prompt: Ozai has Azula watch Zuko (his progress or rather lack thereof) from way earlier on, possibly even before Aang gets away from the iceberg in the first place
There it is, written at the bottom of his banishment notice, wobbling in and out of his vision and he’s not sure if it's his eyes—
(Father wouldn’t have meant to blind him. Being blind won't help him catch the Avatar, so he’ll just not go blind.)
It’s either his eyes, or. Or the rage. It has to be the rage.
So Zuko reads the line again, and lets the fire brim up and overflow, until sparks chase the shout from his lips.
“Banishment to be overseen by Crown Princess Azula?”
- - -
“Prince Zuko,” Azula says, standing as tall as an eleven year old can. She’s using his title, so that he’ll use hers. And if he doesn’t then he’s ill-mannered and not fit for his own.
“Crown Princess Azula,” Zuko grits out.
“I’ll just be inspecting your ship, then. Father’s orders.”
Two men are in shackles by the time she’s done.
“—Fostering mutiny against your prince,” she is yelling, and somehow her voice is just as high-pitched as his without sounding childish at all. “When our father hears about this—”
- - -
“So you had them executed,” Fire Lord Ozai inquires. Lightly. And from behind his flames.
“Of course, father,” says the kneeling child. “It was an attack on our family.”
Her father doesn’t say anything.
Azula is eleven. Eleven, she had presumed, was old enough to count.
One, two, three. Four, with Uncle. The royal family.
Her father is silent still.
One. Two.
“Forgive my impertinence, Fire Lord,” she says. “I will bring them to you for judgment next time.”
“Do so,” Fire Lord Ozai says. He does not contest the ‘next time.’
- - -
“Crown Princess Azula,” Zuko says.
“Your bandage is off, brother,” Azula says. “Are you blind?”
“No.”
(The blur of her red robes, the eye-searing glint of sunlight off her headpiece—he’s not blind in that eye. He’s just… still recovering.)
“Lovely,” she says. “Then what’s your excuse for the condition of this ship?”
…He has an increased budget for repairs, by the time she’s done.
- - -
“Brother,” Azula says, “traditionally knives are to be delivered to the back.”
“I… what?” her brother says, still holding out the inexplicable thing. “No, I bought it at port. For you. See, it matches the one Uncle got me.”
“How original,” she says.
Her brother turns a shade of red that puts his bending to shame. Not that it’s a particularly high bar. “Fine, I’ll just—throw it out.”
“Oh, don’t be so dramatic. At the least, Mai will want it.”
- - -
“Nice knife,” says Mai, looking at the hilt peeking out of Azula’s boot.
“Be silent,” Azula says, thus ending that conversation.
- - -
“Did great-grandfather… did we…” starts her brother, fresh from scurrying about the Eastern Air Temple like some particularly dim-witted pheasant-monkey, the dust not even brushed from his clothes even though he knew her ship was waiting down here. “Azula, there were children—”
“Be silent,” she says.
- - -
“You’re leaving frequently,” comments father, as his knife cuts through the pheasant-monkey, clicking against the plate below. The persimmon-cherry sauce is thick and red and smearing.
“I find it advantageous to cultivate a working knowledge of our nation’s tactics,” Azula answers. She does not push around her meat like a child, but she does eat only lightly; the dish is more sour than she remembers.
“And your brother?”
“Oh, him,” she says, to which her father smiles.
- - -
“...What?” Zuko asks, blinking down at the scrolls.
“It’s your birthday,” Azula says. “Apparently, I should have gotten you a calendar.”
“Thank you?”
She sighs.
- - -
“Do we… tell him we can hear him?” asks the assistant cook, as the prince continues monologuing. Dramatically, and loudly. Through the pipe connecting the drain of the kitchen sink to the ones in the shower.
“Ssh, I think this is one of his new plays.”
- - -
She gets him a calendar for his next birthday. It’s not funny.
- - -
He gets her a doll, for hers. The look on Uncle’s face as she torches it in front of them both is hilarious.
- - -
“Brother,” she says, looking up at the damage to his ship. “This is not the way to requisition additional repair funds.”
“Captain Zhao,” her uncle says in the background, with heights of pleasant antagonism she can only aspire to. As if a general could mistake Zhao’s new insignia. Particularly with all the polishing he does.
“It’s commander now.”
“How did you manage this?” she asks.
“Uh,” Zuko says. “Can we… speak alone?”
She eyes her brother’s shifting stance. Eyes, too, the way Zhao’s men are already moving to intercept and interrogate his crew. One of the new commander’s more noxious habits is stalking her brother’s every move.
Well. She’d been meaning to deal with that, anyway.
Azula snaps her fingers at the commander’s guards.
“Detain him,” she says. And for a moment, just a moment, her dear uncle freezes, as if she were talking about someone he actually cared for.
The guards don’t. She’s trained them better than that.
“Princess,” Commander Zhao says, his snarl well hidden behind a smile. “What is the meaning of this?”
“Crown Princess Azula,” she corrects. “Now hush; the adults are talking.”
- - -
They have an Avatar to catch, apparently. Her brother is coming home.
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what do u think of ned and sansa’s relationship?
sorry this took so long, i wasn't sure how to lay it out because i didn't just want to word vomit all over lol.
i think it's a great depiction of grief and trauma "dripping through" so to speak (to steal a succession line) from a parent to their child. ned and sansa are similar in many ways (in fact, I'd argue that Sansa is the most like Ned) and you can see clearly that Sansa gets her outlook on life and society more so from her father than her mother. While Cat is much less trusting, much more forceful, and incredibly emotional, Ned has a much more romanticized idea of the world. He makes many of the same mistakes that Sansa does, as a matter of fact -
they both trust Littlefinger despite the warning signs because they both feel they have no other option and no allies to rely on, so this shady guy obsessed with Cat is the least noxious option (in their eyes)
they both have this idealistic image of a Baratheon that is tied more to reputations and romanticism than in that particular man's personality - Ned should realize that he can't rely on Robert literally the moment Robert refuses to step in to protect Lady but keeps deluding himself because Robert the Hero, Robert the King, Robert the Foster Brother, is this larger than life image he has in his mind. Meanwhile, Joffrey is...Joffrey and Sansa overlooks and romanticizes this because The Chivalrous Prince is this idea that is all powerful in her head.
they both think around a subject rather than face it head on. I detailed an example of this here but there's literally dozens of examples in both of their narratives. it's this commonality that I find particularly interesting; it's not just that they're very indirect people but that when faced with trauma, both of them double down on avoiding their trauma to cope with it.
in particular, they both do this wrt a younger sister which is even more fascinating in my opinion - so easy to have Ned think more often around Brandon but instead it's Lyanna he Does Not Obsess Over, and it's Lyanna he compares Sansa to (even though they likely look nothing alike). Later, it would be easy to have Sansa think more about her brothers but again, it's Arya she Does Not Obsess Over, and we know Arya likely resembles Lyanna to a point. Just something really fascinating there, that the relationship they are most troubled by is one with a little sister.
and in that vein, both of them will romanticize their own trauma to cope with it. we see this obviously with sansa and the Unkiss but I think it's present in his thoughts of the Tower of Joy as well. his fever dream in eddard x is steeped in fantasy imagery, with his companions as faceless wraiths, a "storm of rose petals" streaking across the red sky. he does this with rhaegar as well in my opinion - when he does think of rhaegar the man (and not just of his children) he has this image of Rhaegar as a chivalrous sort of man who no one can really measure up to and yet he never explicitly thinks anything positive about Rhaegar. once again, sort of romanticizing his idea of someone, like Sansa does with Sandor.
both of them are incredibly self conscious about how they're perceived - Ned thinks about his father and brother as being "born" to rule, is very aware that people see him as kind of an idiot, and Sansa is equally worried that people will see her as "silly" or simple. It seems very tied to their roles as the "girlson" - Sansa as the eldest daughter who must make an illustrious match and live up to that expectation of her and Ned as the second son stepping in to fill a role he feels unprepared to take.
despite some paternalism about the poor (Ned sitting a man with him every night while also kind of purposefully distancing himself to be The Benevolent Father of Winterfell and Sansa's out of pocket but realistic comments about Jeyne and Mya's marriage prospects), they clearly care about the common or low born people they live with - I think Sansa's grief (and purposeful Thinking Around) over Jeyne Poole going missing and her insistence that Jeyne's father is safe speaks to her affection for the Pooles just as Ned's fixation on Jory Cassel being murdered by Jaime also speaks to his affection for the Cassels. And just from an audience PoV, I think it really underlines Ned and Sansa's horror over the situation that Ned is traumatized by Jory's death at the hands of the Lannisters, and Sansa thinks over a year later about "poor Jeyne Poole" and her disappearance (due to the Lannisters, though she's ultimately sold by LF)
And then there's the emotional distance between them, that I think is really compounded by his trauma over Lyanna and Sansa's age -
Ned ultimately learns the wrong lesson from Lyanna's death. He doesn't learn "women shouldn't be given so few options and should be allowed control over their lives" he learns "if i protect the women i love from the evils of this world and give them freedom when they're young, they'll be happier" and that's just. Oh Ned.
But that "lesson" is really obvious in how he treats Sansa - he keeps her in the dark while putting her in a dangerous situation, because he doesn't want her to be involved in the same politics that killed Lyanna even as he's actively involving her in those politics. His first thoughts about Sansa in the book are that she's too young to be engaged to Joffrey! He does not want to let her go out into the big bad world and he thinks simply keeping the bad stuff from her mind is how he'll save her.
The Lady situation I think is what really damages their relationship; he links Sansa and Lyanna in his mind so closely during this scene that I think it stops him from being able to emotionally connect with her anymore. It's so tragic - to see Lyanna's sorrow reflected in Sansa, to feel that loss so deeply that it stops him from being able to comfort Sansa the way he comforted Lyanna as she died.
all of this really bites him in the ass because Sansa looks at his silence and sees treachery while Ned looks at her silence and sees obedience. And the moment when both of them are finally ready to act and not just dream is when their stories clash horrifically.
Narratively, I think they're set up to have some parallels - Ned as the second son (and what is a second son than a girlson, really) who was never supposed to inherit who does after a violent tragedy, and Sansa as the second born who was also never supposed to inherit who will after a violent tragedy.
And Ned's story is book ended by Ned choosing his love of a young female relative over his honor - he actually compares Sansa to Lyanna first in his narrative:
He could still hear Sansa pleading, as Lyanna had pleaded once.
and it's Sansa who he once again chooses over his word, over his honor. when he looks at Sansa (and Arya) all he sees is his grief. It leads all three of them to their doom, but Ned's death is something he would choose over and over because in the end, with all his faults, Ned did learn one good lesson from Lyanna and it's that a living, breathing woman will always be more important than some words spoken before a king. what is honor compared to the feel of your daughter in your arms, the memory of your sister's smile?
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