kaigou: I am zen. I am BUDDHA. I am totally chill, y'all. (2 totally chill)
Apparently some 'shippers are convinced that this is a post for (or maybe against, I'm not sure) a specific ship. Or several ships. Like I said, I'm not sure, so for the record: the notion of shipping pro/con didn't even enter my head when writing this. If you want to read into the essay as an argument for/against A+B vs B+C, do whatever, but leave me out of it. I'm not even in the blooming fandom, so it's equally possible that fandom-savvy folks wouldn't even find any of this all that new and/or startling. This is me, deconstructing, for my own contemplation and entertainment. That is all.

The patterns and echoes are also clues, I think, for the Ursa storyline. In S2, "Zuko Alone", we get Zuko's backstory. I can see why [personal profile] snarp argues that Ursa is stuffed in a fridge, but I don't think that's entirely right, because that definition would require her body be presented solely for the purpose of the (usually male) character then having a whole lotta angst. No, Ursa -- like Kya -- is simply Missing Mom. Both of them have impact on the story, and are important to the story, only insofar as they don't exist. They're both Most Important Adult Female Not Appearing In This Story.

[Side-note: in most references, Kya is called only "Katara's mother"; she's named just once, when Hakoda calls out her name in the middle of the Fire Nation attack. Hell, some of the fansites don't even have entries for her at all, including the biggest fansite, AvatarSpirit. Now that's some serious Not Existing In This Story.]

So here's the timeline:

2.07: we learn Zuko's backstory, and hints that Ursa (like Kya) died to protect her child
2.18: Zuko dreams of his mother asking for help
2.20: Katara's mention of her mother's death prompts Zuko to mention his own loss
3.11: Zuko confronts his father, then asks about his mother's whereabouts

Note that in between, there's no mention of Ursa at all, by Zuko. She shows up the first time to give him a reason to angst (and to be alienated from the rest of his family, having bonded pretty much only with her). She shows up again as reminder of his loss, and possible foreshadowing for his continued ties to his father (that is, breaking ties with Ozai means losing hope of getting Ozai's knowledge of Ursa's whereabouts). Two episodes later she's referenced as basis for Katara to sympathize with Zuko, and vice versa. Then nothing for a long stretch, until the logical place/time, when Zuko has Ozai in front of him and can ask the question.

Let's presume that Ursa's storyline is going to be resolved. Until S3, episode 11, Zuko hasn't had any information on Ursa's life or death, so her existence has really acted only as evidence for why he's at odds with his father, and what influence might have kept him from truly going down the same road as Azula. There's a small boost in that this also lends him credibility with Katara (and gets the audience's sympathy), but until he has Ozai in front of him, Ursa's story doesn't really have any further impact except in recycling those two notes on the scale: original influence and later sympathy.

Immediately after 3.11 goes down and the comet is over, things get even tighter for the storytelling. First, Zuko has to convince the Gaang that he could be Aang's teacher, which moves us into resolving Zuko's storyline by providing outward proof of his internal change: his fire, once motivated by anger/hatred, must find a new source. Enter the dragons, etc, etc. Now he has Aang's trust, but not the rest of the Gaang.

Next, then, we have resolution of a major part of Sokka's storyline (not that it's not part of Katara's, only that for Sokka it's shown to have particular resonance), and that's rescuing Hakoda. Note that Zuko is there during the Boiling Rock episodes, which means now he's (a) gained Sokka's trust by helping, and (b) seen firsthand what it means to have a positive, healthy relationship with a parent on an adult's terms.

It's a perfect setup for Zuko to then request help in return, to rescue his mother. All signs point to it. )
kaigou: It's dangerous to go alone, Alphonse says, and holds out a cat: here, take this. (2 dangerous to go alone)
Apparently some 'shippers are convinced that this is a post for (or maybe against, I'm not sure) a specific ship. Or several ships. Like I said, I'm not sure, so for the record: the notion of shipping pro/con didn't even enter my head when writing this. If you want to read into the essay as an argument for/against A+B vs B+C, do whatever, but leave me out of it. I'm not even in the blooming fandom, so it's equally possible that fandom-savvy folks wouldn't even find any of this all that new and/or startling. This is me, deconstructing, for my own contemplation and entertainment. That is all.

A few thoughts — some prompted by the back-and-forth between [personal profile] snarp's posts and my own — and some prompted by comments and reports found in deep-link googling — and some prompted by just plain looking at the entire Avatar storyline as a story. The last of which really amounts to: let's treat this like it's a one-person-wrote-this, discreet unit with a coherent and continuous storyline. Can writerly logic inform the story's pattern — most importantly, to reveal where it got mucked?

There are three major areas I've been contemplating, but I'll start with Toph, because I think she's the hingepin. The first clue was a comment (where? grrr, it's all starting to run together now) saying Toph was a late addition to the playing field, and not part of the original vision of the basic storyline. Yet with writer's cap on, Toph's addition makes a great deal of sense. I might even say Toph's inclusion is practically necessary, though the reasons why are hard to explain from the outside (and harder still if you've not been in this position yourself, to be honest, though I'll try).

It's a sense of balance inside a story, which is what I was trying to explain in my post about Azula: that stories require a certain amount of... oh, not je ne sais quoi (though that's part of it)... but a kind of circular closure. Not 'closure' in the sense of 'how the story is resolved', at least not so simply; within the story's middle parts, it's closure in that every object has a mirror reflection of some sort. If you think of a character as representing a perspective, then when this perspective is reflected back in a distorted or altered form (the mirror, also sometimes called the foil), it creates a feedback loop wherein we discover more about this character/perspective via the alternate perspective of the mirror/foil. That's what I mean by closure: it's like completing a circuit.

So let's see what Toph can tell us about the storytelling patterns in Avatar. )
kaigou: pino does not approve of where the script is going. (2 pino does not approve)
First, if you've not already heard, go see the lovely (yes, that's major sarcasm) news that [personal profile] bossymarmalade posted on the upcoming Avatar comic. Go ahead and see; I'll wait here. Feel free to take a few minutes (or more) to get your blood pressure back down to a reasonable level. Deep breaths. I'll wait.

Did you get a good look at the cover? Notice anything unusual about it? Well, other than the extreme case of whitewashing so phenomenally and bluntly in-your-face that it's almost breathtaking in its absolute chutzpah, that is. Like, say, the names.

See 'Michael Dante DiMartino' or 'Bryan Konietzko' anywhere on that cover? )

[ETA: the title of this post is actually a riff on an older post.]
kaigou: this is what I do, darling (2 dot dot dot)
There's no point in deconstructing Ursa, because there's no use in deconstructing a stereotype. The only thing you get is plot holes, plot devices, and the sad reminder that american media hasn't really come a long way, baby.

Over dinner this evening:

Me: ...I wasn't truly annoyed with the character, so much as with the fact that the character was a stereotype. I kept wanting depth and getting none, and that just annoyed me even more.

CP: Snake in the grass. "You knew I was a snake when you picked me up..."

Me: No, more like, "You knew I was nothing more than a drawing of a snake. Why are you now getting annoyed that you didn't get bitten?"
kaigou: this is what I do, darling (4 raise questions)
Apparently some 'shippers are convinced that this is a post for (or maybe against, I'm not sure) a specific ship. Or several ships. Like I said, I'm not sure, so for the record: the notion of shipping pro/con didn't even enter my head when writing this. If you want to read into the essay as an argument for/against A+B vs B+C, do whatever, but leave me out of it. I'm not even in the blooming fandom, so it's equally possible that fandom-savvy folks wouldn't even find any of this all that new and/or startling. This is me, deconstructing, for my own contemplation and entertainment. That is all.

This is the next in line on a series of back-and-forths about Azula, from Avatar (not the one with the smurfs, the other one). To catch up, first read [personal profile] snarp's post, Girl Power Corrupts. My reply-thread to that begins with this comment, and [personal profile] snarp had enough to reply overall that we got a post out of it.

The first thing to note, just so we get that out of the way, is that I think my original reply may have triggered a bit of defensiveness in whether it's "okay" to critique a work, even one so much admired. Those of you who've been reading me for awhile know I'll deconstruct pretty much anything that catches my interest, including ripping apart my own work publicly if there's something worthwhile to be learned in dissecting what I did wrong. Hell, I've already given Avatar the dressing-down for where it failed for me, in terms of story-telling. Frankly, I don't particularly adore the series overall (though I do admire it), and even where it falls short, it still stands head-and-shoulders above most American cartoons... which, considering I see the bar as being pretty freaking low for American cartoons, is kinda like thinking it's impressive to be the best damn clogger in Kanorado, Kansas*.

But that's not entirely relevant to my points here. It's mostly as disclaimer, because there's still a good story under there, and Azula is one of the most fascinating, and complex, chapters in that story.

Notes about Avatar's origins, and then into Azula's backstory, her familial relationships, and finally, deconstructing the final showdown. )
kaigou: this is what I do, darling (Default)
I've realized the best definition for my reaction to american cartoonage: emotionally unsatisfying.

It's kind of like watching Romeo and Juliet, or Hamlet, or even Porgy and Bess... as put on by fourth-graders. Or worse: adults with all the maturity of fourth-graders -- that is to say, none.

It's a character about to commit suicide at the side of his dead beloved:

I still will stay with thee;
And never from this palace of dim night
Depart again: here, here will I remain
With worms that are thy chamber-maids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh.


...who follows that with a smirk.

If -- for even the remotest second -- you, as the audience, believed, truly believed that this character was a living person moments away from killing himself -- you would be absolutely on the edge of your seat, the tragedy that much more compounded knowing that Romeo is ignorant of the fact that Juliet only appears to be dead. You might even be one of those in the audience fighting to hold back the cries of wanting to warn the character, somehow, to stop the forward momentum that will lead to eventual ruin.

American cartoons are an embarrassed fourth-grader, wiping his mouth after faking a kiss on the dead Juliet's lips. )