Iroh didn’t return.” 

Here, the use of Azula’s name does not invite a response. Ursa’s tone is far sharper than it had been with Zuko and what follows isn't a question, but a command. This is Ursa telling Azula what she must do, rather than inviting an explanation of what she is actually thinking. There is no pause in the conversation where Azula is able to consider why what she had said might have caused anyone distress, and Ursa never encourages her to do so. 

By failing to ask Azula why she is saying these things, Ursa demonstrates that she has no interest in understanding the cause of her daughter’s attitude. She never acknowledges Azula’s thoughts or feelings. Nor does she expect her to have a reason for her behavior. While Zuko is assumed to have some kind of motivation to explain his actions, Azula is automatically condemned as malicious without a second thought. 

This is a particularly strange assumption, considering that Zuko’s attack on the turtle-duck didn’t have an inciting incident to justify his cruelty. Meanwhile, Azula’s frustration at Iroh is a clear result of his dismissive and misogynistic “gift.” If Ursa recognized the source of Azula’s frustration at all, she still didn’t acknowledge it or offer any alternative way for her daughter to deal with those difficult feelings. Zuko’s unprompted physical aggression towards an innocent animal is given more benefit of the doubt than Azula’s morbid (but ultimately harmless) question about the line of succession. 

An indeterminate time later, Ursa arrives to inform the children that their father has requested an audience with Fire Lord Azulon. Azula once again makes a callous comment about the possibility of a relative (this time her grandfather) dying. In response, Ursa snaps.

“Young lady! Not another word!”

Here, Ursa doesn’t even use Azula’s name. Instead, she talks down to her, reducing her to her age and gender. The choice to refer to Azula in such a way strips away any familiarity between two of them, drawing dividing lines between mother and daughter. Ursa frames herself as an absolute authority by virtue of her age. She does this in order to, once again, command Azula rather than explain what she did wrong or communicate with her.

(It is also notable that, due to the previous scene, we know that Azula's gender and the expectation that she become the "young lady" Ursa is referencing to is a sore spot for Azula. This might be because Ursa does not understand this part of her daughter, or it might be because she is disturbed by Azula's disinterest in feminine things and is hoping to pressure her back into a more submissive role by reminding Azula of her place.)

In this moment, Ursa doesn’t just fail to reach out to Azula in the same way she had reached out to Zuko, but ends up intimidating her. With a furious expression, Ursa looms over Azula, large and imposing as she blocks the room’s only exit. Every word is sharp and cold, brokering no room for self defense. In an instant, Azula transforms. In five words, her carefree and relaxed demeanor disappears as she flees the room as quickly as possible. Her face is blank, all signs of emotion carefully hidden as she runs away from her own mother. 

Later the same day, we see Ursa grab Azula by the arm and physically drag her from the room before either child has a chance to explain what they were fighting about. 

(While not inherently abusive in itself, she is still interacting with two children that have lived in an abusive environment their entire lives. Whatever Ursa's intentions might be, they still do not change how the children will interpret her anger.)

For now, as Azula leaves, she overhears her mother ask “what is wrong with that child?”

This is the first question we see Ursa ask of Azula, but it isn’t one that she is supposed to have an answer to. Ursa isn’t speaking to Azula, she is speaking about her. Literally behind her back. Instead of asking “why?” she asks “what?” as if there are no real thoughts or feelings behind Azula’s attitude that Ursa, as her mother, could be trying to understand. 

Here, Ursa doesn’t just describe Azula as doing things that are wrong. She says that there is something wrong with her. Not her attitude. Not her behaviour. Not her father’s bad influence. There is something wrong with her. 

Zuko’s misbehavior is understood by Ursa as actions that he has taken but that are, ultimately, separate from his person hood. If Zuko does something bad, he must have a reason. Azula's misbehavior is attributed to a fundamental part of her being. Ursa isn’t looking for answers about why Azula says these callous things, because she doesn’t expect Azula to need a reason. She just is.

The fandom often attributes Azula’s bad behavior to Ozai’s influence and her choice to “ignore” Ursa’s lessons. But the truth is that, unlike with Zuko, Ursa never actually tried to encourage Azula to have empathy for others or to think about the consequences of her attitude.

Ursa tells, rather than teaches, Azula what to do. She expects her to be obedient and becomes angry when isn’t, but never actually takes the time to explain why her actions are wrong. The endless patience and sympathy she gives Zuko is simply never granted to Azula. Ursa never reaffirms to her daughter that, no matter how cross she might be, she will still love and protect her because that is what moms do. Only her son receives that kind of unconditional love. 

This isn’t because Zuko never did anything wrong as a child. We only understand how deeply loving and supportive Ursa was to him through the context of him throwing things at innocent animals. It isn’t because Ursa lacks the emotional intelligence to balance admonishment with affection. She does this effortlessly for her son… just not her daughter. Even Ozai isn’t standing in her way. He isn’t present for any of these scenes and Ursa is completely free to interact with Azula however she wants.

In the end, it was nothing but Ursa's choices that caused her to treat Azula more harshly than she ever treated Zuko. We don't know, for certain, why this is but we have seen the consequences clearly. Zuko felt loved by his mother, Azula didn't. This isn't because Zuko was simply idealizing his mother too much to see her flaws or because Azula imagined a distance between them that wasn't there. There is a real difference in how Ursa treated her children that cannot simply be explained by "Zuko is pure of heart" and "Azula is a rotten monster."

Neither sibling is wrong or right about their upbringing. There is no fight over Ursa's true nature to be won. Just two very different relationships with the same complex woman.

[emma-o-yt]

Where are these tragic endings you speak of?

Looks like you made up a problem just to be contrarian.

I really feel like Television should enter an era of allowing happy endings. That’s not to say characters can’t suffer along the way or that storylines can’t be “dark” but I would really like to see stories end on hopeful notes. I’m so sick of every story having tragic endings, especially considering the world we live in right now. Call me naive, I don’t care, but hope breeds hope. Love breeds love. Happiness breeds happiness. Allowing our characters to overcome and find the light in the end is powerful. Allowing characters to be happy is brave because happiness is not boring. I feel like we’re surrounded by dark stories in fiction and in reality and I find myself wondering where’s the hope and happiness.. is no one overcoming the darkness?

[emma-o-yt]

"Not everyone can be saved" when it is the indoctrinated 14-year-old girl,

Yeah, precisely.

"Not everyone can be saved" doesn't mean someone doesn't/shouldn't get a chance. It means they may not even be willing to take that chance in the first place.

I dont like how everyone just glosses over irohs war crimes either, but at least we know he was willing to repent. Mind you, zuko was always bad asf and still managed to change. However, it was still a struggle for him in the beginning. From a narrative sense, I just think it'd be more emotionally impactful to see a reflection of iroh and ozai in azula and zuko. The tragedy of two siblings dragged through the same shit circumstances but one was able to rise above despite all that, and one wasn't.

Also, azula stans love to bring up her age as if she hasn't been showing psychopathic tendencies since age four. Sometimes kids are just shitty people, that happens.

X

[emma-o-yt]

July is disability pride month but it's also Narcisstic Personality Disorder Awareness month. NPD is a highly demonised and misunderstood disorder even amongst so called professionals.

Disability pride should highlight every disability, not just the "romantic" ones. If you know a person who suffers from NPD, acknowledge them. Acknowledge their humanity.

That is all.

[emma-o-yt]

Maybe it has been said before, but lately I've been thinking about how people defend Katara not getting any statue in LoK with the argument "she wouldn't want one", and this reminded me of how in Atla she sort of got her own statue, and this is how she reacted.

Like, sure, it's not actually her, something even she acknowledged while trying to keep her cover. Still, she absolutely was happy to get a statue in recognition and gratitude for her actions. I really don't think Katara would decline or mind having her own statue, so once again, why doesn't she have one?

[emma-o-yt]

I found out that my mother had me on a low salt diet as a kid which is probably why I went blind whenever I stood up after a while. I didn't know it was wrong because it had always happened.

Doesn't happen anymore but I got hit with a b12 deficiency during puberty (discovered last year). I honestly prefer the blackouts.

standing up and blacking out for a few seconds is just transitioning from a cutscene to the actual gameplay