#bryke critical

[zukosdualdao]

bryke: “people only shipped zutara because it was dark and intriguing”

me:

[starlight-bread-blog]

Katara's other canon love interests give her agency, and her pov.

And gets a moment where the two connect over similar losses.

Except Aang.

Kataang is framed entirely from Aang's point of view.

Even when he violates her boundries.

And is unable to handle Katara's grief.

But Zutara?

We get Katara's pov, and give her agency.

He saw her at her very worst, and wasn't at all hostile.

And Katara opened up to Zuko in the most significant way.

[johnskleats]

is anyone going to tell the kat@angers that it's not feminist activism to argue Katara's arc in LOK is fine on the grounds that "some women want to be homemakers and that's okay!!"

Like you're not helping real women that way. In fact, most antis for the cannon ship ARE women. Many are homemakers themselves.

Katara is not a real woman. She is a fictional woman written by men.

Can the sensibilities and wishes of a girl change by the time she is a adult? Yes!

But as this is a textual character who, as per the text, rejects the societal structure of her fictional world (which mirrors our own) that women are and can only ever be docile homemakers (i.e. I don't want to heal, I want to fight; I will never turn my back on people who need me; let's start a prison riot; let's engage in vigilante ecoterrorism; let's pitch an absolute fit because the boys are not pulling their fair weight in the homemaking; let's confront my mother's killer at the absolute rejection and condemnation of the male figures whom I am to respect; etc) it is perfectly reasonable to argue that this end was not a natural course for her character.

Fictional characters are not real people. This means that they do not change their mind off screen. That is not an acceptable argument. That is called a "plot hole", which is a nonsensical change made at the convenience and contrivance of the writer(s), who in this case are men exhibited to not care for women or girls all that much. It is within THEIR character to write this way.

Regardless of who, if anyone, Katara ended up with, Katara tolerating disrespect, neglect, abuse of her children, giving up all of her former aspirations to live in the shadow of men, and dying as a mere footnote in history (and being alright with it!!) is not surprising given the absolute vitriol Bryke has shown toward female fans of their "creation". It was supposed to be a "boy" show. It was always supposed to be a "boy" show. The creators of Supernatural and Game of Thrones did the same thing. ATLA just did it first.

Arguing "not all women" is not activism in the face of what is really happening in this discourse. Sending death threats to real, actual women with feelings in defense of a fake pretend woman's fake pretend autonomy is performative activism, and worse, hypocritical.

Not all women agree with you. Not all women feel represented and find the outcome of Katara's story satisfactory. If y'all care about feminism and respecting women's choices so much, lay off the real life women you're so fond of harassing. Our views and opinions, while opposing your own, don't affect you.

[yourhighness6]

Is Katara "Motherly"? - The Discourse

The whole "is Katara motherly" discourse is a little annoying to me because for one thing its impossible to deny that in canon she acted motherly towards Aang, Sokka, and Toph, with Sokka even saying at one point when he thought of his mother Katara's was the face that came to mind.

But the other problem is that this fits into the shows themes so perfectly of children being thrust into adulthood and enormous amounts of responsibility too easily because of war and the subsequent (or end goals of) genocide, cultural genocide, and colonization. Katara's motherly characteristics are of the show's own making, they're right there in the text and their there for a reason, and although they weren't given enough attention as they should have been, there is no doubt that this is treated as, not exactly a tragedy, but as something bad and debilitating to Katara and her teenagerlike need to goof around with her friends.

But for whatever reason, the fandom seems to think that this characterization is fan made. Katara is supposedly forced into a motherly role by the fandom, particularly the zutara fandom, when in reality it is the show that does this to her. And the whole idea of momtara and dadko is that Katara doesn't have to be the mom anymore. She doesn't have to be the one solely responsible for the chores and the cooking and the emotional labor. She has a partner, and equal, who is willing to put forth the time and energy to assist her in what she feels obligated to do, and to tell her to go sit down sometimes before she burns herself out.

Could the other kids besides Zuko do this? Of course. But as we've already established, everyone in the gaang besides Suki shoves Katara into a motherlike role. Is this their fault? It's hard to say. Toph at least has a heart-to-heart with Katara about it, and Sokka's idea of her as a mother largely stems from trauma.

But my significant problem with Katara's motherly traits comes with the fact that there is no real closure to that arc in the "Runaway". Toph and Katara talk mostly about Toph's parents, and Toph tells Katara that she thinks she is capable of having fun. But other than that, there's nothing. The boys don't have to come to terms with the fact that Katara does not want to be seen (solely) as motherly or put in that position. Instead, the show gives us a few colorful explosions and subtlety implies that it is a little bit Katara's fault that she is seen that way. But again, that's not the fault of the zutara fandom or a reason the trope of momtara and dadko is problematic. It seeks to acknowledge these character traits in Katara, which a lot of kat@angers refuse to do, and give her a way to work past the trauma that caused them and help her adjust to a more healthy amount of stress and pressure on herself for a kid her age.

[forevermore05]

I know the EIPs nonconsensual kiss is the most talked about. However, DOBS bothers me just as much. But I never see a lot of people talk about it. And I wondered why. I was talking to someone that I brought this up because it was bothering me and they told me: well, that's because Aang could have potentially died and he wanted to do something about his feelings before anything bad had happened. I begrudgingly gave into the idea, however, that kiss still bothered me. I understand that there could have been a potential where he could have died. However, that is not an excuse for out of the blue kiss someone when there has been no mention of feelings before that. Even if there were mentions of feelings that's not consent (there wasn't). Their dance in that cave is not consent. Anything that gave Aang the idea that it is ok for him to kiss Katara is not consent. His entitlement and affection for her are not consent. Just because you are going to do something life-threatening and you could die does not mean you force yourself on a person and she does not have to like it (by the look of her expression she did not look happy). She does not have to like your dying fantasy or be an object of it without her consent. Imagine, if Katara did not end up with Aang this scene would have been torn apart. But everyone's lucky that she did so it's not problematic (Sarcasm). I just hate how the scene is so normalized. Because when I watched it to write this, it was insane, Katara's dialogue "I've seen/watched you grow up, You're not this little goofy kid anymore" (it's like the writers were implying the mental age difference) drove me insane. I don't care if you say she blushed when these kinds of things happen of course you're going to get embarrassed and flustered. I have an immense amount of hatred for this scene. It was just never discussed enough. The Zutara community is the only safe place to do it.

Head Canon time (to make us feel better after this post): If Zuko ever found out about Aangs non-consensual kisses. I think Zuko would tear Aang apart.

[burst-of-iridescent]

I hate when people say(*writers*) when zuko is an emo bad boy. When zuko acts "emo" and "badboy" as they say it's him reacting to his trauma and abuse as a kid(most of time. Zuko is still badass. But badboy no). Is it an excuse? No. But when zuko is acting that way in canon, his obsession with honor, his yelling, his moodiness, his short temper. That is the product of having his empathy literally beaten/burned out of him by his father(and mocked and emotionally abused by Azula). The reason Zuko is doing this whole thing is because he wants to please his father. Become someone he's not. His struggle of who his father wants to be with who he is. It's because of the abuse of his father and his family. As the series goes on you get more and more flashes of the person Zuko was and the person he can become. By the end of the series it's such a great contrast and Zuko is much more happier because he's with the gaang. His family. He got out of that abusive situation he was in and finally became himself. A dorky, empathetic, caring, skilled swords men, a balanced person. Does he still have moments of anger? Yes. But over all Zuko becomes a fully balanced person.

gasp! but if we don't call zuko a bad boy, however will we make sure people don't get any ideas about shipping him with katara?

jokes aside, you're absolutely right and i roll my eyes so hard when people point to bad things zuko did, or his behaviour pre-redemption as indisputable proof of the kind of person he'd be post-redemption. like you said, a lot of zuko's actions and mannerisms before day of black sun is a direct result of the trauma he suffered, and though that doesn't excuse him - and neither does the show allow it to - discounting it entirely is to erase the abuse zuko endured and how that shaped him.

using the first half of book 3 as evidence of zuko being a supposed bad boy irks me in particular because a) the narrative makes it pretty clear that this is zuko as the worst version of himself, the opposite of everything he actually is and could be, and b) he is stuck in an abusive household at the mercy of his abusers, in an actively life-threatening situation.

zuko knows that he is in a situation where he has no real agency, freedom or control. he knows that aang is alive, that azula has turned him into a scapegoat and that his life will be forfeit if his father finds out the truth. that is an incredibly terrifying and stressful situation to be put in and it's worsened by the fact that he can't even admit it - not just because doing so would mean accepting that he gave up everything that actually mattered in the catacombs to gain nothing in return, but also because no one around him will allow him to do so.

his girlfriend can't understand his experiences or his turmoil and doesn't seem to particularly want to, brushing off his anxieties and encouraging him to stay the course. he is manipulated by his father and gaslighted by his sister, aware deep down that he is entirely under their control and that they have a vested interest in keeping him helpless, yet forced to pretend as though nothing is wrong. he is isolated from the one person who could help - his uncle - physically and emotionally, both because visiting iroh puts zuko in danger, and because zuko's choices have created a rift in their relationship.

all of this compounds the psychological stress zuko is experiencing, forcing him into a constant state of fight-or-flight, and this context is vital to understanding many of the decisions he makes and how he behaves in the first half of book 3.

(this is why i don't agree with the take that hiring combustion man is an ooc moment for zuko because even though i think the idea of combustion man himself is stupid - not to mention disrespectful to the hindu origins it's pulling from - it's a fundamentally desperate move, and zuko at this point is more desperate than he's ever been.)

that's why it's unlikely that zuko post-redemption would behave similarly since many of the factors that contributed to his anger, hostility and moodiness would no longer exist! judging zuko's future behaviour based on a time when he was constantly abused, gaslighted and threatened is just not an accurate or fair means of measurement, especially since we know what he's like at his best. the zuko we see with the gaang still has a bit of a short fuse, sure, but he's also sincere, honest, awkward, shy and far happier than he's ever been. because shocker, people tend not to act the same way in healthy, supportive environments as they do in abusive, traumatic ones. who would've thought?

people who make this argument also usually tend to compare zuko to aang, especially to glorify how aang remains cheerful and peaceful despite his trauma, and... no. just no. first of all, the show barely gives a fuck about developing aang's trauma the way it does zuko's so of course it seems to affect him less, and secondly, there's something to be said about how trauma responses like aang's are a lot more palatable and comfortable for audiences than responses like zuko's, or even katara's in the southern raiders.

anger or moodiness, or wanting to punish the people who hurt you, are not inherently wrong ways to react when you've been wronged and traumatized. praising aang for remaining cheerful and forgiving while calling zuko a bad boy for being angry and moody implies a sense of moral superiority that comes with reacting to trauma in the "right" way, which is both inaccurate and insensitive.

zuko will never be aang, and that's fine. he doesn't have to be. he ends the show reclaiming everything his abusers tried to take from him, having found himself and his destiny, in a place of healing that is all his own. that is an incredibly meaningful and powerful narrative, and the last thing zuko deserves is to have all of his complexity and development stripped just to be reduced to the tired trope of a "bad boy" when he was never one in the first place.

[konggodzuko]

Y'know, I find it really funny how much people point to Bryke leaving the live-action ATLA and releasing letter about how "it's not the show [we] intended to make" as some sort of damning fact.

Meanwhile, these are the same guys who stayed on as producers for the M Night movie, lmao. Did casting 3 white people as the leads not go against their creative vision?

Then there's far more objective stuff about the course they took the main continuity on, from LOK to the comics, which IMO shows that their creative vision kinda blows, and I'm glad that we won't be seeing their re-do of ATLA. (For instance, Zuko and Katara weren't allowed to be on screen together in LOK, and barely allowed to be in the same panel in the comics. Would they have interacted at all in Bryke's live action?)

Anyway, despite what one might think from this, I actually don't have super high hopes for the live action, only because live action adaptations are incredibly tricky and prone to failure. I don't really think it will be bad either, though, I think it's going to be just fine. But I am very interested to see the changes they might make, as that is far more interesting than a 1:1 recreation. And if it is bad, it's not going to be because the two guys who decided that Aang would be more willing to kill Zuko than Ozai left the project.

[empressofthesunwriter]

Change the Narrative

If people knew the truth, they would call her a selfish monster.

But Katara had sacrificed anything for the world, for an ungrateful husband!

This time she would always choose herself first!

Here is a little one-shot of my anger about what happened to Katara in canon.

I want to give her the end she deserves, so I hope you enjoy it!

Katara knew it was time for her to die.

She felt it in her old bones.

Alone she lay in her bed at the South Pole and watched how the snow was falling.

At least she would die seeing the beauty of her homeland.

It was a good death.

The old woman blinked tears away and tried to be positive about her nearing death.

She would see Sokka, her father, her mother and Gran-Gran again.

It was good.

She had lived a long happy life.

Something burning and unsettling spread through her chest as she thought this.

Was it a happy life?

How often did she and Aang argue over simple things?

How often did she beg him not to play favourites with Tenzin? Yes, their youngest was an airbender, but what about Bumi and Kya? They were his children too.

But no!

The Air Nomad legacy was more important than their two oldest children and their pain.

Once upon a time when she was a young girl and fantasized about the man and family one day she would have, she never would have guessed how she became the kind of mother, who didn't fight for her children.

Who didn't call out her husband for his wrongdoings?

However, she had so with Aang. Since she had met him, she always had mothered him, shielded him from things which didn't fit his narrative.

He was the Avatar, the only hope to end the war, with a track record of running away.

They couldn't lose him, so she had protected him the best she could.

And she did so to her children.

No wonder Bumi and Kya didn't even visit her and Tenzin didn't have much of a relationship with her.

Where did she go wrong in her life?

When did she become a shadow of herself in the name of love?

Why did she even choose Aang?

Was it because of Aunt Wu's prediction, she would marry a powerful bender or because she had a feeling Aang...deserved her?

He loved her and had ended the war.

Was it so bad to give him a chance?

Sadly after sacrificing her best years for him and being rewarded to die alone without her children, grandchildren and great-grandchildren around her, it may have been the most stupid decision she ever made.

Spirits, was she a bad person to think that?

She loved her family, really she did, but deep down she had to admit...she wouldn't do it a second time.

Katara wouldn't sacrifice herself, her ideals, and her dreams for Aang's dream.

She had her whole life given and given and was now at the end of it rewarded with nothing.

Tears streamed down her cheeks, as she slowly closed her eyes.

Soon she would join her loved ones...

Just...

If she could...

If the spirits were so kind...

If dear Yue heard her...

She wanted a second chance.

She wanted to live a life for herself and herself alone.

Katara had given in this life all and more...was it so bad that she wished for a second chance to get it this time right?

Was she selfish?

Maybe.

Surely.

But anyone had a point in their life where they had to put themselves first.

Her only regret was that she did not realise it sooner.

Katara closed her eyes and felt the last beats of her heart.

Never noting how the moon was shining brightly down at her...

***

She felt pain in her head.

Katara hissed and touched her forehead.

Why did she get a headache?

Where was she?

She blinked to banish the shadows before her eyes.

Slowly she could see.

Ah yes.

She was outside General Iroh's tea shop in Ba Sing Se.

The waterbender had seen Aang walk out and wanted to join him.

It was high time that she gave Aang her answer about them being a couple.

She had been unsure a few days ago, but now with the war over...why shouldn't she give him a chance?

He was standing at the balustrade watching the setting sun, it was the perfect moment.

As the waterbender made her first step towards him, an avalanche of emotions and vision filled her whole being.

Katara gasped quietly, trying to make sense of this.

It was too fast and also too slow...however, she felt it in her bones...whatever she had planned kissing Aang and getting together with him...it would be the worst decision of her life!

No, she didn't want what she had seen.

How could she sell herself, her principals, and her honour for a guy?!

How could she be together with someone who would play favourites with their children?!

No, absolutely not!

Whether this was a vision from the future to save her from this faith Katara didn't know, but what she knew she wouldn't make the same mistakes twice!

So angry she walked up to Aang and tapped his shoulder.

The Avatar turned smiling towards her. He seemed so happy and hopeful and looked at her like she had hung the stars and the moon.

For a second she flatter, which only made the vision come forth again and made her anger tenfold.

Oh no!

Not with her!

"Aang.", she began. "I don't love you and I never will! Stop pestering me about us being a couple! If you don't accept my feelings I will waterwhip you do your next incarnation, do you understand me?!"

To say he was shocked was the understatement of the century. She could formally see the heartbreak in his eyes and how he tried to speak up, maybe to guilt trip her, however, she wasn't having anything of it.

"Nothing you will say and do will ever change my mind! So don't even try. I will go back with Sokka to the South Pole and rebuild my home. That's where I belong!"

Dramatically she turned around and entered the tea shop again.

The others tried their hardest to seem like they hadn't listened in, yet Katara saw through them.

She sends them all an annoyed look.

"What?!"

No one said anything for a few seconds before Toph snickered: "Oh sugar queen, I hoped you had it in you."

This makes Katara smile.

***

The next months of her life Katara rebuilt with her father and Sokka their home. 

The Nothern Watertribe had tried to turn the South into a second North, except Katara was having none of it.

As a war hero, master waterbender and daughter of the chief she used all her power to stop this chances.

She was a force of nature!

No one had a chance against her.

Her family was so proud of her and she was satisfied with herself.

Yes, this was where she belonged.

Helping people and not being the soulless, passionless arm candy of Aang!

Katara was happy.

A voice inside her told her how she deserved it.

***

A year later found Katara as ambassador for her people at the first peace summit.

She was happy seeing Zuko again, they had written to each other, yet seeing each other in person was much better.

He had become her best friend.

And her wall against Aang.

As Avatar he was at the peace summit too. Of course, he tried to talk with her. Tried to sway her, saying he missed her and wanted to be friends again.

She saw right through him. Aang still wanted her.

Thank the spirits for Zuko having her back and distracting Aang.

When they enjoyed together a cup of tea in General Iroh's tea shop she thanked him for his help.

Awkwardly he waved it away.

It was nothing.

He and Mai had broken up and the black-haired girl wasn't happy about it.

Even if she and Aang weren't exes, Zuko knew how frustrating it was to have a person follow you like a shadow and demand to be together again.

In comfort, she petted Zuko's hand and told him he did the right thing to end things with Mai.

If she couldn't accept a no was she a good girlfriend?

A little crooked smile formed on Zuko's lips, and her heart stopped for a second, as he thanked her for her words and friendships.

Then he asked her to join him in the search for his mother.

***

Being with Zuko on a life-changing field trip again was... exciting.

They still worked flawlessly together, like when they had hunted down the murder of her mother, but now they were friends.

It changed a lot of interactions.

They were playful with each other.

Zuko was the only one who ever laughed at her jokes.

They were there for each other.

In the long days when they hunted down one clue after another and Zuko seemed to lose hope, Katara reminded him to never give up.

They shared the workload.

It was amazing not mothering someone and having someone help her around camp.

They were getting closer to each other.

They shared things they never told anyone.

Zuko told her how he got his scar and Katara hugged him, wishing Aang had killed Ozai.

Wishing Ozai was before her and making him pay for hurting her best friend!

Sometimes they just stared at the stars, inventing constellations, their hands inching closer.

Something new was born between them.

Katara didn't know what it was, but she would enjoy it.

It made her feel good.

After weeks on the road, they finally found Ursa.

And also a society of hiding airbenders.

Katara couldn't help but laugh in utter glee.

***

Was it really that surprising that Katara and Zuko fell in love with each other after their journey?

When she kissed Zuko for the first time, it was like coming home. 

Warm, welcome, familair, intim.

It was the best sensation in the world.

Something inside her told her this was how it was supposed to be.

After two years of dating and being the ambassador of the Southern Water Tribe in the Fire Nation, they married.

All their friends and half of the world were invited.

Yes, even Aang.

Aang was so grateful to Katara and Zuko for having found his people and was busy with the air nomads to rebuild their society, and seemed to finally let go of Katara.

Now they really could be friends.

***

Katara of the Southern Water Tribe, master bender, war hero and Fire Lady became a living legend.

Not only the people in the Fire Nation adored her, but she used the power she wielded to make the whole world a better place.

She was the one who came up with the idea of Republic City, a place where all nations could live in harmony.

She revolutionized the art of healing with her bloodbending.

She installed fountains and aqueducts everywhere she could, so people had clean water.

Statues were built and universities, streets even neighbourhoods were named in her honour.

Katara taught new generations of waterbenders like her daughter Kya and people formally fought over to learn from the Fire Lady.

When their oldest daughter Izumi became Fire Lady, Katara and Zuko retired to Ember Island to live out their twilight years in peace.

They often had visits from their friends and families.

Their son Lu Ten, a nonbender, had married a waterbender named Mizuki and had with her five children.

So the proud grandparents helped their son and daughter-in-law raise the rascals.

It was fulfilling.

As Aang then died and was reborn as Korra from the Southern Water Tribe Katara and Zuko moved to the South to teach the new Avatar.

Korra loved Katara and Zuko like grandparents and loved hearing about their adventures.

After Korra goes to Republic City to learn airbending from one of Aang's sons he had with one of the hiding airbenders, the pair returns to Ember Island.

Zuko died a few months before her.

Katara followed him after the birth of their third great-grandchild.

Both died surrounded by their big and bustling family.

As Katara died, her oldest great-granddaughter, who was named after her held her hand, she couldn't help but feel happy.

She had lived a long and wonderful life.

Soon she would be together again with her beloved husband and her family.

And so the greatest and most beloved Fire Lady died in peace with no regrets in her heart, her story being told for thousands of years to come.

***

The Legend of Katara became a tale which young girls loved.

From a simple waterbender to a master, war hero and ruler over a nation, who changed the world only a few ever could.

It showed all girls, that they could do anything they wanted.

They could reach their goals and go even beyond.

This was Katara's legacy.

As it should have been.

If you liked this one-shot and want more Zutara, a badass OC, personal growth for Aang and the Gaang being amazing check out Yin and Yang! 

Click on my profile and leave a comment.

I hope you liked this little One-Shot!

Let’s now scream together in the comment section how Katara deserved better and if it’s not canon we will give it to her in fanon! :D

[empressofthesunslittlecorner]

A rant about Aang and Byrke

WARNING NOT KATAANG FRIENDLY

CONTINUE WITH PRECAUTION

Hello my loves!

Here I'm with a new blog entry.

This time we will talk about Kataang, Aang and Byrke.

Since I'm writing a FanFic where Aang is paired with an OC, I thought I could tell you why I prefer Aang with OCs instead of Katara.

Just to be clear.

I like Aang.

I love Katara and would for this girl sell my liver.

But them together as a pair...please no!

Kataang is one of my NOTPs.

In my Let's Talk about Zutara post I pretty much said why I can't stand this pairing.

One is the age and maturity gap.

What does a 14-year-old want with a 12-year-old? It's just creepy, no matter the gender and it would have been better if they got together at like 22 and 20.

Even if I think Zutara is superior, I could grimly accept Kataang.

Second Aang and Katara are the worst version of their self together.

I haven't read the comics, but what I saw on Tumblr and on Legend of Korra was enough to make me angry.

Katara was reduce to Aang price, girlfriend, housewife and mother of his children.

The warrior girl we all loved, who never turned her back on people who needed her, became in the name of love (and Byrke) a shadow of herself.

Our real Katara would smack this wishy-washy version of herself to kingdom come!

Then we have Aang. The boy clearly turns into a Nice GuyTM when it's about Katara.

He kissed her TWICE, TWICE, without her consent and never said sorry for this.

He thinks he deserves her love because he is the Avatar (the hero) and that's how it be.

Till Season 2 Aang wasn't that worse about Katara, a lot of plotpoints pointed out that Aang obsession, I'm not calling it love, on Katara was not good.

He replaced the love for his people with Katara.

Erm, that's not healthy at all.

What Aang expierendec was traumatic, he is the sole suriver of a genocide, but he can't shove all his love for his people to Katara.

How can only one person hold this standards?

It's impossible.

Katara is a bandaid on a ripped arm.

A bandaid isn't going to fix Aang trauma.

He needed to really face it and accept it and let Katara go.

Guru Pathik told him he to let Katara go, but I don't think it was meant to say, don't love that girl anymore.

No, it was more like: you clearly are obsessed with her and think if she loves you all your hurt will go away, but this isn't the case!

Aang could still love Katara, he just needed to stop to put her on a pestal!

Then we know what happens, he let's her go, seems to get the Avatar State, but turn it down because Katara is in danger and he must save her.

Alright, we all would run to our loved one if they are in danger, but Aang, you are the Avatar.

The Avatar is the peacekeeper of this world.

Sadly he can't put his own desires forward, he has do to what was for the world right!

In the Crystal Catabombs he realizes this.

So he let's go of Katara to get the Avatar State and then gets shot down by Azula.

Then when the first episode of season 3 rolls around, you get the feeling that Aang learnend his lesson.

Because he was selfish, he lost his greatest eapan.

He needed to be better.

Only...after the first episode season 3 was really...bad.

I can't say it better.

If you compare it to the other two seasons...season 3 has mayor problems.

A lot of plotpoints get forgotten, Aang didn't learn from his mistakes, he acts entitled for Katara love and he gets his Avatar State back thanks to Deus-Ex-Machine Rock and even finds a way to handle Ozai thanks to Deus-Ex-Machine Lion Turtle.

How, HOW, did the creators look at this and want a golly what an awesome final?

It was not!

It was rushend and not earnend!

Because Aang is a selfinsert from Bryek.

They statet once in an interview that Kataang was reflection how they had a crush on their babysitter, who of course didn't wanted them and would go out with the "bad boy".

The bad boy here in question is Zuko, which is hilarious since Zuko is the most awkward dork.

So they wanted to create a story were the young hero gets the hot older girl.

No normal 14-year-old girl would date a 12-year-old and if she did call the police on her ass!

Avatar was only amazing because of writers like Aaron Ehasz, who turned Toph, who was supposed to be a boy and a love rival for Aang, into this badass girl who didn't let her disabilty stop her to become the greatest earthbender and inventer of metalbening in the world.

They truned Iroh into thee loveable and wise uncle and not like Byrke wanted into a spy for Ozai.

Also Azula was supposed to be a boy too, but she became the female villain we all loved and wish we would see in other media's too!

A lot of writer wanted also Zutara to happen and not Kataang.

If I remember right season 3 was so rushed and lacking because the movie-who-shall-not-be-named was in production and Bryke wanted the series to end before it.

A lot of concept were thrown out the window for it.

The writers wanted to make even a season 4, where Aang would even find other airbenders, but noooooooooooooooo we can't give Aang the healing he deserves, we must live out a fantasy trough this boy.

Looking at you Bryke.

Anyways we got, what we got and I'm so not happy about it.

Zutara should be canon and Aang should have found a girl who loved really, who was his equal and who didn't needed to be a broodmare for the air nomads, becasue there where still air nomads around.

Here we get back to my preference to ship Aang with OCs. Since I'm a big fan of the theoretical season four we would have gotten, it's only naturel to imagine own characters, since no canon characters exist for it.

I would have loved to see Aang with a descendant of Air Nomads. She learning from him, he learning from her, cute!

But let's be real if Aang is writing good he could work with a lot of characters.

Even canon ones like On Ji. I found her really cute with him.

The only thing I want for Aang partner is that the girl doesn't get reduced to a broodmare.

So the airbenders have always to come back/stop from hiding.

IT'S NOT THE COMPLICATED!

BUT WE CAN'T HAVE NICE THINGS!

WE LIVE IN THE DARK TIMELINE!

AVATAR COULD HAVE BEEN THE MOST REVOLUTIONARY CARTOON EVER, BUT NOOOOOO TWO MEN HAD TO MAKE THEIR WEIRD FANTASY REALITY AND DIDN'T LISTEN TO THEIR TEAM OF WRITER WHO WERE LIKE, FAM THAT'S NARRAVTIVLY SPEACKING HUGE STEPS BACKWARDS!!!!!!

AAAAAAAAAAAARRRRGGGGHHHHHHHHHH!

Yeah, I think you all guessed how much I hate Bryke.

Fricking pricks!

Also, people who make fun of their own fans because they ship a pairing themselves not like are the worst!

That shows have much respect they have for their fans.

Zero.

They just wanted to live out their fantasy and be done.

Again, fricking pricks!

So for now, that's from me, I needed to get it out of my chest.

Till next time my loves!

[sneezypeasy]

Original Script Analysis, Part 2: The Southern Raiders, The Finale, and What I Think About it All

Link to Part 1

So folks, when it comes to literary analysis, there are two categories that textual interpretations typically fall under: the Doylist explanation, and the Watsonian explanation. 

Watsonian explanations will contextualise an issue solely within the bounds of the story it is told in, so the answer to any question will be, essentially, “in-universe”. Imagine interviewing a character in the story, and asking them, “why did x happen” or, “why did y character decide to do z”. The answer you get will be a Watsonian answer.

Doylist explanations, on the other hand, are explanations that take into account things the characters themselves wouldn’t “have access to”, so to speak. These explanations often touch on writing concepts like theme, character arcs, tropes, setup and payoff etc, sometimes even referring to “real-world” motivations, intentions, or constraints that the creators were working with (or against). If an explanation or an answer to a question doesn’t sound like anything the characters themselves could have come up with, it’s probably a Doylist explanation.

I’m going to give an example from Titanic that I hope isn’t a spoiler to anybody at this point given how much this film has been memed to shit:

Jack dies at the end of Titanic. Now, why did he die?

The Watsonian says: He died because there was no room on the door.

The more intelligent Watsonian says: No there WAS room on the bloody door you smooth-brained koala did you even watch the fucking movie? They tried to get them both on there, the door just couldn’t hold the two of them because of something called BUOYANCY you fucking idiot-

The Doylist says: Jack died because it was the culmination of his character arc, and because he and Rose symbolise the class disparity of the victims of that tragedy; Jack is the poorer third class, and Rose is the rich upper class. Upper class women were the likeliest demographic to survive the sinking of the Titanic, and lower class men were the likeliest demographic to die. Jack had to die and Rose had to live; it’s symbolic. 

Here’s another example: on the r/DeathNote subreddit, someone asked why L fell off his chair in such an exaggerated and dramatic fashion upon hearing that shinigami could be real. The top comment provides a detailed Watsonian answer, followed by a Doylist one:

Basically, Watsonian commentary is consistent with how the characters, in-universe, might explain/contextualise something. Doylism explains how a plot point or character decision serves a purpose beyond what the characters themselves would be able to conceptualise, whether that’s narrative payoff, authorial intent, or even marketing/executive decisions/budget constraints.

Why am I explaining all of this? Because I want to play a game with you guys.

You ready?

The name of this game is: Why, in the original script of The Southern Raiders, is Katara somehow asleep while LITERAL BOMBS ARE GOING OFF AROUND HER(!!!)

Is it:

A) Katara trained herself to sleep through Fire Nation raids and bombs from a young age

B) Katara is just generally that deep of a sleeper 

C) Elizabeth Ehasz wanted an excuse (any excuse, really) to force Zuko and Katara to interact (because this is their episode, after all-)

Yeah, maybe I’m just unimaginative but I’m pretty sure it’s C. I’d love to hear your best Watsonian take for this one though (please, go nuts, lmao)

Like all the other changes we’ve seen, nothing has been done to the dialogue, which plays out how it does in the show:

I’m sorry I just can’t get over this 🤣🤣 “Character A and Character B hate each other/are not talking to each other/are currently in the process of biting each other’s heads off, now let’s come up with some ridiculous excuse to make Character A and Character B play nice and help and warm up to each other” is a pretty solid fanfic trope but I think this is the first time I’ve seen “MAKE CHARACTER A SLEEP THROUGH A FUCKING MISSILE ATTACK” utilised for this specific purpose.

Logically I understand why this was changed for the show, but I’m ngl, I’m slightly sad we didn’t get to see this version. 🤣🤣🤣

Interestingly, Katara doesn’t catch Zuko after he gets blasted off the war blimp - the script doesn’t specify anyone catching Zuko, it just says that he “lands safely on the bison” (sorry, I thought I wrote this one down in full but I only wrote down that quote, my bad 💀).

(It does make me wonder though, whether the storyboarders/animators looked at the “Katara sleeps through bombs” bit and were like.... “ok how about no, but we’ll give you ‘Katara catches a skydiving Zuko’ instead, fair trade?” 😂😂)

Continuing on from that, I have to say that even with the voice lines unchanged, Elizabeth Ehasz’s vision for Zuko and Katara’s deepening connection and understanding continues to trickle through this episode at various moments:

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Katara sobbing as she recounts her trauma? Zuko getting teary himself hearing about Katara’s grief and love for her mother? Katara visibly relaxing as a result of unburdening some of her feelings onto him? Zuko pulling Katara back and making sure she’s okay before she ploughs on ahead?

😭😭🥰🥰

And then of course, there are times when Elizabeth’s subtlety is not so subtle at all (here you go, you guys have well and truly earned this one):

Welp. I can tell you I wasn’t expecting to see that - at all. I came to the WGF hoping, maybe, to find some small crumbs - tiny clues that might give a slight nudge to the rumours that Elizabeth Ehasz was a ZK shipper, and that shippy subtext viewers may have picked up in TSR maybe wasn’t entirely lacking in substance.

I wasn’t expecting to find a page where good ol’ Elizabeth had a zutara fangasm all over her own writing 🤣🤣🤣

On the hug itself, Elizabeth’s notes were very brief:

I was a touch disappointed not to see any more fangirling, though after that serotonin boost up above I really couldn’t be too greedy. 🤣

Zuko and Katara’s scenes together in Sozin’s Comet and the Agni Kai are generally the same as what we see in the show, though I thought you guys might like to read the lightning scene anyway:

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This might be a good time to mention that I had the pleasure of working alongside @korranguyen on one of the two days that I visited the WGF. If you found the descriptions of Azula’s downward spiral in the Agni Kai uncomfortable to read, you might appreciate her essays here and here.

Unfortunately folks, we are indeed near the end now. And we know how the story ends:

Wins, eh? Interesting choice of words there. Almost makes it seem like there was a competition? Like there were, oh I don’t know, other contenders?

Now there’s something else which I think some of you may find very interesting about the script of Sozin’s Comet Part 4, and I will get to that in due course, but for now I want to discuss the way the ships were treated by the show writers and creators. As I summarised earlier and as you probably noticed yourself from reading these scripts:

From season 1 up until Day of Black Sun, the writing was heading towards a Kataang conclusion. And development-wise, it wasn’t too shabby! There was a clear and steady progression. Maybe a little subtle, from Katara’s side, but nowhere near as ambiguous as in the show. And again maybe this is just me, but I wouldn’t have been frustrated with it either, if it was shown like that.

After Day of Black Sun, the writing takes a weird turn. Kataang takes a nosedive while Zutara gets a ton of positive development (reconciliation, forgiveness, synchronicity and cooperation* anyone? lmao), which is canon in the show too but it’s… even more pronounced in the script? Aang is more aggro, Zuko and Katara are more tender/vulnerable with one another, they don’t scoot away at the suggestion that they like, like each other – and these are the final drafts? What the heck were y’all writing in the first drafts?? (No that’s not a joke actually, I wanna know 😭)

Kataang “wins”. Wins?!? I thought y’all said there was never even a contest!!**

Okay, time for some speculation/theorising on my part. To me, it seems like, at some point after writing the “Kataang” episodes but before actually animating and producing them, and before writing the later episodes in season 3, and perhaps even right up until the writing of Sozin’s Comet Part 4, there was a collective (if not unanimous) decision to “keep things open”. The question is: why?

Did the writers disagree, or was it just shipbaiting? Or was it some combination of both?

If no-one else, Elizabeth Ehasz is quite clearly a Zutara fangirl; I don’t think anyone can deny that after reading the way she writes these kids 🤣 That paragraph does not read to me like a writer casually (or grudgingly) obeying directions to shiptease because it’s what the producers wanted, it reads like a writer unable to stay professional about how much she loves this one fucking ship. (We feel you Lizzie. We feel you.)

So was there actually some discord in the writer’s room about which direction to take the romance arcs? @zutarawasrobbed​​ pointed out that given the narrative decision to hinge Aang’s internal struggle and character arc around the need to “let go” of an “attachment” to Katara, (some?) writers may have seen a potential in deconstructing Kataang to fulfil this arc. This is especially possible if, after writing Crossroads of Destiny and/or seeing audience feedback to that episode, Zutara was increasingly beginning to appear as a viable alternative.

I mean, even by Sozin’s Comet, it doesn’t seem like they’d figured out how to resolve Aang’s whole “blocked chakra” situation –

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Aang “somehow” just happens to untangle what had previously been set up as an internal struggle, with the conveniently timed activation of some “chi bending nonsense” (and reverse-glowing arrows and “such things”).

Uh huh.

(To be fair, you have to have a very high IQ to understand Rick and Morty -)

Of course, the other possibility is that most of the way through writing the script, and maybe about halfway through animating it, the creators simply recognized a clear potential for shipbaiting, and this is at least somewhat to blame for the hot mess that is the romance arcs of ATLA.

My personal theory is that writer disagreement did happen, and is at least partially why we ended up getting what we got. The fact that both ships are specifically referenced and granted “approval” so to speak, by different writers, and one of them ends up explicitly “winning”, sort of cinches it for me. Either way, the show was clearly pulling in different directions at different parts and under different creators, and in my opinion the scripts support these rumours.

One thing is for certain: whether this was just shipteasing, or actual production hell in the writer’s room, it is my opinion that Zutara AND Kataang were both robbed.

Kataang had a decent romance arc written out for it, and even if there may have been issues reconciling it with Aang’s internal conflict set up in the Guru and/or with the over-arching themes of the show, it would have been all right in the end if they had just kept it the way they originally wrote it. I can’t really see any but the most die-hard anti-Kataangers being mad about it, and Kataangers themselves would have loved it. They had a fine romance written out and they ruined it. If they did so because Zutara was being seriously considered as a possible outcome, then it’s just all the more frustrating that Zutara never ended up happening in the end. They put a lot of effort into sinking a perfectly serviceable ship and ultimately it was all for nothing. (Or worse, purely for shipbaiting). Just sad.  

So, that’s my thoughts on that. And that concludes this essay- oh wait.

Right... there was that thing I kept mentioning about Sozin’s Comet Part 4. 😈

*Ahem.*

So you know how I said all these scripts were final drafts?

That’s because they are - except for two episodes: Sozin’s Comet Part 4, and Jet.

Unlike the other scripts, which have all been labelled “As Broadcast Drafts”, these two scripts are ADR drafts.

What is ADR, you ask?

According to @lady-of-bath​, who works in the screenwriting industry, ADR stands for “Automated Dialogue Replacement” and is used when a script has gone through a process of re-recording or re-dubbing, because for whatever reason, the originally scripted and recorded lines are/were unsatisfactory.

(This is also something you can verify yourself actually, even if you don’t live in the LA area: when you search up ATLA in the WGF database***, even though you can’t access the scripts you can access basic details such as, the date the draft was finalised, the name of the writer, and - whether it was submitted as an “ADR” draft or an “As Broadcast Draft”.)

I even emailed the library to ask about this distinction as well:

So if I understand this correctly, all the ATLA scripts you can find in the guild were first submitted, and then lines were recorded, and then changes were made to the script that didn’t involve dialogue replacement, and then it went through animation and post-production and ended up being what you now see on screen. This is supported by the fact that A) I definitely found some changes, but B) the changes I did find were all in the action lines/shot descriptions etc.

All the scripts submitted to the guild went through this process - all of them, except these two scripts.

These two scripts were not final drafts; I guess they might be more accurately termed “final final drafts™”, because they were submitted after some(!) lines were re-recorded, (changed? added onto? cut?!?) and the script was then updated to reflect these changes that had been made in post-production.

Which just begs the question: what lines had to be re-recorded??

What did the final draft look like before this???

(Might it possibly contextualise why Dante Basco and Mae Whitman apparently both thought Zutara was going to be canon?)

This is conspiracy fodder galore, lmfao. Pardon the dramatics here for a moment, but with enough tinfoil-hatting this could easily turn into the Zutara fandom equivalent of 18½ missing minutes of Nixon tapes. 🤣

Anyway, that about sums up my detective effort on this whole thing. I did find some more tidbits which I’ll likely post in a Part 3/Epilogue type thing - mostly small changes (most of them not really zutara-related) that I found interesting or funny enough to jot down; I’ll be making a compilation of these for your reading pleasure as soon as I can. ^^

One last bonus for you guys: the “I’ll save you from the Pirates” scene:

I must confess, I never really read this scene as romantically framed or “shippy” when I first watched it. But the way it’s written here looks like it’s taken straight out of a fanfic. “Right into the arms of Zuko”? Oh no. (Oh yes.) Oh me oh my. 🤣

*Also, someone needs to write a Mr and Mrs Smith Zutara AU titled “Synchronicity and Cooperation”, I’m saying it now, this is my official decree. Write it, folks. We need it.

**Screenshot taken from: https://avatar.fandom.com/wiki/Avatar_Extras_(Book_One:_Water) (Under “Goofs”)

***I hope that link works, if it doesn’t, just navigate to their Library Catalogue and search up ATLA yourself. 

Edit: There was a minor typo in one of the passages - it originally read “Katara has a lot of energy and momentum, and Zuko pulls her back and STOPS her before they read the door” instead of what it was supposed to say (“before they reach the door”, lol). The typo should be fixed now 😊

[broadwaybalogna]

Me Screaming: AANG SHOULD’VE KILLED OZAI

*Even louder* IT RUINED HIS WHOLE DYNAMIC OF BEING A CHILD FORCED INTO WAR AND DOING THINGS HE NEVER WANTED TO DO AND ITS OVERALL BORING HE GOT A MAGICAL SOLUTION THE LAST MOMENT

[starlight-bread-blog]

Ember Island Players and Zutara

Two approaches to analyzing literature are Doylist and Watsonian: Warsonian is about analyzing from an in-universe perspective, Doylist is about analyzing out-of-universe perspective.

For example: Why did the Gaang arrive at the swamp?

Watsonian: Because a hurricane made them crash.

Doylist: Because the writers wanted to explore the world & characters, foreshadow Toph, introduce plant benders, etc.

This analysis will be from a Doylist perspective. Meaning, I don't intend to prove Katara secretly canonically loved Zuko. She is a fictional character, she'll love whoever the writers want her to love. And the writers said she loved 𝖠𝖺𝗇𝗀. What I do intend to do is to show how the writing alluded to Zuko standing in 𝖠𝖺𝗇𝗀's way to being with Katara.

With that out of the way, let's dive right in!

At the beginning of the episode, when they sit down to watch the play, Zuko and 𝖠𝖺𝗇𝗀 share this exchange:

If you didn't catch that, look at Katara:

This is a classic romance trope, typically used for female characters, to signify romantic feelings/a crush. But what is it doing here, when Zuko sits next to Katara instead of 𝖠𝖺𝗇𝗀? What is this interaction doing here in the first place?

When an episode aims to explore an aspact of the characters, it will remind the audience of it in the beginning. In The Waterbending Scroll, Katara steals a waterbending scroll and gets insecure about her waterbending. The episode opens with the Katara teaching 𝖠𝖺𝗇𝗀 waterbending and getting insecure. In this instance, they want you to keep in mind the dynamic where... Zuko is in the way of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀? (That's without mentioning what Katara's doing with her hair). That is strange.

Moving on to the play – See the joke about Katara's characterization in the play:

The point of Ember Island Players is while the play is heavily distorted, it is somewhat based on reality. It's funny and even gets under the character's skin sometimes because it shows them a parody of themselves. (Further evidence).

When we get to the the scene between Zuko and Katara in the Crystal Catacombs, for some reason, it's portrayed as some romantic moment.

Acknowledging a fan pairing in canon from is always out of the blue/baity from the get-go. I cannot recall a time when another show that did this. Here however, it's under the premise of somewhat founded parody. Which begs the question:

(Side note: There's been debate over Katara and Zuko moving away from each other. It's common for eventual romantic leads to deny attraction. It could be contextualized that way later and audiences aren't trained to rule out the pairing. The meaning is dereminted by the outcome).

Despite that, Katara and Zuko aren't in love. Everyone knows this, right?

𝖠𝖺𝗇𝗀 is jealous. Jealous to the point where he gets up and leaves the theater. The thing that kicks off the conflict of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀 is... Zutara?

Speaking of the conflict, I won't dwell on it too much, but the events were the following: 𝖠𝖺𝗇𝗀 adressed the kiss they shared in the invasion, a kiss that went unaddressed for 5 episodes. Katara is unable to commit to an answer. Her lines, isolated:

"𝖠𝖺𝗇𝗀, I don't know" // "This isn't the right time" // "Right now, I'm just a little confused".

Until he kisses her once again.

And realistically, she doesn't take it well. Many girls use this language to reject gently. This is purposely written to suggest that they might not end up together. All of which is kicked off because of Zutara. Remember the beginning: Zuko is in the way of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀.

When 𝖠𝖺𝗇𝗀 is back in the theater, he's concerned about his future with Katara. It is showcased with this shot:

𝖠𝖺𝗇𝗀 isn't angry at Zutara here, so why is Zuko in the shot? A director storyboarded this, it was planned. They could have easily leave him out of it and it would convey the message better. Leaving him here implies that he is somehow related to the conflict, That Aang is worried about them, while both of those things aren't true.

𝖠𝖺𝗇𝗀 not being able to sit next to Katara isn't ship baiting. 𝖠𝖺𝗇𝗀 getting angry at actress!Katara not returning his feelings isn't ship baiting. Katara herself being unable to immediately return his feelings isn't ship baiting. What is ship baiting is how all of this is caused by Zuko to a degree.

Zuko stealing 𝖠𝖺𝗇𝗀's seat and Katara giving him a side glance is ship baiting. Zutara being canonically addressed in a play that's vaguely founded is ship baiting. The former causing 𝖠𝖺𝗇𝗀 feeling jealous, leaving, and starting the conflict over it is ship baiting. Zutara is imbedded in the foundations of the episode. Ember Island Players plays out as if there is something between Zuko and Katara, when there isn't. That's ship baiting.

[zvtara-was-never-canon]

do you agree Bryke had way too much fun overexaggerating Azula's mad state in the finale?

Okay, let's make three distinct things clear:

1 - Azula's madness in the finale was not exaggerated, it was the brutal, tragic pay off to many things that had been set up about her character very early on.

2 - Azula's "madness" in the comics, written by Yang and approved by Bryke, was some of the most offensive, ableist, lazy bullshit I have ever seen, and all three of them are to blame for how that entire narrative quickly turned into "abuse is fine if the victim is mentally ill" - because don't forget, Yang himself said the asylum would do nothing but worsen Azula's mental condition because it is right out of literally any horrible "madhouse" story ever, only we're supposed to forget the heroes are the ones keeping her there and sometimes helping the staff abuse her. Not really the kind of message that is pleasant to find in kids' media, especially when the original show had Zuko, an abuse survivor, and Toph, a disabled person who was literally hidden away from the rest of the world like a shameful secret, call out their parents false narrative of "This is for your own good."

3 - While there's nothing wrong with enjoying writting something as dark as a very young character going through a mental breakdwon (after all, it's a character, not a person) the way Bryke (and Yang) talk about Azula, her fans is often filled with ableist language and stereotypes that were used, both historically and currently, to justify all kinds of violence towards the mentally ill - and, more importantly, they are yet to acknowledge that they fucked up. Not thinking about the implications of what you're writting/approving of is one thing. Covering your ears when people point it out is another.

[yourhighness6]

I mentioned something about this awhile ago but it is absolutely incredible to me how Mai is an interesting and important character when the writers chose to explore her relationships with Ty Lee and Azula and the trauma she suffered when her parents tried to shove her into the role of perfect Fire Nation lady, but looses all of her dimensions the moment she was paired romantically with Zuko. It kind of reminds me of what happened with Katara in the comics.

[forevermore05]

Zuko and his protectiveness over Katara backfired on the show

I think we're all quite aware of the fact that Zuko is canonically very protective over Katara

Exhibit A

When he saves Katara from falling rubble in the Western air temple.

Exhibit B

When he protects Katara from flames in that same episode when she is about to blood bend that fire nation soldier.

Exhibit C

The famous Agni Kai where he take lightning for Katara

Now why are these so significant? I think these are big gestures are to show Zuko's efforts to make amends after what he did to Katara. It could be argued these are very extreme ways of making it up to her because these came at the cost of his life. But this also goes to show his character development, as he is willing to protect Katara from danger. For me, one of the reasons why I ship them is because of his protectiveness. It's refreshing to see a character that has always been there to help and to be a support system to others be protected by someone else. I think it can be very fulfilling as a viewer. This effort that was made to write their relationship was so genuine, and it felt so heartfelt as the viewer, that it just made their dynamic one of the strongest in the show. Whether that be romantically or just platonically, their dynamic is probably one of the best in my opinion.

Now, with all that his protectiveness towards Katara immediately evaporate after the last Agni Kai which was pretty shocking, as they didn't get time to be able to talk about what happened. I feel like it removes a piece of genuineness from the show that the characters care for each other. And of course I know a reason why this could have happened is because, well, Kataang and Maiko exist. I think what made their dynamics so strong is because of their protectiveness for one another. Especially, Zuko's protectiveness over Katara. When it was removed in the comics, it felt like a bond had been destroyed because a big part of their dynamic was protecting each other and being there for each other, and having that level of communication. They were protecting each other through their communication and through their support for one another.

How I feel like it backfired on the show is that it created a bit of an emptiness in both of the characters. Especially when they interacted, it felt more distant in the comics, and it felt as if they were strangers. Zuko's writing, which leads to him being protective over her, is so poignant in their relationship that once it is removed it creates a hole in a way it makes his character feel more hollow in his relationship with Katara. It feels like an effort to create a divide and an erasure of their past and how significant his taking lightning for her was. A show that is built of meaningful character relationships took a piece of its own heart out and of its own show and stabbed it in front of all of us when it came to the erasure of Zutara. So they could push the canon ships. They were willing to remove that important element of character relationships for 2 poorly written couples.

I think it creates a level of ingenuity in this show. That is not shocking as many of Katara's other love interests met the same fate of ingenuity, whether that be Jet or Haru. Where she's never able to show her feelings about these people. Which I find quite strange seeing how the show aims to create depth and talk about feelings that actually provoke feelings in you. They don't actually go in-depth with what the leading lady's thoughts are about other people. For all the sake of keeping the focus on Kataang it costs the good writing for Katara to be able to feel complex emotions about the other male interests in her life. And it leads to a rough ending for a strong dynamic like Zuko and Katara that shows their desperation for Kataang at the cost of good writing especially for Katara.

[linnoya-writes]

Aang actually *was* a Terrible Dad (and we should stop making excuses for him).

One thing I cannot get over is how people say that Aang actually wasn't that terrible of a father, and I keep hearing the same excuses to his behavior: he didn't grow up with conventional parents, he had to focus on bringing back his air-bending culture, Katara was already a natural parent and was totally okay being the housewife/mom who let Aang off the hook with most of the serious parenting duties... ugh....

Anyway, I have three points to give:

1) Aang may not have grown up with conventional family structure, but he certainly knew enough about the world (being a nomad his whole life pre-war) to understand what a healthy family dynamic looked like. He knew enough about Toph's dad and Zuko's dad to understand what a poor father figure looked like. Aang also spent time with Hakoda, in ATLA season 3, to see the characteristics of a good father -- and this doesn't even include the time he spent traveling with Sokka/Katara alone and noticing how their dad's absence was affecting them. I put a lot of emphasis on Katara, here, because she makes it very clear in Season 3 that her father leaving the family was devastating... and this girl would want a partner who understood those feelings and do absolutely everything to keep the family together. It's what she did throughout the entirety of ATLA-- Katara was the glue that kept everyone close -- and you would think Aang would pick up on those cues, rather than let history repeat itself after he had his family with Katara. Imagine how awful it must've been for Katara, watching the man she married ultimately go off with their air-bending son on these cultural excursions, and not even consider that their two other kids might want to learn about air bending culture anyway. They're a bi-cultural family, after all, right? Wouldn't that have been a prime example for the new world, showing a blended family being together and not separate? Just let that sink in for a moment.

2) Many people say that any misunderstood family dynamics between Kya, Bumi and Tenzin came to a peaceful conclusion in LOK season 2 with a happy family portrait. Here's the thing-- a posed, smiling family portrait doesn't necessarily indicate a healthy family unit. I'm also making note of LOK Season 3, when Bumi admits that he finally feels more connected to their father after he magically gets Airbending, and also that scene when Kya/Bumi arrive to the Northern Air Temple and the acolytes are shocked to hear that Avatar Aang had other children besides Tenzin. I mean... how much effort would it take, exactly, for Aang to just mention to the temple monks and acolytes that he had two other kids? Was he embarrassed to tell them they weren't air benders? Was he ashamed? In any case, he was the Avatar and he should've demonstrated pride for the children he had regardless of their bending ability or lack their-of. It goes without saying that, while Aang did grow up differently and had many priorities being the Avatar and the Last Airbender... he still made some conscious choices about how little of a "family man" he wanted to be. Aang clearly favored the air-bending life and didn't process that he was also raising a family that was part WaterTribe (perhaps because many of their customs clashed with his air-bending way of life... but that's another conversation.)

3) Yes, Bryke are notorious for writing examples of poor father figures (Ozai/Unalaq/BeiFong/Yakone/Hiroshi) and I'm also here to tell you that they're known for writing women who lose agency and turn devoted-doting-domestic-docile once they get with their man. Pema from LOK is a good example-- all we know about her is she literally gave her life to be an air-acolyte and carry Tenzin's children (the only backstory we get is Pema secretly pined for Tenzin until it became too much and she had to say something), and be the good housewife and mother to those air bending kids. We know nothing about this woman's individual wants or needs outside of motherhood. Another example is the backstory of Yakone and his unnamed wife who-- after giving this man two sons, completely disappears from the narrative and is not aware Yakone is abusing his kids. And she's still exists, because Amon refuses to go with Noatak so as to not abandon their mom. Their mother was so unnecessary as a character after she had the kids, she became this oblivious/silent character in the background who let her own kids get abused. Another example is Unalaq's wife-- again, about a father using his two kids like his henchmen and the mother isn't even in the picture. We know she exists because after Unalaq gets destroyed... Esna turns to Desca and says "what're we gonna tell Mother?"  It may have been written as a subtle joke... but the underlying sentiment is still there.

I'd say my favorite example is the fate of Fire Lady Ursa-- a woman once determined to protect her children that she was willing to commit murder and treason -- ends up choosing to forget those same children and instead wipes all her memories of them entirely to start a quiet domestic life with her childhood sweetheart, a man who very much knows the life Ursa left behind and has the power to decide what truths he wants to tell her about the world and live like there wasn't even a bloody war happening. (Don't even get me started on how The Search disappointed me. Oy).

Perhaps Aang and Katara -- even without intent -- might have fallen into that formulaic pattern when Bryke wrote out the first two seasons of LOK, because that was during the time The Promise, The Search and The Rift comics got published, and Katara's character was definitely becoming that unquestionably-loyal/no fuss/devoted girlfriend to Aang where she would go with everything he decided and sadly sit in a corner while Aang got all the praise and attention and never considering her feelings. Bryke picked up on these mistakes, however, because in the later comics like North & South and Imbalance, you can see them giving Katara some leadership moments (particularly when Aang isn't around) and Aang more of a mature, considerate approach with Katara, saying things like "I'm sorry I just left you to fight alone like that!" and "You're always asking me if I'm okay. Now it's my turn-- are you okay?"  The effort was definitely there to make Aang and Katara look somewhat more compatible than they let on. But things didn't really seem that promising in Legend of Korra... as Katara's character arc gets breadcrumbs of acknowledgement regarding what she did for the world outside of Aang's narrative.

It seems like Katara's badass individual characteristics were written second only to whatever she needed to be for Aang, including being the primary parent to his non-airbender kids while he focused on the air-bending culture.

In any case-- I'm almost certain Bryke will be bending over backwards to "fix" all of these flawed elements of Kataang and Aang as a father figure in the upcoming animated feature films, because if there's anything Bryke likes to do... it is "tell" us that Aang was a great guy and there absolutely was no other better person for Katara.