Avatar: The Last Airbender
Created by: Bryan Konietzko & Michael Dante DiMartino
Directed by: Lauren MacMullan, Joaquim Dos Santos, and several others
Starring: Zach Tyler Eisen (Aang), Mae Whitman (Katara), Jack DeSena (Sokka), Jessie Flower (Toph), Dante Bosco (Zuko), Mako Iwomatsu & Greg Baldwin (Iroh)
Oh my goodness, where do I begin?
This has hard-earned the singular place as my favorite story of all time among books, movies, TV series, and games. It's just simply the best work of fiction I've ever consumed and I have confidence that it will always remain to be so. (Thank you, Bryan and Mike.)
Originality.
Bryke (fan-coined portmanteau of the series creators' names, Bryan and Mike) created their own world for this show. Which, though not a first and possibly not even rare, is still an admirable undertaking. In this world they created their own original magic system with nations and cultures based on this.
Mythology.
The Spirit World in Avatar has become rich and an integral part of their fictional world, especially so in Korra. It was always an integral part of their world and story, with the titular character being rooted as the bridge between physical and spiritual. Since it was first truly explored in season 1's "Winter Solstice Part 2: Avatar Roku," it's been tied to complex season finales ("Siege of the North" & Yue's character), used to develop characters ("Painted Lady" for Katara), and then in Legend of Korra, brought to interact directly with the physical world.
Bending.
Bending. Bending! One of my favorite aspects of the avatar world and one of the most iconic, important parts of the world. Even before avatar, as a young kid I would dream of manipulating water and fire, which was of course hydrokinesis and pyrokinesis before "bending" was a thing. But avatar brought these complex arts to life and depicted them so beautifully that so many fans have adopted them into their own imaginations and continued to use the terms outside of avatar.
The incredible Sifu Kisu, martial arts consultant for the show, based each bending form directly on a real form of kung fu: waterbending was tai chi, earthbending hung ga, firebending northern shaolin, and airbending ba gua. The idea was that each of these martial arts forms best represented the philosophies of the art and nation. Tai chi was smooth, formful, and focused on force redirection; hung ga was firm, rooted, and focused on quicker jabs; northern shaolin was quick, directed, and somewhat impulsive; and ba gua was centered, defensive, spiraling, and almost playful. (Mind you, I'm describing based on my knowledge of the show; not the martial forms.)
Mike DiMartino, Bryan Konietzko, and Sifu Kisu with weapon props in the Nickelodeon gym
Bending also translated into something Nickelodeon specifically wanted: action, without violence. It worked perfectly. With elemental bending, characters were able to whip elements left and right, tear harshly into each other without ever striking a blow. Instead, the blows were met by the elements themselves, in beautifully animated visuals of air and water clashing with fire, with boulders being flung and sparred away by wind, with lightning being generated and redirected, with waves of mud and spires of ice. It's something so unique about avatar, I think, that each fight scene isn't just combat: it's art, color, and nature.
Characters.
One of the most lauded aspects of Avatar is its characters. The depth, strength, and journey each character undergoes through the three seasons is incredible and satisfying, especially the iconic redemption arc of Zuko.
Aang holds the weight of the world on his shoulders in two monumental ways: being responsible for stopping a war and being responsible for re-establishing the Air Nomads, in both people and culture. Yet throughout the series, Aang is iconically goofy and joyful. He fights Fire Nation shoulders with fun: "You should try it!" he exclaims in the second episode. He strives to see the best in people, even Zuko, who he goes out of his way to try and befriend ("The Blue Spirit") and then to save his life ("Siege of the North Part 2"). Then when the show does tackle these immense responsibilities, it does so with great weight and respect. In "Southern Air Temple" Aang is forced to face his people's genocide and as the Fire Navy presses in on the Northern Water Tribe, Aang looks upon the massive fleet in despair. "I'm just one kid," he utters to Yue, feeling defeated.
Katara faces the traumas of her mother's death, father's leaving, and oppressive sexism at different points during the show. In the book 2 episode "The Swamp," the titular swamp brings her pain to the surface with a lifelike vision of her mother, which brings Katara down to tears.
Katara crying before the stump that, a moment before, had been an illusion of her mother, "The Swamp"
She's finally forced to confront the immense hurt when Zuko joins their team in book 3, and his presence feels like a constant reminder of the loss. In the incredible "Southern Raiders," Zuko helps her track down her mother's killer but the justice she finds is not upon the killer: it's within her own heart and healing.
Sokka shared (obviously) in Katara's traumas of their mother's death and father's leaving, and his own very personal frustration of not being a bender. Their father's death affected him more personally and while Katara had a heartfelt moment with Hakoda to help her hurt, Sokka took a few episodes of companionship and validation to move through his. The first and more emotional was in book 2 "The Guru" when Sokka meets his father's crew and sees his father for the very first time since he left in Sokka's childhood. Hakoda's first reaction upon seeing his son is telltale: the light in his eyes shines brighter than ever and they hold a long embrace to make up for years' separation. But the bond is truly sealed toward the end of the episode when his father assigns the crew different jobs. Sokka asks, "What about me?" Hakoda responds, "Didn't you hear me? I said, 'The rest of you men, get ready for battle!'" Thus, Sokka knows Hakoda sees him as a man. As part of the crew. As one of them. Loved and accepted.
Toph's wounds were very apparent from the beginning, despite her tough exterior: parents. Although it takes her an episode to even confront the wounds, they're certainly there: in Book 3's "The Blind Bandit," she's forced to confront the fact that her rebellious behavior is tied to seeking attention; being seen, wanted, and love. As she finally admits in "Sozin's Comet part 1: The Phoenix King" (even though the admission is more in tone of a joke, it was real to her) that although her parents gave her everything she asked for, they never gave her what she truly wanted: their love. Unfortunately the series never fully tackles this trauma (it's more focused on Katara, Zuko, and Aang), the comics gratefully explore this more. In "The Rift," the gang encounters a metal refinery run by Toph's father, Lao. In the beginning of the comic he refuses to even acknowledge her as his daughter. But when a catastrophe strikes and they're trapped underground, Toph single-handedly saves their lives by metalbending the mine from collapsing. In this even, Lao is forced to witness her true prowess, and the revelation brings him to his emotional knees.
Toph's father witnesses her strength, The Rift written by Gene Yang
Zuko obviously has the greatest arc. As his character's journey is the greatest and most important in the show, the most episodes are dedicated to it. In the beginning, he's a hot-headed teenager with a single direction "I must capture the Avatar to regain my honor!" based on a manipulation from his emotionally abusive father, Ozai. Only in book 2 does this begin to change as Zuko travels the Earth Kingdom and is able to see first-hand the effects of war. Thanks to the advice of Iroh, he makes the decisive choice of setting Appa go ("Lake Laogai"), which begins his internal transformation. Through the beginning of book 3, Zuko spends time in the Fire Nation as the Prince -- the rightful heir. He lives the life he always wanted and dreamed of, the life he wanted as his single motivation in book 1. But in his words in "Nightmares and Daydreams," "[This] isn't me." In the iconic "Day of Black Sun pt 2," he confronts Ozai. Zuko proclaims all of his father's lies before him and declares his own intention to aid the avatar. But that isn't even the end: in "The Firebending Masters," Zuko and Aang go on an adventure that's equally necessary for both of them. Both characters have learned firebending as pain, hurt, and death (Aang from when he burned Katara in Book 1's "The Deserter"); this episode shows the true source of firebending is the sun. A source of life, in peaceful balance with nature. Aang describes it as "a little heartbeat." Finally, both characters come to understand the art that had been used against them so heinously. Both of them find that peace.
For sake of space and time I'll stop there, though many other characters endure weighty traumas: Azula, Ty Lee, Mai, Jet, Haru, Iroh, Ursa... pretty much any character who shows up for more than one episode!
Although every episode is great for one reason or another, I'll highlight some of my personal favorites.
Book 1:
The Boy in the Iceberg and the Avatar Returns (written by Bryke): these pilot episodes have the unenviable task of introducing world, characters, and story all in 50 minutes (technically 25!). Yet we're instantly hooked on Katara and Sokka as disgruntled teenagers trying to live with each other-- and Katara trying to understand her magic-- and then Aang shows up, not-frozen in an iceberg. Their world is turned upside-down and the audience is full of questions! At the end, Aang's honor and bravery is highlighted as he escapes Zuko, and the world-building begins as they declare their intention to find a Northern waterbending master.
Winter Solstice Pt 2: Avatar Roku (Mike DiMartino): the epic second part has all the fun, having been setup brilliantly in part 1 by Aaron Ehasz. I love the fast-paced action and high stakes of the battles-- and the brilliant humor injected organically to break the tension. I love when the gaang run the blockade, terrified of the barrage of catapulted projectiles threatening to knock them out of the air. When Sokka slips off of Appa and falls beneath the clouds, I'm always chilled by Aang's cry of horror and the speed with which Aang dives after his teammate. Below on the ocean's surface, I'm equally chilled by Zuko's sense of fierce determination and Iroh's anguish as he pilots their craft into Fire Nation waters in pursuit. This episode is also the first time we see a Fire Nation avatar temple and the first time we truly meet Avatar Roku. It's full of great sequences, from Zhao showing up to Roku explaining the comet to Roku's spirit destroying the temple.
The Blue Spirit (Bryke): probably my favorite episode of book 1. It's just chock-full of amazing tension, drama, and some of the most amazing fight sequences. My favorite sequences are Aang fleeing the Yuyan Archers (why are they only in one ep??? Why??) and Aang and Zuko escaping the fortress together. They work in wonderful unison, with Zuko's expertise with dual broadswords and Aang unleashing fearsome airbending vengeance. The ending sequence is also one of my favorite. With Iroh's haunting tsungi horn melody adding crushing layers of depth, Aang asks Zuko if they could be friends, should the war not be a factor. Zuko, unable to comprehend such a suggestion in his current mental state, simply responds with a telltale fire blast. More tsungi horn punctuates the sad answer, and its sadder meaning for Zuko. Then the Prince's final moment is in his bedroom, alone in the dark, as he lays on his bend and turns his back to the Fire Nation tapestry adorning his wall. The implication is clear: Zuko has betrayed the Fire Nation, and he accepts this. More tsungi horn. Thankfully the episode doesn't leave us lingering in dark depths; instead it ends with the mercifully light moment Katara and Sokka realize they've been sucking on frozen frogs!
Zuko (as the Blue Spirit) and Aang working together to escape Zhao's fortress, "The Blue Spirit"
Siege of the North Parts 1&2 by John O'Bryan and Aaron Ehasz: so much going on! So much incredible depth! And such incredible performances by Johanna Braddy (Yue) and Victor Brandt (Pakku)!! Even on its own, the story and character arc of Yue is just beautiful. Beautiful, poetic, and tragic. In three episodes, I came to love and care for this princess so much that my heart breaks for her over fifteen years later (as I write this). Standout moments: when Sokka signs up to be a warrior with Chief Arnook (John Polito)'s voice over, "It is with great sadness I call my family here before me, knowing well that some of these faces are about to vanish from our tribe, but they will never vanish from our hearts." When Sokka takes Yue up on Appa, and ash begins to fall. Aang's quote I mentioned above, "I'm just one kid...," the grief of defeat heavy in his voice. Koh! Koh. Koh!! And the terrifying spirit's epic, creepifying voice provided flawlessly by Erick Todd Dellums. Why do we never see him again???? Why, Brkye?? Zuko's grief-laden reflection about Azula as Aang sits, captured, in an ice cave. Iroh's epic, single-handed take-down of about 50,000 Fire Nation soldiers (okay, maybe there fewer than that). Zuko and Zhao sparring in the grayscale background amidst flashes of orange fire. K O I Z I L L A. Yue's heartbreaking sacrifice and Sokka forced to watch helplessly.
Sokka and Yue riding Appa, "Siege of the North, Part 1"
Aang faces Koh the Face Stealer, "Siege of the North, Part 2"
Book 2:
Return to Omashu (Elizabeth Welch Ehasz): I love this episode both for its great fight sequences (but seriously, what ep doesn't have great fight sequences) and for the enviable task of introducing Mai (Cricket Leigh) and Ty Lee (Olivia Hack)! I love Aang's conversation with a captured Bumi where the latter introduces the concept of neutral jing, and discusses 'waiting and listening' - which becomes a memorable line in the future, and the key to finding Toph. I also love Azula's recruitment of Ty Lee, where we see yet another depth of the ruthlessness Azula is capable of. And then when Azula reprimands Mai's father for "making a mess of" his governorship in Omashu (New Ozai??). Also, the whole pentapox escapade is pretty great!!
Zuko Alone (Elizabeth Welch Ehasz) is probably my favorite episode of book 2 because it's on par with "The Blue Spirit" for depth, drama, and intensity. Every part of it is full of juicy backstory and meaning between lines. In the very beginning, Zuko, starving, decides against stealing a family's food because he notices the mother is pregnant. In the flashbacks, we see Azula's cruelty immediately, and one of the first things we learn is of the death of Iroh's son, Lu Ten. The way each of his family reacts has dark depth: Ozai (Mark Hamill) appeals for the throne, Azula supports this with relish, Azulon orders cruel punishment for the suggestion, and Ursa (Jen Cohn) resorts to drastic means to protect her son. In the present day, Zuko is welcomed into an Earth Kingdom peasant family and comes to their aid when brutish Earth guards bully them. In the final showdown, Zuko is forced to firebend and reveal his identity, causing the peasant family to reject him. It's a brutal statement on the prejudices of war. In flashbacks, we receive the blood-chilling reveal that Azulon is dead, Ursa has vanished, and Ozai is the new king, against Azulon's previous wishes.
Young Zuko and his mother Ursa in flashback, "Zuko Alone"
The Library (John O'Bryan) because Professor Zei "Head of Anthropology at Ba Sing Se University!" voiced by Raphael Sbarge is probably my favorite one-off character ever! *laughs* And because of the grumblng, suspicious owl spirit Wan Shi Tong, He Who Knows 10,000 Things (Héctor Elizondo). When Wan confronts the gaang in the planetarium (which, by the way, is animated beautifully), his response to Sokka is iconic and shows (AGAIN) the incredible depth this series is capable of. "You think you're the first person to believe their war was justified?! Countless others before you have come here, seeking weapons, weaknesses or battle strategies!" The gaang and the audience know that defending themselves is justified -- but the question is still relevant. What separates us from others? Doesn't everyone believe their own point of view is justified? And then, the very end. The incredible anguish in Toph's eyes as she's forced to abandon Appa for the library. And the heart-wrenching cliffhanger when we realize they're stranded in the desert without their bison.
Wan Shi Tong, Sokka, Professor Zei, Aang, and Katara in the library, "The Library"
The Desert (Tim Hedrick) the true sides of all characters come out. It's a fascinating episode to me because we see what stress, strain, and hopelessness does to our gang. We see what the loss of Aang's most cherished companion does to him. We see anger, fear, and desperation from our so often joyful airbender. One of my favorite moments is when Katara looks around to see Toph hopeless, Momo and Sokka crazy on cactus juice, and Aang brooding, and kind of comes to a realization to herself: "We're going to get out of here." She takes up the mantle of leadership in necessity and becomes the glue the gang truly needs. My other favorite moment is the ending, after Aang has entered the Avatar State in fury and Sokka has shooed the sandbenders away, that final, quiet sequence of Katara approaching Aang. Her face is not relieved or happy to help: she's sad. She's desperate. She's crushed just like the rest of them. And she hates having to see Aang full of fury and unleashing barrages of uncontrolled airbending. But she knows what she needs to do, and she approaches him in pure determination, grasping his hand as he floats above her. He looks down, eyes glowing white with supernatural fury, and she looks back up to him, her own eyes empty and sad. At her touch, Aang lets go of this fury, and drifts down into her arms. The episode cuts as he falls limp into her embrace and his eyes finally close.
Katara reaches for Aang, "The Desert"
Appa's Lost Days (Elizabeth Welch Ehasz): probably the saddest episode in the series! (It would take franchise status if not for Korra's "Skeletons in the Closet," which tells Tarrlok and Noatak's utterly depressing backstory.) But the sadness comes with resounding depth and the episode is riddled with little Easter Eggs and references, like when Appa returns to the Eastern Air Temple where he first met Aang, and when he flies over the East and West Lakes of the Earth Kingdom (which the Serpent's Pass divides) and over the refugee ship Zuko, Iroh, and Jet are on; Iroh notices, but makes a point not to inform Zuko. Appa also passes over a Water Tribe vessel from which Hakoda looks on agape, and his time under the brutal ownership of the Fire Nation circus earned the episode a Humane Society award for depiction of animal cruelty.
The Guru (Bryke) makes this list largely for one reason: art. Though I admit, it should have equal placement for its depiction of an incredibly realistic and sophisticated internal healing process. Identifying individual past traumas and working through them, like Guru Pathik (Brian George) leads Aang to do, is actually a legit thing people need to do in real life. But like I said, art. For every different chakra, Pathik leads Aang to a different location around the Eastern Air Temple, and each location is marked by a different, stunning background. Caves, waterfalls, mountain ridges, night skies, cliffs, and giant statues are among these backdrops.
Aang and Guru Pathik meditate, "The Guru"
Crossroads of Destiny (Aaron Ehasz) is a stunning finale. Several complex plots are woven to an amazing head. Azula has seized control of the Dai Li, which have in turn seized control of the city. Azula has trapped Zuko and thrown him in prison. Iroh seeks Aang, Toph, and Sokka for help. Katara goes to the Earth King for help but is intercepted by Azula. Toph has invented metalbending and uses it to jailbreak! The final showdown in the Crystal Catacombs of Old Ba Sing Se is one of my favorite fight sequences in the series. Water, earth, fire, and air all clash as Katara and Aang fight Zuko and Azula, all four at peak bending ability and ruthlessly slinging elements at each other in beautiful displays. Both Zuko and Aang fall here: Zuko metaphorically as he chooses a path he knows at some level is wrong, and Aang, when he's shot fatally by Azula in a move that secures the city and ushers the fall of the Earth Kingdom. The last two scenes are the most compelling. Azula and Zuko in the Earth King's throne room as Azula works to convince Zuko he made the right choice. "Father doesn't need to restore your honor, Zuko. Tonight, you restored your own honor." Yet the anxiety and self-doubt that plagues Zuko's face says otherwise, and remains to do so for the next half a season. Then, cut to Aang, Katara, and the gaang on Appa as Katara revives a lifeless Aang from death. As Appa flies over the exterior walls and out into a night as dark as its events, Earth King Kuei (Phil Lamarr)'s declaration resounds as the final words of the season: "The Earth Kingdom... has fallen." Cut to black.
Book 3:
The Awakening (Aaron Ehasz): one moment shoots this episode onto the list for me. In the middle of the ep, we're treated to a bone-chilling introduction by Fire Nation Royal Advisors Lo and Li (Takayo Fischer). Their entire monologue is riddled with punctuating flashbacks and Fischer's incredible performance and resounding voice chills me every time:
"Your Princess Azula, clever and beautiful, disguised herself as the enemy and entered the Earth Kingdom's Capital. In Ba Sing Se, she found her brother Zuko, and together they faced the Avatar. And the Avatar fell! And the Earth Kingdom fell! Azula's agents quickly overtook the entire city. They went to Ba Sing Se's great walls... And brought them down! The armies of the Fire Nation surged through the walls and swarmed over Ba Sing Se, securing our victory. Now the heroes have returned home! Your princess, Azula ... And after three long years, your prince has returned... Zuko!"
Other great moments in the episode are the reunion of the gaang with Hakoda, Bato, and Jet's allies, the confrontation and fight with another Fire Nation ship, the great parallels of symbolism between Aang's and Zuko's hero's journeys, and Katara confronting her father about the hurt his leaving unintentionally caused her, and his deeply heartfelt, loving apology. Also, cameos from Roku and Yue's spirits.
The Beach (Katie Mattila): one of the best character-developing eps in the series. It's not often we get to spend so much time with our villains -- in fact, very few animated series spend this much time with their villains, especially in simple development capacity instead of concocting evil plans. In this episode, we get to see what our "bad guys" are like when they're not fighting or ordering servants around. We get to see that Azula is still innately domineering, Ty Lee is still bubbly and attention-seeking, Mai is still foreboding, and Zuko is still angry at life, and we learn why this is the case for all of them.
Beyond the obvious favorite campfire scene, my other favorite moment is Zuko returning his old family house. Flashbacks of his childhood days, "back when our family was actually happy." And the sad realization of -- is that actually Iroh's silhouette in those flashback scenes? Even the end of that sequence is a favorite of mine; when Azula shows up and coaxes him away from the sad house to join them at the beach. In an exceedingly rare moment, Azula displays what appears to be genuine compassion for her brother, with no ulterior motive. The gaang's side of this episode is mostly dull until we're induced to Combustion Man in his full explosive glory, and we're treated to a spectacular (if quick) battle as the gaang flees.
The Avatar and the Fire Lord (Elizabeth Welch Ehasz): great episode, through and through. It's the most time we get to spend with a previous avatar in the original series, and it's fantastic. Similar to Harry Potter and the Half Blood Prince when we get to see Voldemort's backstory through Pensieve memories, this episode reveals Sozin's entries rise (fall?) to power through the eyes of his best friend, Roku. The story is beautiful and tragic, with a sad ending we all know is coming. But it's also fun to see the four nations as they were just before the war, especially the Fire Nation, which is notably more cheerful in its architecture and decor. Especially Sozin's throne room is bright and golden and filled with sunlight, before Roku destroys it and Sozin elects to rebuilt it with a more intimidating atmosphere. Despite the sad end of the flashback story (echoed in Zuko's B story), Aang chooses to see a much brighter message (true to his character): people are capable of great evil AND great good, and friendships can last more than one lifetime -- a time faithfully carried out in Legend of Korra.
Day of Black Sun pts 1&2 (DiMartino & Aaron Ehasz): both parts of this invasion are flawless, and the setup in the previous ep was equally flawless. I didn't include Nightmares & Daydreams but I will give it an honorary mention here because it set up Zuko's huge invasion moment VERY well. The beginning of part 1 was really fun as we're treated to the return of old favorite characters like Haru and the Mechanist.
The entire invasion is quite spectacular and filled with ingenious devices like waterbending submarines and earthbended tanks. At the end of part 1, the gaang receives the chilling revelation that the audience has suspected for months: Ozai is not there, Azula having overheard the invasion plans in book 2. This leads to Sokka, Aang, Katara, and Hakoda re-evaluating their plans yet bravely deciding to carry the conquest forward. Then Toph gets her chance to shine in abundance! A dozen stunning displays of seismic sense and metalbending later (much to Sokka's delight), Toph, Sokka, and Aang have infiltrated the Fire Nation's underground hideout bunker -- only to be foiled by Azula. The master manipulator keeps our heroes on the chase despite their better knowledge in a simple ploy to waste time. Poor Sokka is even played the fool as Azula cunningly discusses Suki with venomous words. I actually understand Sokka's subversion despite his knowing better: he last saw her only in the Serpent's Pass; months ago, and he both longs for news on her and fears her safety. On Zuko's side, our beloved Prince finally receives his long-awaited climax. In one of the most emotional and tense moments of the series, he confronts his father on the latter's emotional abuse, the horror of his war conquest, and his plethora of lies. But as Ozai drinks his own poison, all of Zuko's accusations land of deaf ears. But that's okay: the moment is for Zuko, not Ozai, and having said his piece, Zuko is ready to move on. Yet the viewers are treated to one last spectacle. It's an incredible moment dripping in symbolism and meaning. Ozai conjures lightning, which i see as a physical manifestation of his treatment of Zuko. Then, carrying the symbolism, Zuko skilfully receives that abuse and redirects it using the lessons he's finally come to understand from Iroh-- both in terms of wisdom and firebending technique. The lighting is perfectly redirected, Ozai's throne is engulfed in flames, and Zuko slips away.
Zuko redirects Ozai's lightning, "Day of Black Sun, Pt 2"
The Firebending Masters (John O'Bryan): I've already discussed my thoughts on this episode and why I love it in terms of completing Aang and Zuko's shared character arcs. Simply put, it beautifully shows the Avatar and the Fire Lord (see what I did there?) (Okay, technically not the Fire Lord YET) coming to find a necessary new understanding of firebending. It was a very important step for both of them given their own personal traumas, and it allows both of them to achieve (or begin to achieve, in Aang's case) a new mastery of the art.
The Southern Raiders (Elizabeth Welch Ehasz): i also already discussed what this episode meant for Katara; the monument conclusion and healing to the trauma of her mother's death. I also love it for the amazing depth of philosophy Aang gives at the beginning. "Revenge is like a two-headed viper-rat." I also love the incredible waterbending prowess Katara displays. She single-handedly takes out an entire Fire Navy ship and bloodbends its captain into submission in a chilling display of furious power. Even Zuko has his moment of wide-eyed "wow" at the sight. I also appreciate that the episode doesn't feel obligated to break all of the tension. It fits in comedy where appropriate, but also allows the viewer to simply dwell in the incredibly dark theme explored. In fact, I think it would be disrespectful to both Katara and us as viewers if it broke the final tension of Katara's choice. Moments like that are chilling for a reason, and it's good to let that be.
Sozin's Comet (Bryke, Aaron Ehasz): honestly, what's NOT to praise about this? Possibly the convenient appearance of the liontutrle, but even that was teased in "The library" and with statues in Piando's mansion in "Sokka's Master." My favorite moments: "Zuko's gone crazy! I made a sand sculpture of Suki, and he destroyed it!" "Oh, and he's attacking Aang." Entering Old People Camp, and Zuko's tear-jerking reunion with Iroh. "I was never angry. I was sad, because I was afraid you'd lost you way. But you found it again, and I am so, so proud." Tearing up just remembering that, don't mind me! Toph's metal door armor and her incredible prowess. And then.... my ultimate favorite moment.
My favorite sequence in the entire franchise; nothing else in either series, novels, or comics measure up: the Final Agni Kai. I love it even more than Aang's battle with Ozai. The way Bryke chose to depict this chills me to the bone with feels every time. The massive bursts of comet-enhanced flame that fills the arena and screen and spills over into the surrounding (vacated) capital. The flashes of eerie red and blue glow that light up the night when the duel is seen from afar. The sad, focused, resigned expression on Zuko's face as he dodges and attacks, and the crazed, determined, unhinged contortion on Azula's features as the fritzes around the arena. The calm collection of Zuko's technique that shows the completion of his character arc. But most of all.... the haunting melody. The soundtrack that plays louder than the grunts or other effects of the action; with only the rumble of fire sounding just as loud. This haunting melody that fits the tragic-- not violent, tragic-- tone of this battle. A tragic showdown between siblings torn apart by abusive parenting and by war, the tragedy of a woman so conditioned that she wants nothing more than to see people suffer and her brother dead. The simple melody punctuated with percussive chopstick-like effects touches my heart every single time.
Zuko and Azula's final Agni Kai, "Sozen's Comet Part 3: Into the Inferno" - "Part 4: Avatar Aang"
Finally, the last sequences of the show include Aang achieving final mastery of the Avatar State, Zuko claiming his title as Fire Lord with Aang at his side -- "And now we're friends," Aang reflects when they're alone. "Friends," Zuko echoes, with a depth of appreciation that shows he's still trying to figure out what that means. And then, later, Aang and Katara share a quiet kiss that marks the beginning of an awesome relationship (my OTP, no shame) that Katara had only recently come to understand her full desire for.
The End.
Last note, the final end credits is different and epic and I love that the Track Team decided to do that!
Thank you again, Bryan, Mike, and Nickelodeon.
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