#but this shows that he's also been thinking about aang asking if he thought they could be friend NON STOP since it happened

[jessmalia]

Mal's Avatar: The Last Airbender rewatch: The Western Air Temple 3.12

[ecoterrorist-katara]

Zutara, romance novels, and the female gaze

Okay so I’ve been thinking about the female gaze a LOT so I checked out a subreddit about romance novels, despite never having read one. I came across this meme (which was initially a Tumblr post and then got posted to Instagram and then to Reddit and I’m now bringing back to Tumblr — Internet telephone, pls never change):

And…what is The Southern Raiders, if not a platonic grovel? Katara’s pain is central to the episode. It’s central to Zuko. Zuko asks Katara what he can do to make up for his betrayal; she demands the impossible. He reads between the lines, cockblocks her brother to get the necessary information, and then waits outside her door overnight (which he also did for Iroh, the one person we know for sure he loves). He basically makes himself a receptacle for her rage, and he holds space for her by coming with her on her revenge quest and carrying their bags and not saying a damn thing about what she should and should not do beyond like…asking her to rest. And obviously the grovel works! She forgives him and then they’re thick as thieves, bantering and fighting and saving each other’s lives, etc.

On a different note, I’ve been told that enemies to lovers is one of the biggest tropes in romance novels, similar to YA lit and fanfic. Here’s something else I found in the romance novel discourse:

And…yeah. In TSR, Katara really does show Zuko her worst self, because she doesn’t feel the need to perform for him. She doesn’t feel the need to perform moral perfection OR cold blooded vengeance. She bloodbends in front of him and he just goes with it. She doesn’t kill Yon Rha and he just goes with it. He doesn’t treat her any differently afterwards. Maybe they talk about it off screen, but I kind of like the idea that they don’t, because Katara doesn’t need to explain anything. And it’s so interesting, because some people in the ATLA fandom have a totally different read on TSR. They think Zuko was encouraging Katara to get revenge (by what, keeping his mouth shut?), and that Aang is the one who acts as her moral compass. I believe that either Bryan or Mike said in the DVD commentary that Aang is the angel on her shoulder the entire time. And this interpretation does make sense if you see it from the male gaze, where Katara as an object of affection is acting in an angry, irrational, threatening way. But if you see it from the female gaze, you recognize that actually it’s probably the most emotionally taxing experience Katara has to go through, and she doesn’t owe it to be nice or perfect to anybody. Katara’s formative trauma literally comes to a head, and she has to make a decision — no, a discovery — about who she is in relation to the tragedy that defines her life and even her identity (as a waterbender, as a parentified child who becomes the mom friend, as a genocide victim), and she’s accompanied by someone who trusts her judgement and validates her feelings.

I’m not saying TSR is explicitly romantically coded, but when it conforms so well to romance novel tropes…is it any wonder that so many people thought “yes this is her man?” And then he takes lightning in the heart for her and reaches for her when he’s literally dying, I will never be normal about that either

[wilcze-kudly]

Katara and the fear of loss (aka why she waited)

I think one aspect of Katara's storyline I don't see explored nearly enough the fact that she is terrified of losing others, especially those whom she cares for. This makes sense, especially looking to her background, how the death of her mother affected her and the fact that war has been a very large part of her life since she was a small child. Not to mention, she is actively a huge part of said war, along with her brother and friends, at the tender age of 14.

Now, some of you may ask "quill what the hell does Aang have to do with Katara's mother?"

Yes, on the surface, there isn't that much connecting Katara's dead, grown ass mother to Katara's alive 12 year old goofball bf but the parallels between Kya and Aang are planted even at the beginning of the show, in the first few episodes.

When Zuko and the Fire Nation attack the Southern Watertribe, they are looking for Aang, the last airbender, not dissimilar to the Southern Raiders looking for the last Southern waterbender. Furthermore, both Kya and Aang willingly give themselves up to the Fire Nation in order to protect the village, particularly Katara.

Throughout the show, we see Katara's interest and endearment towards Aang grow, and we see them create a genuine friendship. But I'd argue that Aang being the Avatar is, to some degree, a problem to their relationship. Aang's duty as the Avatar, and the risks and decisions he is faced with due to it, often create a rift between him and Katara.

Be it due to Aang's responsibilities leading him to make decisions she doesn't agree with, like in the Avatar State, where Aang feels the pressure to force the Avatar State due to the suffering of the soldiers he feels responsible for.

Or, more poignantly, in the Awakening, where Aang is once again compared to one of the parents Katara lost due to the war, though Hakoda's 'loss' was not due to death, but a need to fight. I think this also shows how much Katara values Aang not just as the Avatar, but as a person.

Katara: Aang. He just took his glider and disappeared. He has this ridiculous notion that he has to save the world alone, that it's all his responsibility. Hakoda : Maybe that's his way of being brave. Katara: It's not brave; it's selfish and stupid! We could be helping him, and I know the world needs him, but doesn't he know how much we need him, too? How can he just leave us behind? Hakoda : You're talking about me too, aren't you?

This is twice Aang has been directly paralleled to one of Katara's parents, whose repsective losses have clearly affected her greatly. This is also extremely poignant, since we've been explicitly told that Aang's love for his own lost family, the Air Nomads, was reborn into Katara. For Aang and Katara, the ways they deal with their losses influences how they pursue each other romantically.

Of course, there's also the ✨️ immediate threat of death and physical injury✨️. Aang and the rest of the Gaang, but particularly Aang is constantly being chased and tracked and endangered by the Fire Nation and he is meant to face the Firelord and defeat him. There are a lot of possibilities for something to go horrifically wrong here.

From Aang being half dead when Katara found him, then almost immediately getting kidnapped by the prince of the goddamn Fire Nation, to almost every villain of the week shenanigan, Katara already has good reason to worry for Aang.

But then the reach Ba Sing Se and things get even worse. Jet, Katara's only other canonically confirmed love interest dies, and Katara is helpless to do anything about it. This is already enough to make someone reconsider future romantic endeavours, but surely it can't get any worse, right?

Oh yeah, Aang FUCKING DIES

He gets blasted in the back with lighting, right as he enters the avatar state, right before Katara's eyes. The saviour of the world, but more importantly, her dear friend, brutally cut down before her very eyes. And Katara, a child, is the only person with even a sliver of hope of bringing him back.

So is it really any surprise that Katara, having experienced loss before multiple times over, and almosf having lost Aang himself, would be hesitant to enter a romantic relationship with someone being actively hunted by the greatest military in the world, someone obligated to take on the leader of said military?

Katara is afraid. She's afraid of opening her heart up to loving Aang and then losing him after that. This is the main reason why she hesitates in initiating her and Aang's relationship. Whenever Aang tries to brooch the subject, she brings up the war and the Firelord, but due to being a child, she struggles in communicating her exact feelings, which leaves Aang confused and of kilter. Katara often gives Aang romantic attention, and clearly feels rather possessive of him, however, she is not ready to enter a romantic relationship due to the threat of the war looming above their heads. But due to being 14, she doesn't know how to explain these feelings, which is what leads to the minor conflict between her and Aang. Because, you know, they're both children in a situation that children aren't built to deal with.

Katara : Aang, I don't know. Aang: Why don't you know? Katara : Because, we're in the middle of a war, and, we have other things to worry about. This isn't the right time.

It's important to note that Aang isn't exactly a bad person for wanting this relationship to be made tangible. He does push boundaries, and kissing Katara without her consent in the Ember Island episode is obviously a horrendous misstep (which he acknowledged), but I think you can at least understand his motives. He may soon die, after all, and he wants to love Katara and wants to express that love before he possibly loses his entire goddamn life. I think this can also be traced back to how Aang deals with the genocide of the Air Nomads and vs how Katara deals with the death of her mother.

Aang certainly blames himself for the death of the Air Nomads, although this guilt is unfounded. Perhaps part of him believes that if he'd just stayed with them, spent a little more time with Gyatso, he could've helped them. It wouldn't be a leap to imagine that Aang wanting to spend more time with those he loves, including Katara is a coping mechanism surrpunding that loss.

Now juxtapose this to Katara, who's entire encounter with Yon Rha is permeated by helplessness and fear, an 8 year old Katara being unable to do anything but run away and try to get help, sadly not in time for Kya to survive. So Katara trying to assert some control over her relationships, maintaining a certain distance to Aang while the war that robbed her of her mother is still in full swing isn't an improbable concept. She's trying to not feel that helplessness again.

(Katara probably blames herself for her mother's death too, but it has less to do with Katara's actions and more to fo with what Katara was; a waterbender, something she hasno bearing on)

This is why she initiates the kiss with Aang at the end of the show. Not because she feels the need to give in to his advances due to him being the hero of the world. Not because she's caving to his insistence or because she's pressured. But because the possibility of Aang getting fucking murked by glorified pyromancers are significantly lower than they were during the war.

This is not a 'taking one for the team bcs I feel like I have to due to Aang saving the world' type of smooch. This is a 'finally I feel safe to express my feelings' type of smooch.

To be completely honest, I don't like how Kataang was handled post day of black sun, I think it was an unnecessary addition of a redundant "will they, won't they?" aspect to the relationship. Teasing Zutara in the last few episodes was also just unnecessary, because it was obviously never a viable endgame relationship and it only served to give kid zutara shippers false hope. This is especially fucked up looking at how the same zutara fans were later mocked by the creators, which, no matter what you think if the ship, is a horrible thing to do to a bunch of teenage girls and I think has contributed to those teenage girls growing into bitter, aggressive adult zutara shippers.

But, as much as I dislike this storyline, it does make sense for Katara's character and is an interesting and touching 'silent arc' for her to have. We often see characters fall in love in the midst of a conflict, but we aren't always shown how that conflict would affect the way they look at their relationship, so I appreciate this storyline for what it was.

[woodlaflababab]

Aang's forgiveness @ Zuko always hits me so hard and I think it's because it's more than forgiveness. I think Aang truly understands where Zuko is coming from on an almost painful level.

I mean like, if someone told Aang there was a way he could go back home, that there was a way to bring back all the people he lost, how much would Aang be willing to do for that? How much of himself would he lose and sacrifice just for that chance?

Also, when Zuko comes to ask to join them the second time, he says "I've been through a lot in the past few years, and it's been hard. But I'm realizing that I had to go through all those things to learn the truth. I thought I had lost my honor, and that somehow my father could return it to me."

This sounds like the mash up of a few things Aang has said, from when he met baby Hope, "I've been going through a really hard time lately," (a hard time that has led to him doing things he regrets) and when he woke up after Ba Sing Se "I need to redeem myself. I need my honor back." (An idea that led to him making a bad decision) Aang knows that it has been the process of going through these struggles that have made him who he is.

And then to quote some tags from @theavatarandthefirelord from this post "#he's thinking about their relationship esp since their moments in The Storm/The Blue Spirit #also the way aang sees himself reflected in zuko as well #primarily with him burning katara but also moments like in The Desert #and losing control in the Avatar State"

Aang also relates to Zuko's anger issues. He intimately knows the mindset that leads someone to do bad things and, unlike the others (for example Katara) Aang also understand the guilt and regret that comes after it, the same guilt and regret Zuko shows in this scene.

Zuko doesn't just explain himself, he explains Aang as well.

I love the forgiveness trope that's so often featured in this ship, esp in fics, and part of why I love it is because it's not blind forgiveness, it's 'I've been there, and I could've gone down similar paths given different circumstances, to forgive you is to forgive myself'

And I just think that's so beautiful.

[enchantedmyth]

Zuko, What’s my name?

Fate hasn’t always been in the gang’s favor. Through their journey of finding Aang in the iceberg to meeting an awkward Zuko, they’ve had numerous ups and downs. So, it was wild when Zuko tried to convince them that he's on their side. No one saw it coming. Especially Sokka.

In general, Sokka was a very analytical person. Always bearing the responsibility for the safety of the group, for keeping them on track, and for coming up with innovative ideas to escape life-threatening situations. Of course, the most important thing, being the one who kept things light. 

As far as his calculation went, Zuko could not be trusted even though he had surprisingly turned out to be useful. He’d been skeptical ever since Zuko first showed up. Neither Appa licking him with joy nor Toph’s feeling that he wasn’t lying could convince Sokka. Sure, Zuko had won his trust a teeny-tiny bit by helping them against  Combustion Man, so Sokka gave in and decided to let Zuko teach Aang fire bending if it meant sending the plan into motion to defeat the Fire Lord. That was the only thing that mattered for Sokka. 

Still, something was bugging him. Right after everyone had agreed to let Zuko stay, he realized something when they were having lunch, something weird. 

Then, again during dinner, when they were sitting around the fire, he noticed the seemingly increasing weirdness of the situation. As soon as he had taken his last bite, he decided to speak up.

“Guys…” he started calmly. “I think we need to address the elephant in the room,” he declared, grabbing everyone’s attention.

“What elephant?” Aang asked.

“It’s called a Bison,” Toph commented.

“I KNOW WHAT A BISON LOOKS LIKE!” Sokka screeched, before he cleared his throat, “I’m talking about him!” Sokka pointed at Zuko.

Katara rolled her eyes. 

Aang raised his eyebrow. “I think we have already established that he is part of the group now, Sok-”

“Stop!” Sokka shook his head. “No, no, no. Don’t say my name!”

“But So-”

“DON’T SAY MY NAME!” Sokka screamed.

“What’s with him?” Aang whispered in Toph's ears, feeling defeated, and Toph shrugged nonchalantly.

Sokka stood up to face Zuko. “So…Prince!”

“Uhh…” Zuko curled his upper lip. “Yeah?”

“What is my name?” Sokka squirted his eyes.

Toph laughed. “I think Combustion Man got to his head.”

But Sokka didn’t budge. “The fact of the matter is, I haven't heard him call any of us by our names. It's always The Avatar or The Bison.” He said, impersonating Zuko as he stepped closer to him. “What is my name, Zuko? See? I just said your name! It’s not that hard.”

Katara growled, growing impatient, but chose to stay silent, just like Haru, The Duke, and Teo, who were also witnessing the whole thing while eating their dinner.

Zuko let out an awkward laugh. “Lee?”

Everyone gasped.

“SEE!” Sokka pointed at him again. “I KNEW IT! THIS GUY DOESN’T KNOW OUR NAMES!”

Hearing this, Toph sat up. “Wait, really?”

“But you've been following us forever!” Aang added.

Zuko scratched his cheek. “Uhh…You guys never really told me your names.”

Aang slowly shook his head in disbelief, “And you decided to just roll with it?”

“It was very awkward this morning,” Zuko argued. “You know, with the assassin trying to kill everyone? Then you guys went to do your own things. I thought it was too late to ask.”

An awkward silence took over only to be broken when Sokka cracked up. “And to think he followed us around the world!” He snorted. Toph and Aang joined in while Haru, The Duke, and Teo softly chuckled.

“Who do you think Appa is?” Sokka hollered.

“Is that the Earth Bender or the Bison?”

Sokka laughed even more. “Holy waters!” He wiped away a tear. “Can you guess who Aang is?”

“Ugh…”

“Who…Oh Spirit! Who is Sokka?”

“The…Avatar?”

“Hahaha! Who are these extra people then?”

“I’m seeing them for the first time…”

“Okay, guess who is the grumpy girl with the hair loopies?”

“The waterbender…”

“Don’t drag me into this,” Katara spat.

And just like that everyone else laughed, breaking the ice. Maybe Sokka trusted Zuko a little more now. 

..............

I wrote this a while ago in a sleepy state and thought I did something. Inspired by a post I can't seem to find. This is not exactly romantic but I see some zukka potential here idk man.

[oneatlatime]

Bitter Work

Life took me out at the knees for a couple of weeks but I'm back! I'm hoping this is a nice restful episode after the relentlessness of The Chase.

I have to say, Toph's nicknaming skills are on point. I never would have thought of Sugarqueen, but it fits perfectly.

This is me. Every morning.

Full nose plant from Appa.

And the beat up Sokka quota is fulfilled. Very funny Toph, but completely uncalled for. If someone had catapulted teenage me 50 feet into the air while I was trying to sleep, it would have been fully justifiable homicide.

Aang is always trying to run before he can walk. What was Iroh always saying to Zuko about basics? Aang needs that speech too.

I was really on the ball in my post about how airbenders aren't homicidal, actually. Rock is a stubborn element. Yay me!

Aang earthbends = Earth bends Aang.

Seriously, how did he mess up that badly?

Cozy.

Thank you Zuko for the incredibly obvious exposition that's somehow completely in character. Interesting to see that Iroh and his son had brown hair, but Zuko seems to have black hair. More hair variety in the Fire Nation than I thought.

Tangent time! I love the contrast in social intelligence (I guess that's the term?) in this scene. Zuko wakes Iroh up with an infodump, some bad tea, and then gets straight to discussing strategy. Iroh's first actions are to compliment the bad tea, then dispose of the refill in a way that won't hurt Zuko's feelings (probably not necessary, as Zuko seems to be the type that's oblivious to all things other than the task at hand when he's focused). Iroh, injured and awake for all of 15 seconds, jumps straight to actions that help look after his nephew. And Zuko is trying! That's why he made tea! But still, he doesn't even ask if his uncle's feeling ok. Zuko has such a massive gap in his education - he can probably reel off the specs of all Fire Nation battleships, but he doesn't know how to be a human person. Contrast that with Iroh, and especially Katara, who makes friends and connections with such aggressive forwardness that she's at times more steamroller than teenage girl. It's funny how privilege plays into this too - Zuko comes from probably the single most privileged (on paper) family in the world, yet it's the children of the impoverished water tribe who have the more well-rounded education/socialisation.

"She's crazy and she needs to go down" go a full belly laugh out of me.

"What if I came at the boulder from a different angle?" Jesus I was REALLY on point with my post about the airbenders. Credit where credit is due, this show has such good writing/worldbuilding that viewers have picked up what Toph is laying out in this episode already. Also a little bit of stealth character work in there - since Toph is putting into words what we've been thinking this whole time, she now reads as trustworthy. This show is so good. So thought out.

Maybe it's just VLC being weird, but methinks Katara is having some trouble with her eyeball.

Katara STOP BABYING HIM. This is why I don't like Aang having a crush on her.

Honestly it's refreshing to have Toph giving it to Aang straight, no softening the blows.

I really like this texture.

Sokka's club is a giant bottle opener. Or at least a multitool.

ROCK SUITS

wait

ELEMENTAL FASHION

oh this is going to be haybending all over again.

They are totally going to have to nerf this girl. She could defeat the Fire Lord right now.

Earth beats water tribe

Someome who knows more about tea than I do: Why are both pots necessary?

"requires peace of mind" well that's out. Sorry Zuko, we'll have to get you a taser instead.

"So we're drinking tea to calm down?" "not it's to get the nasty ass taste of the sludge you brewed out of my mouth. I mean yes." For what's looking like an extended training montage, this episode is far funnier than it needs to be.

I pretty much don't notice Zuko's scar anymore (it's just part of his character design) then every so often a certain frame of animation will come out of the blue and remind me that this kid's missing half his face. I don't know if it's intentional on the part of the animators, but his scar is prominent this episode.

So it sounds like bending lightning actually corresponds with how lightning in our world works. Neat.

In an absolutely Shocking turn of events (pun absolutely intended), Zuko fucks it up. Fucking shit up: the autobiography of a Fire Prince. Has a nice ring to it.

Toph I know you go hard, but maybe apply a sense of proportion to this?

It kind of looks like Aang's about to be run over by a giant scoop of caramel ice cream.

Toph is such an interesting mishmash of bluntness and emotional intelligence. I don't think I've seen a character like that before.

Zuko being self aware for once! Everything always does explode in his face. Except when he's being the Blue Spirit. Seems he's more capable then.

It's a tragedy that this boy wasn't around for the emo movement. He would have single-handedly sustained Hot Topic.

Zuko going "WHAT TURMOIL?!?!?" is like Katara going "I'M COMPLETELY CALM!!!!!" last episode. Also got a laugh out of me.

"I'm as proud as ever." OF WHAT?!?!? What could he possibly be proud of? He's a homeless fugitive with a stolen horse bird and a half-dead uncle that he can't even properly brew tea for. The self-delusion is strong.

Is pride the source of shame? Honest question, I don't know.

There's a surprising variety of trees in this part of the Earth Kingdom. Where Zuko and Iroh are there are fluffly hardwoods, probably deciduous; Toph's training ground is ringed by cartoon pines.

This whole bit is too cute for words.

"Now come back boomerang" This is a training episode, it's not supposed to be this funny!

Are there voice acting awards? Like voice acting oscars? Sokka's actor needs one. Or several.

I should have waited to answer the ask about airbenders and just copy pasted Iroh's speech here. Except for the water = change bit. That doesn't make sense.

What can I possibly say about Iroh's speech? It's the thesis for this show in a single paragraph.

Pretty.

Are characters' eyes a different shape this episode? Aang's eyes change colour all the time, but everyone's eyes seem more cat-like.

I do love me some constructive bullying.

Sokka is so refreshingly self-aware while still totally oblivious. He is meat and sarcasm, but he's so much more!

"Have you got any meat?" He said that in an Irish accent.

"You're gonna pull my fingers off and I don't think the rest of me is coming!" Do you ever come across a sentence that is so obviously an innuendo that your brain trips over itself trying to decipher it?

Sokka's hair must be so fluffy. It's got so much volume.

Why can't he go get Toph? I think being stuck in a hole outranks avoiding an awkward encounter.

FOO FOO CUDDLYPOOPS

"You must not let the lightning pass through your heart, or the damage could be deadly." Foreshadowing?

Today in 'things Zuko thinks it's acceptable, nay, expected, for parental figures to do' - attempted murder as a teaching method! What went on in that palace?

Is this the closest Sokka's come to dying?

He's earthbending the air! Doing air but earthlike. You know what I mean.

I thought she was levitating.

Toph is so smart. She does the airbender thing and comes at the problem from a different angle. Telling Aang to stand up for himself doesn't work? Fine. Let's bully him into standing up for himself. And it works!

This episode's MVP is Sokka's patience.

"You tried the positive reinforcement, didn't you?" uhhhhh sure!

Appa getting vengeance for Sokka. Nice.

Theatre kids.

I wish Zuko would just have the breakdown he's obviously hurtling towards so we can get started on the rebuilding arc. Every time I think he's a rock bottom, he keeps digging.

Luten is Katara. Let's not read too far into that one.

Final Thoughts

I defy any episode from this point on to fulfill the Beat Up Sokka Quota as thoroughly as this one did.

In a lesser show, the 'Aang learns earthbending episode' would have had Aang & Toph as the A-plot, and Sokka & Katara doing something completely unrelated as a b-plot, and probably no Zuko at all. Sokka does have his own thing going on this episode, but the fact that they managed to weave in both water tribe siblings so organically is so satisfying. Of course a team member struggling to learn a new skill would seek out his friends. Of course his friends are in the area, observing the lesson to varying degrees. It feels so much more real to have the characters who aren't 'useful' that episode still there, rather than conveniently absent.

Zuko was very Zuko this episode. He's correct that he needs more training for his inevitable next encounter with Zuko jr., but Iroh is also correct that Zuko is a bundle of issues held together by a different bundle of issues. Not to jinx it, but I thought I detected a hint of self-awareness from Zuko this episode, although it seems to have occurred despite his best efforts to suppress it.

Iroh's Zuko-wrangling skills were sharp this episode, despite being injured. And his wisdom was off the charts. Zuko was also not as annoying as I usually find him, and unlike in Zuko Alone where I found his quieter self to be out of character, it fit this episode. Maybe he's turned over a new, quieter, leaf? I loved "she's crazy and she needs to go down" both as a joke and as a statement. Shared blood doesn't trump someone's actions, and I'm glad to see a show meant for kids acknowledge that. Although, given that this show has no problem depicting objectively BAD parents and families, I can't say I'm surprised.

In a testament to Jack de Sena's skill, Sokka get a soliloquy this episode and pulls it off flawlessly. Kudos to the animation team for making Sokka's face fit the words so well. Double kudos for whoever had the balls to approve 'stick Sokka in a hole and put an apex predator on his head to force self-reflection' as a plotline.

There was a lot of exposition from a lot of different characters this episode, but it's mostly unnoticeable. It just makes sense that that's what they would be talking about at that point in time.

I think I said it above, but I'll say it again: the worldbuilding in this show is phenomenally well done. How do I know this? Because I was able to construct most of Iroh's monologue before watching this episode, just by paying attention. This show rewards focus and attentiveness. (Almost) nothing that Iroh said was not something the audience has already observed for themselves. Not heard, but observed. That 'show, don't tell' thing.

This episode was way funnier than it needed to be too. Not just the obvious stuff like *inhales*

FOO FOO CUDDLYPOOPS

but tiny one-liners buried mid-conversation and character interactions too. Momo turning into a reed didn't have to be there, but it was, and it was funny. It wasn't exactly restful, but it was a relief to have an episode that really didn't move around after The Chase.

What I like most about this episode was that it went farther than it had to. This was a training episode. It could have been just training. Anyone familiar with training episodes would expect just training, and be satisfied with just training. But Avatar said 'nope, we'll do better than that' and organically incorporated a heap of character stuff, worldbuilding from multiple perspectives, humour, multiple characters undergoing self-reflection, the next step in the domestication of Zuko, what I'm hoping wasn't a heap of foreshadowing, and pretty backgrounds as the cherry on top. They didn't have to go so hard, but Avatar always goes hard. I like that.

[sokkastyles]

Hi,

Hope you are doing well. Thank you for the response on TSR. I have a question to ask on Aang.

During the practice that the Gaang has, where Aang is unable to go through with killing the practice model of Ozai because it goes against his values, and Sokka would later slice the watermelon with his sword to show how it could be done, I realized that Sokka seems to be frustrated.

I get that Aang was not going to kill Ozai, and I don't think Sokka wanted to kill him unless it was necessary, but was his frustration because of the fact that Aang is unwilling to even consider that he may have to kill Ozai, considering their best chance to stop Ozai in Day Of Black Sun was gone and now Aang will meet Ozai during Sozin's comet, where Ozai would get an extra boost. I can't help but feel that Sokka is also frustrated that Aang is bringing this up now, when the war which already has been going on for 100 years, is entering an even more dangerous phase, that could mean if Ozai isn't stopped, the Earth Nation would be gone.

I would like your thoughts on this.

Okay, I just rewatched that scene and the way it's framed is...super weird. As are all the scenes in the last few eps where Aang suddenly decides he can't do the thing the entire show has been building towards. Aang stops shortly before striking the "melon lord" and says he can't do it because he "didn't feel like himself," but...how many other times have we seen him perform moves exactly like this? Just because the show reassures us that nobody died those times, it's okay, I guess?

The thing is, the show %100 could have found a way for Aang to take out Ozai without killing him if they had wanted to. They didn't have to include this conflict where Aang gets to moralize to everyone around him, but it's so transparently done to make Aang seem morally superior. The cut away when Sokka cuts the melon in half with a cold "that's how it's done," the foreboding music, Aang's exaggerated horrified expression, and the shot of the sliced melon falling on the ground and Momo eating out of it is so weirdly grotesque, and it does Sokka a huge disservice by implying that he's bloodthirsty for wanting to see the war end. Remember Sokka in the intro, with that weary and defeated expression on his face, clinging to his sister while Katara monologued about her hope that the Avatar would return one day?

I'm sorry, I just don't buy the show's attempt to moralize about how victims of genocide are just as bad if they fight back. So if Sokka is angry, he certainly has a right to be.

[the-badger-mole]

Sorry I’m asking a bunch of questions but I’m really interested in how you view ATLA

How would you have personally expanded on Mai’s character had you been a show runner for ATLA? Same with Aang.

What other major differences would you have made, and how would you have instead written Kataang if Zutara weren’t an option?

I would've been fine if the show ended with no romances, tbh. If Zutara wasn't an option, that's the route I'd go. That being said, if Kataang was my ONLY other choice, I'd say that Aang would have to have a growth arc. He'd have to confront his problematic opinions towards the SWT, and I'd love for it to be because he was called out on them by Katara in specific. He'd also have to come to an understanding of his friends' perspective on a war that he's only experienced a few months of and they've spent their entire lives worried about. He'd have to also have a reckoning with his beliefs as they come into conflict with the realities the world is facing. He'd have to be way more empathetic and supportive of Katara, even in her worst moments. Basically, he'd have to be a completely different character who just so happened to be named Aang in order for me to support Kataang at all, Zuko or no Zuko.

As for Mai, I think she's a lot more interesting as an antagonist than a hero. I'd have embraced her calculating and manipulative ways and gone with having Ty Lee be the one to turn on Azula. As it should have always been. She didn't need to be over the top evil, but I see her as one of those antebellum ladies who turned a blind eye to the suffering of others because their lives were comfortable. I'd have her be angry with Zuko for rocking the boat instead of falling in line with the status quo. But I'd also have her dealing with a deep rooted rage because, like those antebellum ladies, she was unsatisfied with her lot in life. Her poor treatment of servants would be focused on more, and her thoughts on her family's part in the Fire Nation's colonizing the world would be explored, too. In the end, she would want more freedom for herself, but still be a Fire Nation supremacist, and she would never forgive Zuko for his treason.

[likealittleheartbeat]

hey! i really enjoy your analysis of aang and zuko's relationship, and i was just wondering if you have any thoughts on this:

when aang considers what he's afraid of the most, he doesn't just see zuko - he sees the blue spirit. why do you think his fear is linked to that mask? zuko was the most amicable towards him when he put that mask on, and was hostile every other time.

Ooooh!! This is such a rich and meaty question!! And it's something I've wondered about but never dove into before.

I guess there are a couple of questions we need to explore. One, do we want to begin to analyze this from Aang's perspective or the series' themes, which, when put together, should offer us the fullest idea of what the intent might be? If we begin with Aang's perspective, then the next question we need to next ask what is Aang's view of Zuko and/or the Blue Spirit at this point in the narrative? My worry about beginning at that intimate level is that we might miss possible connections that a thematic understanding might facilitate and may, like many fandom analyses, leave it at a character level when, in fact, the characters exist to serve larger philosophical purposes, especially in a show like ATLA.

So, we'll return to those questions about Aang after we visit some questions about the broader themes here. We know for a fact that the team did a lot of research into Eastern philosophies that they had to then pack down into 24 minute episodes, preserving a surprising amount of complexity not in the words but in the actions and visuals. The 2 part Crossroads of Destiny episode is probably the most evocative of this practice. The four-way fight scene is celebrated for the way it masterfully shows character development through fight choreography. Then, Aang's crystal chamber he forms to master the Avatar State is a direct reference to a statement about pre-enlightenment in one of the foundational texts about Japanese Zen for American Buddhists, "The Three Pillars of Zen." The rapid explanations of the seven chakras with Guru Pathik might seem like a a skimming of Tantric beliefs based on the brief statements and processing, but it's another prime example the way ATLA suffuses meaning beyond the script.

What more can be said about the Earth (also called the Root or Muladhara) Chakra, then, that the show might reflect without stating it explicitly. Guru Pathik explains that the Earth Chakra "deals with survival." Is there any subject more prescient than that for our protagonist, the single survivor of an otherwise all-encompassing genocide? Other accounts of this chakra that I can find explain that it's at this chakra that one can observe that their base needs are being met--enough food, enough water, etc. There seems to be a subtle witnessing to the effects of PTSD here then. With this chakra untouched, unopened, and out of balance, Aang within his mind has been living in a state of emergency without knowing it, believing himself at a core level beyond his consciousness to still be under immediate threat even in moments of peace like his meditations throughout the opening of his chakras. "Your vision is not real," Guru Pathik points out, not to say that no danger exists for him in the world but to illuminate the immediate reality surrounding his person.

The memories and visions that flash during the sequence hint at how fear conceals deeper realities and thus possibilities. I'll start with the clip of Katara sinking away from the first episode of Book 2, "The Avatar State." The Earth Kingdom General performed this cruelty after many other attempts to force Aang into suffering to gain the Avatar State. Believing he lost another person he loved, the state was triggered despite the actuality that Katara was unharmed. The fear of her loss overwhelmed Aang, and even her safe return could not assuage his traumatic response. The Blue Spirit incident forms a striking parallel to this event, in that case. Aang felt himself helpless and in danger only to discover the opposite: the seemingly malevolent force freed him from danger. Further, that Blue Spirit Mask concealed Zuko who, by the end of the series, will be revealed (to himself and) Aang as an ally and a friend. The shadowy image of Ozai, then, connected with these two fear-inducing semblances, can be seen then as perhaps the ultimate foreshadowing of Aang's ultimate success in pacifying Ozai. Put in the context of this chakra and the other two visions, it frames the Firelord as a facade meant to induce terror and distance, when in reality, life and humanity still lay behind the horrifying megalomania.

Concerning the Blue Spirit element specifically in the series, I want to explore one more factor within the series before getting back to Aang's character relationship in this moment. Blue has a running symbolic theme within the series that seems especially relevant here since it played a huge role in a highly symbolic part of the directly previous episode, "The Earth King." As Zuko rides out his psychogenic fever induced by releasing Aang's bison and abandoning his Blue Spirit mask, he is confronted in his dreams by a blue dragon voiced by Azula and a red dragon voiced by Iroh. I felt really confused by these two would-be shoulder angels for the longest time (literally until I was sorting my thoughts out to write this) because Azula's blue dragon is the one who entreats Zuko to rest, which even in Grey Delisle/Azula's clearly threatening tone--she even ends the temptation by saying "sleep just like mother!"--seemed to be what Zuko needed to do as opposed to the red dragon's exhortations to get out. I could see how sleeping might also refer to accepting his upbringing without thought, but why blue? The layers upon layers of possible meaning overwhelmed me.

I posit that blue in the series, especially when put in relationship to red/orange, as it is in the dream sequence, the dynamic between the water tribe and the fire nation, the fire of zuko and azula (especially the final agni kai), and the energy-bending of Aang over Ozai in the finale, ought to be read as Yin (making red/orange yang). Yin is passive, retractive, and receptive, which makes the invitation to rest by a blue dragon make perfect sense. Yin is also feminine in nature, hence the association with both Azula (whose blue fire and lightning becomes especially interesting to explore under this understanding) and Zuko's mother in the dualistic dragon dream. If you know anything about yin and yang, you know that it's key tenet is ever-changing coordination of yin and yang within one entity and with relationships between entities rather than the privileging of one above another. The two dragons in Zuko's dream, while seemingly in opposition to one another, are actually seeking, like the bumper stickers say, "coexistence" of their dispositions.

Now, back to Aang's vision of fear over the Blue Spirit. The red that overlays everything is specifically a reference to the Earth Chakra, which is symbolized by the color red. But the fact that he has one fear of Katara, the pinnacle of blueness/yin in the series, dying, and another fear of the Blue Spirit, a de-flamed (read: emasculated) Zuko attacking him that are then overlayed by this Earth Chakra red, a color otherwise used to portray yang (masculinity, activeness, expansion, and repulsion) and the fire nation in the series, suggests that his fears are specifically about within holding onto yin nature (symbolized by his grasping for a disappearing Katara) without being entirely overwhelmed by it (in the image of the fear he felt as the Blue Spirit approached his imprisoned body). And all those fears are intensified when living in such a patriarchal, or yang-skewed age and society, which gets depicted through both the final image of Ozai, the ultimate patriarch within this world, and the red coloring.

I promised I would get back to the characters, and after that hopefully illuminating thematic expansion, we can hopefully get at the core of what's going on here for Aang personally and what it might mean for him to be picturing Zuko with the Blue Spirit mask as a fear. I want to put this moment into context with Aang and Zuko's relationship at this specific moment. Aang hasn't seen Zuko since he watched him cry over his uncle in the ghost town after Azula struck him with lightning as a diversion. That was ten episodes prior (and more than 6 months time if you were watching the show in real time as it premiered; May 26th-Dec. 1st). The next time Aang sees Zuko, two episodes later, they are glowering across a crystal prison cell at one another with antipathy as they're embraced (a gesture I can only remember from the fantastic black romance film Love & Basketball, and in a gay context that is clearly referencing that moment in L&B, in the Norwegian teen romance series Skam). Right before this scene, Aang readily agrees to co-rescue Zuko and Katara with Uncle Iroh despite Sokka's protestations. Nothing seems amiss with Aang, no obvious belligerence toward Zuko until he sees him. Zuko has barely seen the airbender this whole season, and the one moment they encountered one another, Zuko was attacking Aang's attacker rather than him. Why is Aang expressing anger toward Zuko in the crystal chamber then? It's a rare expression from Aang even when we look at their more antagonistic interactions from the first season.

Here's where this vision of the blue spirit Aang envisions as he opens his earth chakra might enliven his characterization and his relationship to Zuko. We get two pieces here. His attachment to Katara and the queer implications of his partnership with the Blue Spirit/Zuko. And they are inseparable.

I don't feel that I need to especially dive into the attachment to Katara since it's been a pretty big component of discourse within the fandom, both in general analysis and more specifically relating to the (literally historic) shipping wars between zutara and kataang that emerged after the series came out originally. What I'll say here is that the first vision that Aang has as he addresses his root chakra points to his fear of losing her and what she represents pretty explicitly and, as I suggested earlier, also provides its antidote in the realization that accepting/surrendering the fear of impermanence reveals its simultaneous illusion. Katara wasn't actually harmed and wasn't truly lost when the general subsumed her into the ground. Aang has to let go of her as a permanent fixture that he'll always be able to see and know entirely (not, as many have interpreted it, let go of loving her). He'll also have to let go of saving her and the world of so many others she represents, which is as much a pressure and role Katara and others put on him as Aang yolks himself to.

Part of this acknowledgement of Katara's impermanence as a living being and a romantic possibility is addressing the others in her life who pose both danger and attraction for her. Zuko embodies both of these things simultaneously. The aggressive stare Aang launches at Zuko in "The Crossroads of Destiny" can be understood through this lens. The Eve Sedgwick's concept of the triangulation of male homosocial desire between romantic rivals was one of the foundational ideas of queer theory. It's so well-established as to be a meme among the tumblr crowd. The show even references the history of these literary homosocial tropes in "The Avatar and the Firelord" as Sozin and Roku's tight-knit youthful friendship is slowly rent apart at the event of Roku's heterosexual marriage, which thus begins the imperialism of the Fire nation.

Except that Roku and Sozin aren't romantic rivals. And Zuko's obsession with Aang begins sans Katara. And, as you pointed out, if the romantic threat is Zuko, it ought to be Zuko in the Earth Chakra vision instead of the Blue Spirit? Well, those all exist because ATLA is not a tragedy for homosocial relationships, and it's hard for me to explain how groundbreaking that was.

You see, the show theorizes homosociality differently. If Aang is required to let go of Katara, he has no pivot point, no object (because women shouldn't be objects for male fodder!) to connect with and compete with a rival male, so he has to look directly at the desire of another male for him and, therefore, face the fears that he might have similar desires. I said above that the Blue Spirit is an entirely de-flamed Zuko, which I then paralleled to emasculation. One could even go farther to call it a kind of symbolic castration (Firelord Ozai losing his firebending at the end of the series certainly demands this kind of reading). These aspects ignite fears about lacking masculinity which then cause reactions, which make men avoid accepting any thoughts and behaviors associated with vulnerability and homosexuality invoked within themselves or by others.

I think Aang, in his way, is confronting these fears but not from the angle of someone raised within a homophobic or misogynistic culture. His openness to Zuko and the potential of connection to him is ripe from the first time they meet--"you're just a teenager" connects them without any intermediary. He comes to understand the rigidness of the environment he's in, though. He feels like he's being forced to choose between a yang/masculine role he plays with Katara, who at this point in the series though growing out of it and certainly not a fault of her own making still sees him as her savior and depends on him to save her and the world through metaphysical mastery and the repulsion of evil, and yin/feminine role he plays with Zuko, who finds Aang in and forces him into positions of elusion, surrender, and passivity, while requiring his compassion and forgiveness. When the Blue Spirit comes swinging his swords (read that with all the innuendos you want lol) at a shackled Aang, it's the ultimate expression of Aang's potential for submissiveness because, not only is he entirely helpless but the one who could harm or save him in that scenario is another who is not participating in the expected power of fire/yang/masculinity.

I think everything in the show says this is attractive to Aang--that he remains with Zuko immediately after their escape from the fort, that he reflects on the Blue Spirit as he opens his chakras, that a reference to the conversation that followed their escape that Zuko makes halts him in his tracks when Zuko asks to join the team. Zuko's Blue Spirit persona means a lot to Aang, a scary amount, and my point is that it's this fear of the meaningfulness of their encounter as two men who are not the masculine paragons they are supposed to be which Aang faces as he opens his chakra. As much as he wants Katara, he wants Zuko. He fears he'll lose Katara and he fears he'll lose his life to Zuko. These are the dichotomies he's tackling as he processes the Earth chakra.

Aang eventually opens the chakra, but that's only to say he acknowledges and surrenders his fears to a destiny and understanding beyond his control, not that he necessarily learns how to address and solve all the conundrums contained therein. We know he chooses his attachment to Katara at the end of the episode to obtain power over the Avatar state but perhaps we could've been clued into this choice by noticing he has not chosen Zuko with that initial glare Aang gives him. Aang hasn't found a way in his chakras or his heart to hold both Katara and Zuko at once, so he chooses Katara and expresses a newfound jealousy and rivalry toward Zuko (not that Zuko's at his best behavior at this point, but it's Aang who initiates the exchange).

By the end of this season, Zuko abandons the Blue Spirit mask and Aang loses his life for prioritizing Katara and a yang-centric mastery of the Avatar state. The next season involves all three of the protagonists finding more internal balance between yin and yang for themselves and accepting mutually reciprocal feelings for one another that allow them to escape the kinds of patriarchal tropes that have dominated Anglo- literature for centuries. The ability of this brief sequence to highlight so many of the series' central revolutionary themes speaks to the depth of the show and the way it invites the audience to think about rich subtext rather than pedantically hammer us with morals will just continue to be the gift that keeps giving from this show.

Thanks so much for asking! Didn't know how much I missed doing a deep dive into this kind of stuff.

[senhorahiena]

I wrote this a while ago, inspired by @kyoshist videos

English is not my fluent language 🤝

-+-+-+-+-

— Hey, wait. — Korra catches everyone's attention. — Whether Aang can change his form, appearance... I don't know. When he wants, can you too? — She looks towards the other Avatars and at Aang in his adult form.

— Yes. Everyone stays in the way they feel most comfortable — Yangchen responds with a smile.

— Imagine spending eternity in only one way and that is how you died. — Wan says above, Roku looks at him with silence but judgment. — Not that it's bad... Just... — Roku continues looking at him. — Come on man, why an old man?

Before the argument can continue, Korra speaks again.

— So I can see Kyoshi's face?

- What? — Kyoshi says.

— Oh, I've never seen anything about you without your makeup.

— And it will continue like this.

- And truth. Not even on the Kyoshi Islands did I see any art of his face — Aang chimes in excitedly.

— Because you don't need it.

— They have a Kyoshi point. — Roku says, leaving Wan still trying to defend himself right behind. — You also didn't show me situations without your makeup when you were guiding me.

— I don't care what the three of you want. This is what you will see for the rest of eternity.

— To Suki you would show... — Aang whispers like a spoiled child, now in his younger appearance.

— What was it _Felas__? — Kuruk appears.

— Kuruk... How was Kyoshi younger? — Korra asks.

— Ah.... I think it's very calm — He seems to be trying to remember.

- Calm? — Roku, Korra and Aang say together.

— He was actually a sweet person. I remember... — Kuruk continues

— Kuruk if you keep talking I'll make you die again. — Kyoshi says in a threatening tone.

— Kyoshi, put an end to their curiosity soon. — Yangchen speaks out

- Even you?!

— Come on Kyoshi, you've been ages with that makeup.

- But ...

— Kyoshi, Kyoshi, Kyoshi, Kyoshi — Aang and Korra cheer together

- IT'S OK! I hate you.

In the blink of an eye, Kyoshi takes on his 16-year-old form. A little shorter than what everyone is used to, not that it makes much difference, her traditional war clothes give way to a similar one but in lighter colors, her hair is tied up in a kind of braid, her blue eyes disappear so that the jade greens shine and her face without makeup, just her thick eyebrows and freckles, attract everyone's attention.

The silence remains for a few seconds.

-WHAT IT WAS? — Kyoshi shouted in a voice much thinner than the big, powerless voice she's been carrying all this time.

- GREEN EYES? — Aang shouts excitedly, getting very close to that Kyoshi, a Kyoshi that doesn't give you the same fear and nervousness.

— Aang, I'm half Nomad. You still don't believe it? I had eyes like my father and over time... — Even with a thinner voice, there's still the same irony in the tone.

— I thought the gloves were exaggerated, but your hands are really exaggerated. — Korra says, holding Kyoshi's hand to compare it with hers, their approach makes Kyoshi's face heat up with embarrassment and his striking eyebrows highlight his features even more.

—Is Avatar Kyoshi shy around two excited teenagers? — Kuruk comments with a smile on his face, seeing Kyoshi like that is almost nostalgic for him.

— Shut up Kuruk.

— You have a lot of freckles. If they were in the sun would they become darker?

The nostalgia that runs through Kyoshi is too great for the lack of her makeup to disguise, her face burns and she knows it, she doesn't look at Aang so close to her and much less at Korra who still admires her hands.

— You two could stop touching me. Damn it ...

They both look at each other with the same evil, hugging Kyoshi, never knowing when they would have another opportunity to see her like that.

— This is nostalgic. — Wan says smiling.

Yangchen finally approaches, taking advantage of the chance, she touches Kyoshi's face who looks at her from the corner.

— I remember the day I saw you for the first time.

Kyoshi at that moment bursts throwing the two youngest Avatars away and going back to his makeup. She doesn't say anything, just the sound of a door slamming as she walks away from them.

— That was dirty. — Kuruk says towards Yangchen. Even if the two didn't get along, that was the kind of humor he enjoyed.

— We’ll never see her like this again — Yangchen says

- Not even. — Roku comments finally, the comments stuck in his head

[paintingpuff]

Netflix ATLA and the Air Nomad Genocide

I've started watching NATLA, and though I'm not really enjoying it, I've found it really interesting to compare its writing decisions to the show as a way to break both down and see how their parts tick. Since NATLA is trying to be more faithful than some other adaptations, the changes it does make stand out more and reveal the mechanics of the storytelling.

While I overall think a lot of NATLA's changes--even the minute ones--made the story execution weaker, the more complicated and interesting change of theirs is the intro, showing the day the Fire Nation ambushed the Air Nomads.

Pacing Criticisms

Cards on the table, I think that putting this sequence at the very beginning was a mistake. Watching Aang's emergence from the iceberg in NATLA made me realize how much the original cartoon imbues its beginning with mystery that makes for a much more active viewing experience. Aang doesn't know much about the present, Katara and Sokka don't know much about Aang's origins, and in their back and forth of information, we the audience organically learn both. Watching Katara and Aang piece together how long he's been frozen in ice was more satisfying and natural than Grangran deducing everything immediately when Aang showed up.

But Sherlock Grangran was kind of the only decision the writers could do, because if they tried the build up the cartoon did, it would just feel tedious to the audience, because we already know everything from the start. They kind of wrote themselves into a corner there.

But let's ignore that problem. We could imagine in another draft that this sequence of the Fire Nation attack shows up as a flashback, kind of like what happened in ATLA with The Storm.

That then begs the question: How does this sequence’s inclusion change the audience's experience, and is it for better or worse?

Facing Vs. Hiding the Horrors

Both series portray very dark and horrific situations, but the way they try to evoke horror from the audience are very different approaches, and for me raises a question I've been asking myself for a while: When wanting to display discomforting violence, is it more effective to imply/hide it, or to show it in detail? Somewhere in between?

(I specify discomforting violence, as opposed to violence meant to be catharsis or spectacle.)

There are arguments for both. Explicit violence can create a visceral, physical reaction to an audience member (especially the squeamish ones), though for some it can come across as gratuitous and even exploitative.

Whereas hiding the violence can horrify the audience by leaving a lot to the imagination (insert that quote about fear of the unknown from Hack Penmanship Lovecraft), or give the sense that the events are so awful that even the camera has to look away. Some also say this gives the characters more dignity, though others think this softens the emotional reaction almost as a form of self censoring (there's a reason kid's media often tries to show horrific stuff off screen, such as the original ATLA).

Ultimately I've come to the conclusion that the former approach works for some stories, whereas the latter works better for others, all of it based on a ton of factors.

So I don't think NATLA's choice to delve into more detail about the Air Nomad genocide is an illogical decision. I wasn't sure about it when I heard it, but I thought that maybe I'm just attached to ATLA's off screen approach, so I kept myself open.

And dialogue issues aside, I don't think the scene is that poorly done. But it did ultimately solidify for me that ATLA's narrative is stronger without an explicit depiction of the Air Nomad genocide.

The Grief of Never Knowing

The image of Gyatso’s skeleton from ATLA has haunted me ever since I saw it as a kid. It was an emotional gut punch in a very well done episode, but this particular screenshot has stuck with me, and that is because of the Fire Nation soldiers. A lot of people have pointed this out, but there are a lot of bodies here, and it implies that Gyatso managed to not only kill these soldiers, but do it when they were strengthened by the comet. That image is very discomforting--Gyatso is always seen from Aang’s perspective, and thus we only see him as the gentle old mentor and friend, one who cheats at games and throws pies he meticulously baked.

It also puts into Aang’s position and the grief he has to face. From his perspective, he was gone only a few days as 100 years passed. He never gets to see the interim, and thus neither do the audience. He is left with the same implications as we are, and has to face the realities of grieving the fact that sometimes you’re not there when they leave.

An excellent point from @endless-nightshift here is how one of ATLA’s core themes is coping with the aftermaths of atrocities and war, analyzing their long-lasting affects rather than just the initial shock of violence--something I had never consciously realized but once said out loud makes a lot click into place for me. There is a reason the show starts a full century into the war rather than just a few years. 

François Truffaut once said that “there is no such thing as an anti-war film,” because the medium of film is inherently better at elevating and glorifying what it shows rather than deriding or deconstructing it. While I don’t think it’s impossible to do the latter, the extended action sequence that is the intro to NATLA causes that sentiment to echo in my mind as I watch, rather than invest me into the story. 

The implied atrocities of ATLA draws me in to empathize with the wounded characters and world, whereas the explicit action of NATLA pushes me away. 

…and that’s where I was planning to end this analysis, but there is one thing NATLA’s intro adds into the canon that I think is actually genius--if they take advantage of it in the future. 

The Air Nomads are Joy

When I first saw the addition of the Comet Festival, I saw it as a purely mechanical decision to have all the Air Nomads in one place for the attack, as well as to make the act even more scummy. However, the more I thought about it the more I realized how it could tie into one of my favorite themes of ATLA: the Air Nomads (and especially Aang) as the joy and hope of the world. 

(I saw an old tumblr post about this theme that inspired this section. I wish I could link it but I can’t find it anymore, I’m very sorry and if anyone can help me find it tysm)

There is a recurring motif of associating the Air Nomads with humor and fun. Iroh mentions their good humor; Gyatso baking pies just to prank the other masters with it; Roku’s first airbending flashback being him using it to mess with his friend. This is a core tenet to Aang’s character as well. The first line he has in the show is inviting Katara to go penguin sledding with him. Half the stops he makes in Season 1 is purely to have fun. He excites Kyoshi island with an airbending party trick. The humor in ATLA’s tone isn’t just there because it’s targeted towards kids, but is the bedrock of the series’ themes. 

(On a personal note, the humor is also what got me and my family into the show. We saw the intro sequence with Aang crashing into the statue and it made my mom laugh so hard that we watched the whole series, and years later we’ve rewatched it dozens of times and own all the DVDs)

Joy and fun and hope were the first things to die when the Fire Nation attacked, and part of Aang’s job is returning that to a world that has been scarred by decades of war. You may already be seeing where I’m going in regards to the Comet Festival. 

A core conflict in the cartoon finale is Aang wanting to keep to the principles of the Air Nomads while still finding a way to stop the war (side note: I think the resolution and Aang’s decision to spare Ozai was a good one, I just think the execution was a little janky). Beyond the surface level conflict of who wins in the battle between Aang and Ozai, there is the additional tension of who will win ideologically. The return of the Avatar State is an interesting development in this dynamic, having Aang suddenly physically winning the fight, but spiritually losing up until the last moment. In the end, it is a triumph where Aang manages to find a third option to win both conflicts, despite them seeming diametrically opposed. It is about defeating Ozai and the Imperial Fire Nation by wholeheartedly rejecting their ideology of violence and might-makes-right. 

But now I see a really cool opportunity for NATLA with what they’ve established in the intro sequence: What if Aang reclaimed the symbol of Sozin’s Comet for his people? That day of the Fire Nation attack, centuries of the Comet Festival were wiped over in history, with people now naming that event as Sozin’s Comet and the beginning of the war. Wouldn’t it be poetic for Aang to mark the ending of the war by wiping away that stain done to his culture, taking it back from the Fire Nation in what ways he can? To turn a tool for genocide into an event of joy and fun once more. 

I’m reminded of moments from the cartoon like Suki commenting how beautiful the comet looks. It would just tie everything up beautifully, and I really really hope the NATLA writers--if Netflix does give them enough seasons to get there--take advantage of this.  

So, to sum up what I think of NATLA so far: I think a lot of its changes have made the story weaker, but I don’t want them to stop trying changes. If I wanted a 1:1 copy of the cartoon, I’d just watch ATLA--it’s also on Netflix, after all. With more work, I can see the writers making changes that accentuate and build on the beauty of the original. 

(Note: These are the thoughts I’ve accrued from just watching the first episode. I plan to watch more, but it does exhaust me at the moment. Still, I hope I can do more of these kinds of analyses, it’s a really fun writing exercise for me)

[risingsoleil]

The teenager drabble of the AU collection is one of my favorites. Could you let us know how was it when Lin finally agreed to be Tenzin's girlfriend? I'm in serious need of some fluff here

Hi anon~ sorry for taking so long to answer. It took me a while to figure out what might have happened when Tenzin asked Lin out.

Nothing went according to his plan.

A sudden storm swept across the city, ruining Tenzin's picnic date for Lin. He thought he was about to have a heart attack asking if she wanted to go out to dinner instead. By some miracle, she agreed. Maybe she said yes because he asked over the phone and she had no idea he was sweating bullets.

As soon as they hung up, Tenzin practically screamed into his pillow with joy. Aang knocked and opened the door. "Are you okay?"

Tenzin coughed and gave a thumbs up. "Yes, I'm okay."

Aang gave him a look, a smile growing at the flushed pink on his son's face. "Is it something related to a girl?"

"No, Dad. Just...it's nothing."

"O-okay," Aang replied sing-songy, closing the door. "I hope you have a betrothal necklace ready for Lin."

"DAD!!" He doesn't wallow in the embarrassment for too long. Peering out the window, the rains are insistent and neverending. If he's going to go on a date, he better get everything in order.

He manages to get a dinner reservation at a casual restaurant. He's been there before with Lin and his siblings last year, and they all enjoyed it.

He knows that the flower shops should still be open, if he hurries. One bouquet of panda-lillies, and yellow roses. Lin loves yellow roses because they remind her of sunshine and spring.

Well, as it turns out, most of the flower shops closed because some of the streets are flooding with a feet of water. Tenzin visits every single one, hoping and praying for one to have at least a few panda-lillies and yellow roses. None of them do. They were all sold out or packed away due to the sudden storm.

Biting his lip, Tenzin points at all the pink and red roses, carnations, and orchids.

"I'll take them all."

If he can't get Lin panda lillies or yellow roses, he'll buy her half a flower shop.

But he doesn't think how he'll protect the flowers on his way to pick up Lin. The rain doesn't show any signs of stopping, but fortunately, Oogi is with him on this stressful journey.

No matter how much he airbends, Tenzin keeps getting soaked and drenched by the downpour. He bends off the water one last time as he stands in front of the Beifong residence. Tenzin tries to create an air bubble to keep the flowers as dry as possible.

Knock. Knock. Knock.

The door opens and Tenzin's heart melts and tumbles with joy.

Lin is dressed in a soft pink cheongsam, with the subtle tint of blush on her cheeks and a rosy lipstick. Her hair is curled much neater, and there's a pearl hairpin in her hair.

'I should have made the betrothal necklace already.'

"You look...wow," he whispers, eyes locked on her outfit.

Lin shifts and avoids his eyes, trying not to smile too hard. "Thanks..." She studies him and his usual robes. "You look dry."

"Huh?" He peers down at himself. "Oh, yeah. It's raining. A lot. Super hard."

"Yeah."

Tenzin feels his palms getting sweaty. "Uh, if you don't want to go out tonight, it's ok because of the--"

"No, I want to go out tonight," Lin insists. "I got all dolled up anyway. I don't want to waste it."

All Tenzin can do is nod, and he extends out his arms. "Um, this is also for you."

Lin catches the overly large bouquets of flowers. "Oh, thanks. They're really nice."

"I, um," he rubs the back of his neck, hoping he doesn't sound like an idiot, "I couldn't find any yellow roses or panda lillies, so...I just bought everything this old man had."

Lin takes in every detail of the flowers, a smile growing on her face. "I still love it. Thanks for getting these, Tenz."

"Of course," he says tenderly, feeling his own happiness peeking through. "Uh, do you want to leave the flowers here so that they don't get ruined in the rain?"

"Sure."

Maybe things are looking up for them, despite the storm.

They have Oogi to help them get across the city. Tenzin has an umbrella for Lin.

It breaks mid-flight and Lin starts to get wet. Tenzin makes sure Oogi is steady before hopping in the back and trying to dry off Lin.

"I'm sorry! I thought this umbrella would be okay--"

"Just dry me off when we get to the restaurant," Lin orders, pressing her palm at her forehead to keep her makeup intact. "I'll just keep getting soaked."

Tenzin bites his lip. "We're almost there, I promise."

Dinner should be okay. They're only a few minutes away.

They've made it and Tenzin draws out as much water as he can. But Lin is instantly touching her hair. It's frizzed a bit from the neat curls that he saw 20 mins earlier. Lin pats it down and tries to curl it with her own fingers to tame it.

When the young teens look at the door, they see the sign:

"CLOSED. Diner was flooded. We will reopen in two days. We apologize for the inconvenience."

Grey eyes read the words.

Left to right.

Left to right again.

Lin shrugs. "Well, we can--"

"Are you fucking kidding me?! First the weather, then the flowers, now this?! What the hell, universe?!"

"Don't worry about it, Tenz. We can probably grab some street food around the corner."

Tenzin groaned and he buried his face into his hands, rubbing. "I don't want you to have street food! I want you to have a nice dinner or a picnic on the top of the park hill."

"We can do that another day then."

"No. Ughhh!" he storms up at the door, glaring at the sign. "I wanted to ask you to be my girlfriend on the perfect date, with the perfect flowers, and perfect food. But now it's ruined!"

Suddenly, he's spun around and hands grip his robes, yanking him down. Warm and soft lips collide against his and it takes Tenzin a few moments to realize that Lin Beifong is kissing him. Lin exhales slowly, her breath sweeping across his cheeks and rustling his eyelashes. She pulls away and Tenzin feels like he drank an entire barrel of cactus juice.

Her body is only inches away from his, and he wants so desperately for that gap to diminish.

"You..you're...my girlfriend."

Lin smirks and Tenzin notices how her lipstick has smeared slightly, just outside the natural outline of her lips. And he wants to smear it more, until it disappears completely on his own.

"Am I?"

"Huh?" He tilts his head. "Wait, did I ask you?"

Lin shrugs.

"Do you want to be my girlfriend?"

Her arms wrap around his neck and Lin stands on her tiptoes, pressing her lips against his again.

"Does that answer your--"

The last thing Lin expects is for Tenzin to pick her up and run into the rain. Her legs wrap around his waist as the rain descends upon them, and Tenzin creates an air funnel, blasting them into the air.

"Lin Beifong is my girlfriend!" Tenzin exclaims to the heavens, and Lin tightens her hold on him as the earth beckons to her feet again. The rain pelts harder onto them as if heaven gives its blessing to them.

"Tenzin!" Lin yelps, the fabric of their clothes clinging to their skin.

The airbender promptly and safely lowers them both to safety. As soon as Lin's feet are planted on the earth, Tenzin cups both sides of her face and pulls her for a kiss.

He pulls away, grinning. "I promise to be a good husband."

Lin laughs and gives him a look. She pokes his forehead. "You keep skipping steps, Airhead."

"I can't think straight."

"Obviously. Your head is in the clouds."

His hands wrap around her waist, pulling her closer to him. "Then bring me back to earth," he murmurs, gazing into her eyes.

For the next ten minutes, the earthbender and airbender seal their relationship beneath the storm. Sudden bursts of energy command their bodies to run through the streets, dancing and spinning under the rain. Part of Lin's makeup runs a little, but Tenzin doesn't care.

Lin Beifong is his girlfriend.

And Lin was right. They do find an alley of street food vendors open, with plastic covers to protect their customers from the brunt of the storm.

Lin eats a chicken skewer and Tenzin has a veggie skewer.

Tenzin reaches over to hold Lin's hand under the table.

[waterfire1848]

AU where Ozai wins the spirit battle against Aang during Sozin Comet and becomes the new Avatar.

Hello, @stardust948 !!! (This could have been a lot darker but I’m in a comedy mood)

1. When Aang loses, no one knows that he’s now not the Avatar. They just know he’s lost and was forced to flee with Sokka, Suki and Toph. Katara, Zuko and Azula are still at the palace and know something is wrong. They try to flee without Azula but she actually asks to go with them because she was beaten and she really doesn’t want to be alone to face Ozai (she doesn’t know why but she has a feeling he won). They get on Appa and fly to where Sokka, Suki and Toph were supposed to be and get the four. Since Aang is tapped out, they’re forced to fly off and regroup. They decide to head back to Ember Island for the time being so they can think over what to do. In this time, everyone tends to their wounds, Azula stays pretty much on her own, and Aang grows angry about how he failed. Katara, trying to help, offers a waterbending training sessions which Aang agrees to. When they try to bend a simple waterball back and forth, Aang finds that he can’t. In fact, he can’t bend anything aside from air. (Aang: What happened?! Katara: You’re sure you can’t bend anything besides air? Aang: Positive! It’s like the other three forms just disappeared! Katara: Well, if you’re not the Avatar anymore…then who is?)

2. Ozai is weakened very much by the Avatar’s attack and his airships have been damaged. He tells those who remain to stay put (cause he can’t be there and he’d die if he wasn’t center stage during Sozin’s Comet). It’s a set back but they’ll destroy the Earth Kingdom later. Ozai is brought aboard one of the ships for a medical examination and nothing is found to be wrong but Ozai, internally, feels off. He tells everyone to leave and remains in the room by himself, eventually falling asleep until they return to the palace. He receives word that Azula is gone but just takes the title back himself and is Fire Lord and Phoenix King at the same time. That night, he’s meditating when he decides to get some water. Getting up, he accidentally trips and waterbends. (Ozai is like 99% sure he’s not a waterbender). He tries firebending, but he also takes a wack at waterbending, earthbending and airbending and can do all of them. Ozai doesn’t know how but he’s the Avatar now. (Not only that, but there are a lot of angry voices in his head. He can’t explain it but once sounds like a very pissed off Earth Kingdom woman and the other a very, very pissed off Air Nomad woman).

3. The Gaang is trying to understand how Aang isn’t the Avatar anymore. Does this mean there’s a new Avatar? Who is it? Is there some new baby in the South Pole? Did Aang somehow start all over with his bending progress? While everyone else is freaking out and trying to find a solution, Sokka is trying to decide what they should do since Sozin’s Comet wasn’t the victory or defeat any of them suspected. They heard that Ozai didn’t continue with the attack so BSS is still standing but that doesn’t make any sense to them at all. (Sokka: He had the perfect opportunity to get rid of the city, why not do it? Aang: Maybe he realized he could choose another path? Everyone:… Sokka: Normally, I wouldn’t consider that but that might be a possible scenario here. Azula, off to the side: Ha! My father would sooner give up his bending than not use Sozin’s Comet. Katara: Then why is Ba Sing Se still standing? Azula:… Suki: Could something have happened to Ozai during that big light beam show? Aang….Huh?)

4. Ozai can hardly move without bending another element and, of course, he doesn’t want anyone to know he somehow can bend all four elements. Under normal circumstances, he’d be very proud to show off his new power but anytime he even considers using his bending in that way, Kyoshi is on him. (He’s 70% sure she can read his thoughts and it’s so annoying). This being said, I kinda want a Roku & Ozai friendship. Roku knew Azulon, a younger version but still, and Ozai has no fond memories of his father. (Kyoshi: Ah, daddy issues. Why does everyone in this family have daddy issues? Yangchen: Says mommy issues. Kyoshi: I do not have- Yangchen: Let’s not go back and forth right now….but you totally do. Kuruk: And it’s not everyone in the Royal Family who has daddy issues, Azula’s got mommy issues. Kyoshi: Oh, yeah, I forgot about her. Szeto: You and the comics). Roku and Ozai talk frequently after everything that happens. They develop kind of an older brother & younger brother relationship with Roku trying to give Ozai good life advice and Ozai saying “I’m gonna do the opposite of that.”

5. The Gaang decides to leave Ember Island and try to regroup with the White Lotus. While heading to the EK, they’re captured by FN soldiers and brought to the capital (without the Avatar and being tired from the comet both physically and mentally they aren’t on their best game). Everyone is put in prison, including Azula who is internally having a heart attack, when Ozai comes and demands to see Aang. Everyone, minus Azula, starts going crazy because they think Ozai is about to kill Aang. Instead, Ozai takes him to a private room and just starts yelling at him (Ozai: What did you do to me?!? Aang: What do you mean what did I do to you?! Ozai: I didn’t know being the Avatar was contagious!) Aang learning that Ozai is the Avatar now would probably make him both laugh, cry and nervously be like ‘what spirits in the spirit world okayed tbis’. (Aang: What do you want me to do? Ozai: I want you to teach me how to keep these other inferior bending forms under control. I can’t move my wrist without throwing water at something. Aang: Why should I help you? You were just trying to kill me a week ago. Ozai: I won’t let all your friends die. Aang: But then I really won’t help you and you’re back at where you started but now three masters down. Ozai:…What do you want?) Spoiler Alert: Aang wants his friends to be free but they find the knowledge that Ozai is the new Avatar way too terrifying and hilarious to just leave. Which is how Ozai gets Katara, Toph and Aang as his new teachers and maybe a “not as big a jerk as you could have been” award.

[princess-of-the-corner]

okay I'm having. More thoughts. About that 'Enji gets isekaied into atla' thing.

So like. Random notes on things. (also I should go back and tag this but not rn)

To keep him from totally uprooting things outright, Enji actually hasn't watched ATLA. He knows some things. Like the basic premises of the show. Bending, the Avatar, the fact that the Fire Nation are the antagonists, etc. But he doesn't know any major plot points so he has to like. Discover on his own what's going on with the Fire Royals instead of just decking Ozai on sight.

Enji at least at first tries explaining that he's not a Spirit. But he's too Weird™ so everyone's like 'uh-huh sure'. Now there is /some/ debate as a few people think he's less of a pure Spirit and more like. A Fire/Sun-Spirit version of what Yue was. Someone very blessed by the Spirits and holds their Life Force even if they seem to be separate beings at the moment(I doubt Yue was the first so it may be legend as a whole). He still gets revered though because clearly the Spirits don't choose just anyone.

Timeline wise: On the bnha side this is barely post-canon!CC(so like after Canon, but haven't really had a lot of time to fix everything). In atla this happens like. Sometime after Book 2 but before the mid-season of Book 3. Aka: When Zuko is back home.

This is like. Kinda gross but it popped into my head and given the cut plotline I could see it but ANYWAY. When Ozai asks Azula to be the one to attend to 'The Spirit', Enji is getting so many red flags because last time some wealthy and powerful asshole sent his daughter to care for his whims in the hopes he'll lend favor, Enji got a wife out of it and Azula is literally a baby. (obvs he doesn't do anything weird but he's like 'wow kinda pissed that you're cool with the idea that I could do something weird')

The only people who realize that Enji isn't a Spirit are Iroh and Aang because they know Spirit Nonsense. As soon as they call him out on it, Enji's just like 'oh thank fuck someone sane!!!'

Enji accidentally calls Zuko 'Shoto' once and they ask about it and he explains that Zuko and Azula remind him of his kids, especially the Zuko=Shoto thing because they have similar scars. Zuko and Azula hesitantly ask 'what did he do to deserve that?' and Enji's like "?????? Nothing???? It wasn't- People don't deserve that what the fuck???? Especially a child doesn't??? I might not have been the /best/ father but holy shit I'd never purposefully cause a horrific and traumatic injury to a child no matter what they did????"(Zuko and Azula are suspiciously quiet and Enji doesn't like that)

[survivalove]

Thinking about why I like Kataang so much

so a lot of my posts/asks lately have been about things I dislike so I decided to balance it out by talking about something I actually do like! ofc I immediately thought of kataang and started thing about why i like them so much compared to other couples in media I watched growing up.

first thing is, I don’t actually like romance in visual media. I much prefer it in books but having to actually watch it gives me the ick idk why. also when i first watched atla I was like 5, so the romance really had no appeal to me and I was super focused on katara and the other girls on the show because they were girls! i would completely block out the boys and all the ship scenes for years after that because my attitude to romance never really changed.

right up until I was about 11/12 and became aware of romance from hearing people my age start to talk about crushes, boyfriends/girlfriends, kissing etc. suddenly I had entered this phase in real life where romance was suddenly relevant among my peers and this made me start paying attention when it played out in the shows I was watching like Hannah Montana, Wizards of Waverly Place, etc. this also included ATLA as my dad and I would rewatch it together on DVD throughout the year.

as I watched with my katara blinders, like I always do, for the first time I started to notice the boys in the show, particularly aang, (yes I finally started focusing on the main character after 6 years 😭) and certain interactions katara had with him that I never noticed before.

*dramatic pause*

and the way I consumed media would never be the same.

jk, but really tho.

fast forward to now, and I’ve recently started watching anime after consuming a bunch of western media my whole life from cartoons and disney shows to contemporary literature and Y/A movies/TV shows. and one thing that stands out to me with kataang compared to most of the romance i see in shonen animes (one of atla’s biggest inspiration as a TV show) is the way katara and aang develop in a way that is realistic, yet too good to be true.

let me elaborate:

starting from the very first episode, katara and aang have that classic meet-cute interaction. the music is playing, their eyes are widening, aang’s acting like he’s never seen a girl before and katara is impressed by literally every single thing he does. this is pretty much how every ship is set up, anime or otherwise, and kanna basically spells out their imminent connection when she sends katara and sokka off and sokka even explicitly says the word boyfriend seconds before that. obviously, these two characters are gonna get together at some point and it’s just a matter of when.

this is where it gets more than that:

the more katara and aang spend time together, the more they start to get on each other’s nerves.

I’m sure everyone’s had a crush at some point, where you see someone for the first time and go “oh they’re so cute” and you feel the butterflies blah blah. you either fantasize about them for a while and move on, or you pursue the crush and start to actively make moves to get to know them better.

and as you get to know them, you notice some things about them that kinda piss you off. the way they pick their nose, the way they bounce their knee, the way they chew. it’s always something. it can even affect friendships because that’s life. we are humans, not concepts. no one is perfect, there is nobody on this planet that you will 100% agree with or like about them. it just doesn’t work like that. and for some relationships, there is that one irritating thing about them that breaks the camel’s back and it doesn’t work out. you learn what annoys you and move on to the next relationship. or you have the lucky ones who actually stay together and the relationship continues to blossom as you get to know each other better.

similarly, kataang in the beginning are completely enamored with the other. until they’re not. throughout season 1, we see katara becoming more and more disillusioned with aang going from “aang’s so brave. he’s the avatar!” to realizing he’s just a boy with insecurities and flaws just like her. some of which get on her nerves BAD. similarly, aang goes from trying to impress katara and going along with every single plan she has, to disagreeing with her and even getting annoyed by her as the seasons go on.

despite this, it doesn’t stop that thing they have for each other from growing and flourishing. that is the magic part. watching two characters fall in love as they continue to annoy and irritate each other more and more. the more katara and aang butt heads throughout the seasons, the more and more unambiguous their romantic interactions become.

aang bluntly telling katara she’s not funny like he didn’t just ask her to dance with him in a candlelit cave in front of dozens of people a few days ago? katara constantly getting annoyed at aang’s antics to turn around and ask him for his opinion on the way she looks or kiss him on the cheek? right.

this is what makes them stand out from other fictional couples I’ve seen, where the girl and guy’s opinion on the other never changes significantly from that first interaction they have. one person, usually the girl because of course, worships the ground our main character walks on, meanwhile he seems to barely notice her apart from that first scene where she looked pretty and his jaw dropped or something. and even if they do interact a lot, their dynamic hardly evolves from that initial setup. they never get upset with each other or at the least, visibly annoyed. their dynamic is static, stagnant, mostly affected by major events in the plot rather than personal characteristics and minor misgivings the characters may have.

there’s no juice. it’s stale. and for me, very unrealistic.

I was watching this video about writing couples in media and one comment stood out to me in particular:

What you said about charm is so true. Entertaining chemistry to watch ≠ chemistry that pairs people together. A lot of sitcoms try to pair opposites romantically or as best friends, because opposites are good for comedy and conflict, but I find myself not understanding why they’re so into each other.

instantly i was reminded of the way people call kataang vanilla/boring, in favor of pairings that are far less similar. and while katara and aang do fight a lot, fundamentally they are very similar which is why they are so believable and realistic. I love watching them slowly become disillusioned with the idealized version of each other they had in the first episode to seeing all the ways they manage to piss each other off, and still being drawn by that initial mutual attraction.

katara learns the hard way that aang isn’t the infallible savior from her grandma’s stories, but she never stops believing in him. aang comes to discover katara’s flaws and conflicting opinions, but he still encourages her belief in hope, affirms her as a waterbender/healer and yes still calls her beautiful every chance he gets.

and what I love about this, is, it gives them reasons to fall in love that go beyond the superficial reasons that drew them towards each other in the first place.

they don’t fall in love with each other in spite of those little minor flaws, but because of them.

katara doesn’t love aang because he’s the avatar. she loves him because he is the goofy fun boy that allowed her to be a kid while taking up this heavy responsibility. aang doesn’t love katara because she’s beautiful. he falls in love witnessing those moments of her being determined, speak up for herself and others, and even going to great lengths to inspire hope in everyone she meets.

[sockfus]

was talking about who swears the most out of the gaang in the discord and came up with a tierlist. these are all right. ranked by 1 being who swears the most

1 - aang. he says a lot of nick censored swears in the show (monkeyfeathers) and also i just don't think the air nomads would care much about that sort of thing? aang travelled a lot so he definitely picked up a lot of swears and even if he got scolded by other monks gyatso would be like lol idc

2. toph, except she can't use them right. she's from nobility so swears were never used bc it was "too common" but she picked up a bunch from the earth rumble rings but doesn't know how to use ANY of them. she just throws them in every sentence like they're adjectives

3. suki - she just doesn't give enough of a fuck to swear. she's the leader of the kyoshi warriors she needs to set an EXAMPLE but also i think she swears very casually, not out of anger but throws a lot of "fuck" "shits" and "craps" in

4. zuko - i know ppl think he'd be higher bc he lived around sailors but also with the same nobility thing as toph and that when he was around sailors he thought he was "too good" to swear. however, he still slips up a decent amount. the sailor effect is too strong

5. sokka - sokka grew up in the village and i definitely think he knows quite a few from when he was around the men on a hunting trip, probably too loudly asked his dad what something meant during a hunting trip. but after they left, gran-gran threatened to wash his mouth out and he has been too scared to ever since. also he was around little kids a lot so i think he has a handle on his language, but after leaving he gets frustrated a lot and slips up

6. katara - same stuff as sokka, she's heard it from around the village but is too intimated by gran gran to swear and knows how to keep a lid on it. barely slips up UNLESS she's super super angry, see pakku. she definitely called him a dick