teaandcrowns

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the night they pretended they didn't know the face behind the mask.

#zuko #katara #the blue spirit #the painted lady #zutara

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even when they're busy across the world from each other, they still keep in touch with lots and lots of letters uvu

#zuko #katara #zutara

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I still can’t believe that fanfiction is free

I sometimes have to pay for water, but with a phone and some wifi, I get to read whole novels about my favorite characters for exactly zero additional dollars

How goddamn rad is that

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So I just saw a post by a random personal blog that said “don’t follow me if we never even had a conversation before” and?????? Not to be rude but literally what the fuck??????????

I’ve had people (non-pornbots) try to strike conversation out of nowhere in my DMs recently, and now I’m wondering if they were doing that because they wanted to follow me and thought they needed to interact first. I feel compelled to say, just in case, that it’s totally okay to follow this blog (or my side blog, for that matter) even if we’ve never talked before.

Also, I’m legit confused. Is this how follow culture works right now? It was worded like it’s common sense but is that really a thing?

#?????? #i have never heard of this before wtf #just follow people #literally what this site is for

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Came across a few posts about how Azula is the best firebender in the series, and that subject is probably more based on opinion than fact I guess, but still feels like saying that is antithetical to the themes of the story. What do you think?

I agree that it's antithetical to the themes of the story. Azula cannot be the best firebender because she is not working with a complete understanding of firebending, which is linked to the themes of the story and bending as a metaphor for how we engage with ourselves and others.

I recently saw a post that said the dragons would judge Azula worthy because firebending is about drive. And oh, boy, does that completely misunderstand the themes of that episode.

The whole point is that the Fire Nation's post-Sozin relationship with fire, the idea of "having the power and drive to achieve what you want" and valuing that above all else is exactly what caused the world to fall out of balance. It is this drive for power that we see corrupt people like Sozin, Zhao, Ozai, and yes, Azula.

When Zuko faces the dragons, the original firebending masters, he learns that fire is so much more than just a drive for power. Fire is life itself, it's passion, it's warmth, it's something to be both kept in check and nurtured to become healthy. Like a little heartbeat that can be snuffed out if you aren't careful, or can burn out of control if not tempered.

So many people like to say Azula only lost the final agni kai because of her mental state, but the truth is that 1) Azula was never in a healthy mental state, at any point that we saw her in the show, and 2) she does not have the wisdom to see anything beyond her own drive for power, and that is going to prevent her from having a true link to her element.

The elements themselves are inspired by different martial arts. This is well-known. But martial arts is a form that emphasizes discipline over raw power, especially Xiaolin, which firebending is based on. It's all about self control and finding balance within oneself. Which is a theme that is cited over and over again in the show.

Iroh tells Zuko at the beginning of the show that he cannot move on to advanced forms until he has mastered the basics. He is trying to teach him how to develop the control he needs to be a true firebending master. Zuko acts this way towards his element because this is what he learned from Ozai, and from watching Azula, who has no self control and no patience. We see her practice her forms, sure, but we also see her get incredibly angry when it's not perfect. Azula has some moves that she's perfected to cause the most damage, but she's not comfortable when stepping outside of that zone, cannot take criticism at all, and threatens anyone who says she is not the best. She cannot possibly be the best firebender with such a limited understanding of her element.

Which is also why she loses even with the power of the comet on her side. Because all the power in the world won't help if the spirit isn't in balance. People will act like Azula's mental breakdown only existed to "nerf" her in the finale but it's like, literally the whole point, and was something that was building since the beginning of the series.

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It’s really funny how much people misremember certain aspects of ATLA and then proclaim to the internet stuff that either never happened or is extremely distorted with absolute certainty. For example, today I saw a person claiming that whole point of Katara’s character arc was unlearning the parentified behaviours she developed in wake of her mother’s death. That a huge part of Katara’s arc was a confrontation of how that trauma fundamentally shaped her maternal tendencies.

The thing is though…WE the audience, can recognize that the parentification Katara experienced was something that was really straining for her, but the TEXT doesn’t. The audience (or at least certain parts of the audience) can identify that her maternal tendencies were indicative of a responsibility that she took on far too young and subjected her to unnecessary pressure and stress. There are flashes of recognition maybe, but for the most part, the show doesn’t actually confront the negative impact that Katara’s maternal role had on her.

Katara never truly unlearns the maternal behaviours that put so much pressure on her because the text doesn’t see it as a bad thing. Arguably, the text doesn’t see much of a problem with the emotional labour Katara takes on and how that labour goes unreciprocated for the most part (particularly from her canon love interest). We see some reflections, but it’s not enough to support a reading of the text where that element is actually extremely obvious and a prominent point in her character arc.

We’re not the ones “watching the show with our eyes closed”, I think you’re just misremembering the canon progression of Katara’s arc to avoid confronting a real issue in the text.

#atla analysis #atla meta #not my meta #media literacy critical

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w/ katara doodle

#katara #zuko

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Kintsugi is the art of decorating your scars with pieces of Agni.

In the Fire Nation, the amount of golden marks are a sign of status. Only the Royal Family can afford to seal every single wound with Kintsugi. Such is the weight of this tradition that, among the ones with Agni's blood, it is the highest mark of dishonor to have a natural scar, for it proves you aren't worthy of the privilege.

After the Agni Kai, Ozai forbid Zuko's scar to be sealed with Kintsugi. The boy wasn't worth his title, his traditions or his pride. Zuko would be broken, but he wouldn't be beautiful. Not anymore.

(And sometimes it's easier to pretend he never was)

#zuko #katara

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The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

#atla analysis #atla meta #not my meta

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Sharing cultures + lots of teasing

Their banter is one of the many things about this ship that I absolutely love <3

#zuko #katara #zutara

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missed them

#toph #sokka #zuko #katara #aang

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Ready for a hot NATLA take?

The live-action DID include an adaptation of The Great Divide episode.

Instead of Sokka identifying with the war-like, meat eating, not prim and proper tribe and thinking 'yeah, I identify with them, therefore I'm on their side and will argue they can't be wrong' he identified with Sai, the mechanist where Sokka saw reflected his desire to be more than a 'great warrior' but also to use his mind and ingenuity to help his friends - therefore he didn't want Sai to be wrong.

Instead of Katara identifying with the prim and proper, well prepared, educated and clean tribe and thinking 'yeah, I identify with them, therefore I'm on their side and will argue they can't be wrong', she identified with Jet the freedom fighter where Katara saw reflected her anger, pain and desire to fight back against the fire nation as well as create a community to help people who were harmed be healed - therefore she didn't want Jet to be wrong.

The live-action was able to take the theme and lesson from one of the most maligned episodes of the animated series and reframe it within other plot lines to make it so much more poignant and nuanced, pushing forward a lot more character development than 'Sokka is dirty and lazy, Katara is uptight and prissy'. The live-action took the lesson and actually tied it to Katara and Sokka's core character motivations that will have arcs for them rather than surface-level character traits that never really change.

Anyways, the live action adaptation of Avatar the Last Airbender is really good and y'all should watch it - or rewatch it with an open mind to why they combined/altered the story elements they did. The writers clearly understand this world and the story the OG was trying to tell.

#It also had a mention by a patron #when Zuko was asking around in the EK village for 'some waterbenders' #the pirates also got mentioned there #natla #atla la #natla spoilers #atla la spoilers

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She’s the perfect katara

#katara

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[ID copied from alt text: A digital drawing of Zuko from Avatar: the Last Airbender. He's shown crouched in the cooler from the episode The Boiling Rock, cold air surrounding him on all sides. He's breathing fire that illuminates him in the dark. End ID]

noticed the windows on the cooler when sokka opens it look like they're closed. thought about the concept of being stuck in a small cold dark room for hours on end. personally the claustrophobia would kill me?

#zuko

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Watching the spirit world episode goes a long way towards explaining why Katara and Sokka are so different in the live action than they are in the cartoon.

Cartoon!Katara is, at heart, a protector. She won't turn her back on someone who needs her, no matter how much trouble that causes. She fights and steals in order to improve her bending and even resents that it's just so easy for Aang to learn it while she struggles. And the reason for all this is that, when the firebenders came, her mother told her to run for help and, when she got back, mom was dead. It isn't until the Southern Raiders that she learns the firebenders were there looking for her and her mother literally died to protect her.

LiveAction!Katara, on the other hand, is afraid of her bending. It literally gives her PTSD flashbacks. And this episode explains why. Not only did she witness her mom's death in a way cartoon!Katara didn't, she indirectly caused her mom's death by attempting to waterbend in front of a firebender. For her, her attempting to waterbend very much equals people dying for her. No wonder she's so different!

Sokka's flashback is sad in a different sort of way. In the cartoon, he never gets a chance to perform ice dodge and graduate to adulthood because everyone who could have given him the test is gone. Cartoon!Sokka is trying to cosplay as a man with minimal guidance as to what that even is and that's why he's so insecure about his masculinity in a pretty misogynistic way. LiveAction!Sokka took the test and only "passed" because Bato stepped in and his father couldn't bare to fail him. He is 100% aware that he is a failure as a man and an adult and that his father is disappointed in him and that's why he was left behind. That's why he's so insecure about, not his masculinity, but about his warrior and leadership skills and why he cringed when Sai said his dad must be proud of his engineering abilities. What this version of Sokka has isn't valued by his community and he knows it.

#natla #atla la #natla spoilers #atla la spoilers #atla analysis #atla meta #not my meta

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post-meeting discussions with ambassador katara and firelord zuko :)

#katara #zuko #zutara

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A little baby Aang and Gyatso to start the week 👶🏻🥹

Happy Monday! 🩵

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#gyatso #aang