kingofthebouncycastle13:redbelles: wordcubed: redbelles:ZUTARA + PARALLELS:They circle each othe

kingofthebouncycastle13:redbelles: wordcubed: redbelles: ZUTARA + PARALLELS: They circle each other in an eternal dance; they balance each other. Push and pull. Life and death. Good and evil. Yin and yang… lmao everybody in the notes gushing over this ship when these are some weak-ass “parallels”. Wow, these characters both have, uh, a thing with stuff carved on it—SUCH DEPTH! Karara partially hid her face a single time while Zuko completely hid his multiple times—they’re basically the same character now! They both almost lost someone in a show about loss and war—this has never happened before in this show about loss and war! Two characters… both have moms? Wow! Zutara shippers once again overlook that Zuko and Karara are both warm-blooded and breathe oxygen, an unparalleled character parallel proving they were meant for each other! hi, asshole! op here. you’re being a dick on my post, so let’s talk. first up: basic tumblr etiquette. don’t spew garbage all over someone else’s content! keep your salt in the tags, or better yet, make your own fucking post. if you don’t like something? don’t fucking reblog it. it’s real simple. second: your commentary. for someone with an honest to god ‘filmcrit’ tag, you are astonishingly bad at both analysis and criticism. let’s go through the gifset together and see if we can’t pull your head out of your ass.parallel #1: zuko on his knees before ozai + katara on her knees before hamathis a defining moment for both of them. for zuko, it’s more than just the moment he receives his scar, more than a moment of fundamental paternal betrayal— it’s the moment he realizes that something is sick and rotten at the core of his nation. at the core of his family. it plants the seed that will eventually blossom into the courage to confront ozai about both the lie of the war and the cruelty of dueling and scarring a child. for katara, it’s a similar kind of nadir. she has to grapple with the fact that heritage has nothing to do with character. here is hama, a southern waterbender, a survivor, and ostensibly an elder katara can look to for guidance and wisdom. from the get-go, katara trusts her implicitly, because how could a woman of her tribe be evil? how could a woman of her tribe let her suffering make her cruel? but hama is cruel, and when she reveals herself as such, katara has to come to grips with the fact that cruelty knows no borders; it comes from within, and we all must wrestle with it. this moment prepares her for her confrontation with yon rha, where she faces the source of her pain and refuses to let it twist her the way it twisted hama.parallel #2: ursa + kyayou know what? you don’t get a long dissection of this parallel. you get some dialogue from the show itself, which you seem to be conveniently forgetting: “The Fire Nation took my mother away from me.” “I’m sorry. That’s something we have in common.”actually, i lied.like. buddy. mothers who sacrificed themselves to keep their kids alive? kids left with lasting trauma about it? it’s very obviously more than just “oh my GOD they both have MOMS!” it’s highlighted in the show as a specific point of connection, one they don’t share with anyone else, even their respective siblings. sokka openly admits he can’t even remember what kya looked like— whenever he tries to picture her face, all he can see is katara. azula, meanwhile, is unable to admit to herself that ursa mattered to her at all until she’s in the midst of a mental breakdown; for this and other obvious reasons, zuko’s not going to be able to commiserate about ursa’s disappearance with her. if i may reiterate: you’re bad at this.parallel #3: zuko with injured iroh + katara with injured aangframing. it’s all about the framing. zuko: crying over his uncle, the only person in his life who believes in him, the only person he’s been able to rely on since his mother vanished.katara: crying as she holds aang like the fucking pietà, the only person who’s given her hope since her mother died.what’s being framed here? chosen family. zuko’s already accepted that iroh thinks of him as a son, and he’s in the process of realizing that he thinks of iroh as his true father. katara’s explicitly stated that she and sokka are aang’s family now, and she’s cradling aang like he’s her dead/dying son.parallel #4: blue spirit + painted ladythey don disguises—in! each other’s! colors!—and do what they can’t as themselves. zuko is the blue spirit several times, but most notably first to save aang from zhao and then finally to save appa from the dai li. katara is the painted lady to save the village of jang hui from the devastating effects of the smelting plant. like seriously what’s not clicking here.parallel #5: zuko’s knife + katara’s necklacew o w they both have carved objects that remind of them of their respective parental figures! w o w they both draw strength from these carved objects!the knife’s inscription, “never give up without a fight,” is perhaps the purest distillation of who zuko is. regardless of whether or not he’s on the right path, he never, ever gives up without a fight. he tries and tries and tries, even when it breaks his heart. iroh gives him the blade, and zuko lives up to both the words and iroh’s belief in him.katara’s necklace is another narrative touchstone. she wears it in remembrance of her mother, but it’s more than that. it symbolizes her roots, her courage, her refusal to bow before tradition when tradition is wrong. that she loses it in on a prison barge while inciting a revolt shows that katara, too, refuses to give up without a fight. she’ll never, ever turn her back on people who need her.also: they both lose/give away and then recover their respective carved objects. it’s almost like it’s what you’d call a parallel!how’d we do? is your head out of your ass yet? no? we’ll give it one more go. here’s a final parallel for you: they both breathe oxygen. -- source link
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