I will attempt to remain both appreciative and critical here. 'Sozin's Comet, Part 4: Avatar Aang' is a truly satisfying finale to a scintillating series, one that will stick with it's contented audience for a long time, but upon inspection, certain flaws present themselves.
I will begin with the finale's merits. The fight scene between Azula and Zuko was well constructed, however the sequences of the fight consisted mainly of Zuko and Azula mirroring each other in strength and technique. Azula's lightning was missed, I feel it added a further level of intimidation and strength to her character. Additionally, Azula's violation of the rules of Agni Kai adds further suspense to this charged sibling conflict. I will return to this scene later.
Zuko achieved the glory he deserved, as one of the most nuanced characters in animation. He regresses (but not so much in a negative, Freudian sense) to his earlier balanced and charming personality, and the audience is assured he will usher in better times as he attempts to repair the damages his ancestors orchestrated. HIs quest to find his mother gives continuity and integrity to his character.
The end of Iroh's story too was well carried-out. His transformation from conquering general to redeemed hero and man of spirit is completed, as his foreshadowing childhood dream manifests in reality. His final conversion from the destructive philosophy of Sozin/Ozai is completed symbolically with him burning down the Fire Nation flag in Ba Sing Se. While his future is unclear, his past and present and reconciled and juxtaposed constituting a satisfying denouement.
The fight between Aang and Ozai is satisfying as the audience observes it.
Now however I must delve into my discontentment.
Azula, a previously strong and interesting character devolved into paranoia, and mired her intimidating charm by - for no reason other than her own idiocy, cutting her own hair as she had banished her maids. Zuko's development was one of the mind rather than one of skill, so his sudden ability to match Azula both on the airships and in the fight scene feels unearned. Katara's wit to outmatch her was smart though. Her ability to best one of the strongest firebenders on the day of Sozin's Comet however, seems unlikely, but her means of doing so are considered and exciting. I consider the end to Azula's character to be lacking. Perhaps she could have realised that relationships aren't about domineering or 'crushing the world together', but finding solace in one another. As her psychic failure occurs, it certainly seems she could use some solace.
I would like to return to the Aang/Ozai fight. Upon retrospection, the fight consisted of one running from the other in fear. Aang's pacifism nearly costs him the fight, and in a way it does. He is not able to best Ozai, and requires of 'Avatar State' to send him packing In this way, it is not Aang, our beloved protagonist that is able to best Ozai, but rather all the Avatars of the past. From this moment, the conflict is mostly resolved. The audience knows that Aang will best Ozai, and the only question left is how. The writers do utilise a 'Deus ex Machina' device here, that was only semi-developed in the prior episode. Although one must admit that if it were developed further, the ending would have been entirely obvious, and somewhat less satisfying. The conflict between Aang and the philosophies of the previous Avatars was a worthwhile addition though, allowing Aang to differentiate himself and forge his own legacy.
Indeed, the use of the 'Avatar State' to defeat Ozai was previously barred by story decisions. Azula apparently 'blocked (Aang's) chi' with her lightning as she struck him down a season prior. And at least in that scene, Aang attempted to let go of Katara to master the 'Avatar State'. Here it again returns as an unquestionably overpowered defence mechanism that shows that while three seasons had been dedicating to preparing Aang to face Ozai, he never really had a chance. Even early on Aang could construct a giant sea monster when push came to shove. There was no shot where Aang unlocks his final chi and achieves 'Cosmic power' but rather it conveniently occurs silently and the conflict is decided.
There is also the question of Toph, do we even know what happens to her?
Finally, the enduring relationship of Aang and Katara. Roku's foreshadowing 'It gets better' manifests, and while the primary conflict of the plot has been resolved it feels only semi-earned. Episodes ago, Katara was 'confused', and in the same episode Zuko is positioned with her. The two had got along, and it seemed that the writers were hinting a Zuko/Katara ending, however this never happened, and I'm glad. I feel it would have undermined all Katara's kisses of Aang's cheek, and the bubbly excitement it riled in the audience. It does feel like an abandoned line of the story that just didn't get developed further after it was strongly hinted. Aang and Katara should end up together, but the way they did so felt almost forced. Perhaps rather than a big hug and cathartic kiss, an affectionate back-hug could have reassured the audience that the affection is still there, but not give everything away so easily. Despite my inexperienced speculation, I must admit that I was relieved that they end up together, with their relationship fortified through myriad trials and tribulations.
I have one last criticism before I conclude. Ozai. He was meant to be a grandiose 'archvillain' strengthened by a comet that comes only one in a hundred years. But overall, he lacked development beyond simple malice and amorality. We gain no insight into his past or motivations. Although this was not particularly required, as Azula and previously Zuko had filled these shoes. The development of Azula was overall, very pleasing, but her end, semi-disappointing.
I feel I was overly critical here, and the conclusion deserves another paragraph of praise. Many regard this finale to be among the best because it was synthesised with integrity. It wasn't soiled to introduce another conflict and drag the audience along for a few more seasons, and all the characters stayed true to themselves. Azula's arc is finalised on an inside note, but her schizoaffective tendencies have been apparent for some time. It brings all the characters together, or partitions them separately in a cathartic way that leaves the audience with a warm smile.
Overall, 'Avatar: The Last Airbender's characters were charming and they grew together in a contenting way. These characters will endure with us. They have become part of me. But alas, these our revels now are ended. This was a satisfying end to a truly wonderful series. Whilst some crimes were committed, on net the series was so charming that I will gladly forgive them. If all the world's a stage, let this wonderful culmination of impressive animation, well-conceived story, truly charming characters, and love of Eastern philosophy help us perfect our performance. Adieu, Adieu, to these wonderful writers and actors that, in moulding together a masterpiece, have too done something to mould their audience.
Allow me to prompt you. 'But release me from my bands / With the help of your good hands. / Gentle breath of yours my sails must fill / Or else my project fails / Which was to please. (...) Now my ending is despair / Unless I be relieved by prayer / Which pierces so that it assaults / Mercy itself and frees all faults. / As you from crimes would pardoned be / Let your indulgence set me free.'
I will begin with the finale's merits. The fight scene between Azula and Zuko was well constructed, however the sequences of the fight consisted mainly of Zuko and Azula mirroring each other in strength and technique. Azula's lightning was missed, I feel it added a further level of intimidation and strength to her character. Additionally, Azula's violation of the rules of Agni Kai adds further suspense to this charged sibling conflict. I will return to this scene later.
Zuko achieved the glory he deserved, as one of the most nuanced characters in animation. He regresses (but not so much in a negative, Freudian sense) to his earlier balanced and charming personality, and the audience is assured he will usher in better times as he attempts to repair the damages his ancestors orchestrated. HIs quest to find his mother gives continuity and integrity to his character.
The end of Iroh's story too was well carried-out. His transformation from conquering general to redeemed hero and man of spirit is completed, as his foreshadowing childhood dream manifests in reality. His final conversion from the destructive philosophy of Sozin/Ozai is completed symbolically with him burning down the Fire Nation flag in Ba Sing Se. While his future is unclear, his past and present and reconciled and juxtaposed constituting a satisfying denouement.
The fight between Aang and Ozai is satisfying as the audience observes it.
Now however I must delve into my discontentment.
Azula, a previously strong and interesting character devolved into paranoia, and mired her intimidating charm by - for no reason other than her own idiocy, cutting her own hair as she had banished her maids. Zuko's development was one of the mind rather than one of skill, so his sudden ability to match Azula both on the airships and in the fight scene feels unearned. Katara's wit to outmatch her was smart though. Her ability to best one of the strongest firebenders on the day of Sozin's Comet however, seems unlikely, but her means of doing so are considered and exciting. I consider the end to Azula's character to be lacking. Perhaps she could have realised that relationships aren't about domineering or 'crushing the world together', but finding solace in one another. As her psychic failure occurs, it certainly seems she could use some solace.
I would like to return to the Aang/Ozai fight. Upon retrospection, the fight consisted of one running from the other in fear. Aang's pacifism nearly costs him the fight, and in a way it does. He is not able to best Ozai, and requires of 'Avatar State' to send him packing In this way, it is not Aang, our beloved protagonist that is able to best Ozai, but rather all the Avatars of the past. From this moment, the conflict is mostly resolved. The audience knows that Aang will best Ozai, and the only question left is how. The writers do utilise a 'Deus ex Machina' device here, that was only semi-developed in the prior episode. Although one must admit that if it were developed further, the ending would have been entirely obvious, and somewhat less satisfying. The conflict between Aang and the philosophies of the previous Avatars was a worthwhile addition though, allowing Aang to differentiate himself and forge his own legacy.
Indeed, the use of the 'Avatar State' to defeat Ozai was previously barred by story decisions. Azula apparently 'blocked (Aang's) chi' with her lightning as she struck him down a season prior. And at least in that scene, Aang attempted to let go of Katara to master the 'Avatar State'. Here it again returns as an unquestionably overpowered defence mechanism that shows that while three seasons had been dedicating to preparing Aang to face Ozai, he never really had a chance. Even early on Aang could construct a giant sea monster when push came to shove. There was no shot where Aang unlocks his final chi and achieves 'Cosmic power' but rather it conveniently occurs silently and the conflict is decided.
There is also the question of Toph, do we even know what happens to her?
Finally, the enduring relationship of Aang and Katara. Roku's foreshadowing 'It gets better' manifests, and while the primary conflict of the plot has been resolved it feels only semi-earned. Episodes ago, Katara was 'confused', and in the same episode Zuko is positioned with her. The two had got along, and it seemed that the writers were hinting a Zuko/Katara ending, however this never happened, and I'm glad. I feel it would have undermined all Katara's kisses of Aang's cheek, and the bubbly excitement it riled in the audience. It does feel like an abandoned line of the story that just didn't get developed further after it was strongly hinted. Aang and Katara should end up together, but the way they did so felt almost forced. Perhaps rather than a big hug and cathartic kiss, an affectionate back-hug could have reassured the audience that the affection is still there, but not give everything away so easily. Despite my inexperienced speculation, I must admit that I was relieved that they end up together, with their relationship fortified through myriad trials and tribulations.
I have one last criticism before I conclude. Ozai. He was meant to be a grandiose 'archvillain' strengthened by a comet that comes only one in a hundred years. But overall, he lacked development beyond simple malice and amorality. We gain no insight into his past or motivations. Although this was not particularly required, as Azula and previously Zuko had filled these shoes. The development of Azula was overall, very pleasing, but her end, semi-disappointing.
I feel I was overly critical here, and the conclusion deserves another paragraph of praise. Many regard this finale to be among the best because it was synthesised with integrity. It wasn't soiled to introduce another conflict and drag the audience along for a few more seasons, and all the characters stayed true to themselves. Azula's arc is finalised on an inside note, but her schizoaffective tendencies have been apparent for some time. It brings all the characters together, or partitions them separately in a cathartic way that leaves the audience with a warm smile.
Overall, 'Avatar: The Last Airbender's characters were charming and they grew together in a contenting way. These characters will endure with us. They have become part of me. But alas, these our revels now are ended. This was a satisfying end to a truly wonderful series. Whilst some crimes were committed, on net the series was so charming that I will gladly forgive them. If all the world's a stage, let this wonderful culmination of impressive animation, well-conceived story, truly charming characters, and love of Eastern philosophy help us perfect our performance. Adieu, Adieu, to these wonderful writers and actors that, in moulding together a masterpiece, have too done something to mould their audience.
Allow me to prompt you. 'But release me from my bands / With the help of your good hands. / Gentle breath of yours my sails must fill / Or else my project fails / Which was to please. (...) Now my ending is despair / Unless I be relieved by prayer / Which pierces so that it assaults / Mercy itself and frees all faults. / As you from crimes would pardoned be / Let your indulgence set me free.'