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muffinlance · 7 days

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The feral cat gator of a 13 year old freshly scarred Zuko being forcibly adopted by the foggy swamp tribe! Bonus points if they willfully ignore the fact he's a firebender and treat him as a very strange waterbender bending-wise

It was Earth Kingdom ships that drove the metal one onto the reefs, so when the little thing came crawling up through the marsh spitting and hissing and dressed in red, they knew it weren’t no earthbender. No matter how much mud it had tripped in, trying to find where the ground stopped sucking at its feet.

“Wow-ee,” said Old Earl, “that sure is one way of keepin’ off the ‘squito-chiggers.”

And they all watched from Big Earl’s porch, sitting or rocking, as them bugs came for the all-you-can-eat and ended up on the bar-b-que.

“Sure is some weird bending,” said Little Earl, who was taller than Big Earl, but when they'd been twelve and they’d wrestled for the title it hadn't been Little Earl who’d won.

The little thing looked maybe twelve, too. And he was little little. But he had that same look like he was going to shove someone’s face in the mud until they said otherwise, as he stood there all panting and dripping and just realizing they’d been watching him this whole time.

“It’s firebending,” the one-kid mud-wrestler said, as bugs kept pop-snapping into flames around him.

Old Earl cupped a hand over his ear, like he couldn’t hear. And he kept doing it, while the kid got louder and louder about that bending of his, but quieter and quieter about looking at them like they were his next bugs.

“Oh, firebending,” Old Earl said, nodding like he’d only just got it, when the kid had stomped straight up to his chair. “Right, right, Old Jane’s got fire-water-bending, too. Why don’t you take him to her, boys.”

“It’s not-- ugh,” shouted the kid, but maybe he only had the one volume. Certainly only had the one volume for stomping, even though stomping was what got a fellow’s shoes shoved down so deep in the mud they’d be seeing them again as mole-shrimp hats. Not that the kid had shoes. Neither did Earl, Earl, or Earl. ‘Cept for Fancy Earl, but he’d gone off to Ba-Singing-Se, to be fancy.

Anyway, Old Jane was the best at turning anything and everything into fire water, which was the kind of thing a fellow called his or her liquor when they wanted fancy folk to keep right on walking. Was really good for making shouty little firebrands take their naps, too, which let Old Jane get her glowing mitts all over that fresh burn of his. And the love-bites from the shark-wrasses that had probably been half the reason the kid had come a-shore all a-shouting in the first place.

“Nope,” diagnosed Old Jane, when the kid woke back up. “That’s just how he talks. Mother was a screamer-bird, I’d say.”

“You take that back about my mother,” screamed their screamer-bird, who had pretty good hearing for someone who’s ear had lost the same fight as his eye. Anyway, Old Jane had done the best she could about both, and nothing was on fire that shouldn’t be, and she had that extra quilt she’d been working on that needed a body under it

And the waves and the shark-wrasses had all the rest of the kid’s crew

So sure enough they set their little screamer-bird up with a nest and let him cry loud as he wanted.

Anyway, if there was one thing Earl Earl Earl and Jane knew, it was how to make a joke so good the other person didn’t even know it were a joke.

“Firebending,” their little fledgling shouted, and waved his arms around, like all that fire pointed at no one was going to get them startled off.

“A-yep,” nodded Old Earl. “That there is some fire-water-bending. Just like Old Jane.”

Old Jane wasn’t the kind of gal who showed off, but she wasn’t the kind who missed no cue, either. She swirled a lick o’ liquor out of her latest barrel and twirled it ‘round and straight into her mouth, and when she spit it out, it looked so much like the little bird’s breath-o’-fire that he didn’t even notice the spark rocks she kept on her fingers as jewelry. No one did, ‘til they’d seen the trick a few times.

The kid’s mouth hung open so low and so long, a moth-tick flew in. That was some kind of life lesson, that was. The swamp was good at sending those.

The Earth Kingdom sent troops a-stompin’ through, losing boots and scaring catigators out of their sunning spots left and right, askin’ all rumbly about those fires they’d spotted, and if anyone from that shipwreck had made it on shore, and talkin’ about how there’d be money in it for them if they made that last answer a “yes,” sounding like Fancy Earl and all his talk about commerce and living standards.

“Got a few parts of them ship people in the lagoon,” Big Earl said. “Probably still floatin’ if you want ‘em. But we better bring the shrimp-minnow nets, ‘cuase they’ll just slosh on through the turtle-sturgeon ones.”

“...No thank you,” the head stomper said, like sayin’ polite words made a fellow a polite man. He’d tracked those boots of his right up onto their porch without so much as a scuff on their mud rug. Even the kid had used the mud rug. “And the fire?”

“Oh,” said Little Earl, with a grin, “that was Old Jane.”

And she did her trick again, only less tricky, so they could see the spark rocks real good. “You boys want some fire water?” she offered. “It ain’t blinded no one who wasn’t already headed that way.”

They didn’t want any, which was grand, ‘cause she hadn’t really been offering.

When the last of them had gone stomping off back to the kind of land that let people stomp it, it took them two whole hours to lure out the catigators from under the porch. And their little screamer bird, too.

“...Why didn’t you turn me in?”

“What?” asked Old Earl, cupping his ear.

“Why—”

“What?”

“—didn’t—”

“WHAT?”

“—you—”

“Speak up, boy,” Old Earl said. “I never heard such a quiet child.”

And boy, did that set their bird back to singing.

#Three years later #Aang comes face to face with a firebender in the swamp #NO says the firebender #who has seen this particular vision Too Many Times and is Not Impressed that this time it can follow him home #avatar the last airbender #atla #zuko #swamp benders 4 best benders #AU where Katara wants to murder Zuko not because he betrays them #but because he has fully committed to the fire-water-bender bit #and keeps trying to compare waterbending notes with her #Jet in Ba Sing Se: HE'S A FIREBENDER #Zuko with a totally straight face: I have spark rocks

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longing-for-rain · 5 months

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Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

#zutara #katara #zuko #atla #anti kataang #canon critical #jet #haru #katara deserved better #aang critical #meta #analysis

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