9/21/20 - Book 1: Chapters 13-16
Book 1: Water
Part 4 - Deepening Character and World
So, wow - after “The Great Divide” this show is just stone cold excellent.
These episodes from the latter half of Book 1 were in a constant rerun rotation on Nick; and each of these episodes I think, is an excellent balance of character growth, worldbuilding, and action.
As I explain below “The Blue Spirit” was designed to be a soft series finale, in case Avatar didn’t get a following - as such the writers and crew pull out all the stops to showcase what the show could achieve action-wise between the Yuyan Archers and the debut of the Blue Spirit; as well as dramatically, beginning to show us Zuko’s conflicted soul.
I’ll admit I didn’t love “The Fortuneteller” much as a kid - it’s one of the most explicitly “lovey-dovey” eps from across the whole show - but I forgive it that for its humor and the volcanic climax to the episode.
“Bato of the Water Tribe” likely won’t make top ten lists either - but it features fan favorite June and one of Aang and Zuko’s best Book 1 fights.
And finally - until the Book 3 premiere (which felt like a lifetime away as a kid); “The Deserter” was our first taste of firebending philosophy and action from Aang, as well as an indirect Apocalypse Now for kids. It was never reran enough if you ask me.
We’re closing in on the season finale y’all, and this week’s lineup is a lovely array of different colors and flavors of adventure - let’s dive in.
1.13 - The Blue Spirit
As I said - there was a time when this episode could have been the series finale. As explained in The Art of the Animated Series, Avatar was initially ordered for just thirteen episodes. Bryke wanted this episode to be a proper, epic installment if the series wasn’t renewed to a full season. Thankfully, and obviously, it was - but watching the episode with that lens brings a lot of the story choices into focus - like our clearest evidence yet Zuko is more complicated than a mere Fire Nation sycophant.
On the note of sycophants, this is the episode we see Zhao elevated from commander to admiral (a detail that will be paid off in the finale); his base in this episode is the Pohuai Stronghold, under Colonel Shinu.
The Yuyan archers only appear as a unit in this episode; which is a shame, cuz they are compellingly badass (perhaps the most competent foot soldiers in the Fire Army?); the dishonored former archer Vachir is a member of the Rough Rhinos and featured in the ATLA comics.
Messenger hawks walk the razor’s edge b/w sinister and adorable
The Blue Spirit spying on Zhao’s promotion means Zuko could have been using this persona offscreen well before this episode - we just don’t know; he didn’t create it exclusively to save Aang.
The Blue Spirit’s mask is based on a mask of the Dragon King from Nuo Chinese folk opera.
The ruins Katara and Sokka hole up in in this episode are the ruins of the city of Taku, destroyed during the early days of the Hundred Year war by the Fire Nation.
Rewatching this ep mid-COVID with Aang covering his face while Katara starts coughing hits different.
Repeatedly through Book 1, we see Zuko’s outdated junker ship contrasted with bigger, sleeker Fire Navy ships; notable variants of seafaring Fire Nation ships include;
Empire-Class battleships - Massive flagships - ex: Zhao’s flagship in the Book 1 finale
Cruisers - Backbone of the Fire Navy - constant presence throughout Book 1
Royal sloops - Ornate battleships used by the royal family - ex: Azula’s sloop
Southern Raider frigates - smaller, faster models used by their namesake
“Just a bunch of Fire Lord propaganda” - clearly not every Fire National is a blind follower.
The Herbalist’s cat, Miyuki, is one of the rare non-hybrid animals in ATLA - giving way to the headcanon that the “cat” might be a spirit.
The Yuyan Archers’ pursuit of Aang is one of the more underrated action sequences in the show - always compelling to watch professionals at their craft.
The audience has gotten to know both characters - but I believe this is the first time Aang and Zhao meet face to face.
The little bells used for the Blue Spirit’s theme are the perfect blend of playful and chilling.
“Fire, the superior element!” - That. Is Nazi shit.
Zhao namedrops both the Comet and Ba Sing Se in his speech.
“My friends need to suck on those frogs!!” - This show is a masterpiece.
The hero and the antihero joining forces is always an excellent trope and does not disappoint in the escape sequence.
“Do you think we could’ve been friends too?” - That line will forever haunt me with its inherent tragedy.
Iroh’s diegetic use of the Tsungi horn is excellent - also he bought that monkey totem he liked from the pirates!
The closing shot of Zuko just staring at the Fire Nation emblem is excellent.
At least at this point in the story… I’m not sure Aang ever tells Sokka and Katara about this encounter with Zuko.
1.14 - The Fortuneteller
This episode features the first appearance of one of the more iconic hybrid animals - the platypus bear.
The village at the base of Mount Makapu is - appropriately - Makapu Village. The falsely identified Earth Avatar, Yun, originated from this town; and in Korra’s era, the village is the namesake of the Makapu Moose-Lions.
In addition to Meng, Aunt Wu has an unnamed goth in her employ - I suppose it makes sense for fortunelling and mysticism to attract weirdos.
As far as I can tell, in a backwards, monkey’s paw, self-fulfilling prophecy kinda way - none of Wu’s predictions are wrong.
Wu’s primary method of fortune telling seems to be her bone reading, or osteomancy. She has been practicing in Makapu for twenty years.
If I have one serious complaint to leverage against ATLA, it’s that I think if your show features Asian-coded characters, one should use Asian voice actors; Wu is one of the actually Asian (Chinese-English) VAs on the show.
The joke about Aang’s epic destiny is actually kinda cute.
I, personally, do not think fortunetelling is in itself immoral - people seek different sources of spiritual sustenance in their lives, and I personally don’t read Wu as one to abuse her clients. It can be very comforting to have external guidance.
There are a series of totems near the gate to Mt. Makapu; they are arranged in Avatar cycle order - a fish for water, a badger for earth, a dragon for fire, and an owl for air. The wiki speculates they are a quiet reference to the Shinto statues featured in the opening scenes of Spirited Away.
“Flowers are fine once you’re married,” - Bless Sokka and his romantic advice.
Sokka and the volcano is a fabulous inversion of “The Boy who Cried Wolf,” - a rationalist being disbelieved for telling the truth after repeatedly telling the truth.
Meng is really emotionally mature in her moment alone with Aang.
The natural ash rain of the volcano is a nice visual foreshadowing of the ash snow of Zhao’s fleet.
Aang’s lava cooling maneuver is actually extremely smart for quick thinking - for all his compassion and empathy, we can sometimes forget what a good head Aang has on his shoulders.
“Just as you reshaped those clouds, you have the power to shape your own destiny.” - Wu has some true wisdom after all.
“Floozy…”
This is only the fourth episode without Zuko this season. These will become more and more infrequent.
1.15 - Bato of the Water Tribe
Baby Sokka in this ep is just too effing cute.
Re: Timeline - if Hakoda left the South Pole two years before the start of the series, that makes Sokka twelve in these flashbacks. Kya was killed six years before the events of the series, so that leaves four years of Hakoda raising his children as a single parent.
June is just wonderful. Casual goth beast-tamer and bounty hunter who shows absolutely no fear in the face of one of our primary antagonists?. Unquestioned Queen.
June’s design is based on Avatar staff member Lisa Yang. Likewise, June’s shirshu, Nyla, is named for Yang’s Rottweiler.
The shirshu design is a hybrid of a giant anteater, a wolf, and a star-nosed mole.
Shirshu also make appearances in the Kyoshi novels as almost legendarily rare monsters sent to hunt down Kyoshi.
We catch our first glimpse of Hakoda in this episode, as well as a preview of Sokka’s Water Tribe warpaint (a custom that perhaps played no small part in Sokka’s acceptance of Kyoshi Warrior makeup).
To this caucasian, Bato is much more natively coded than Sokka or Katara - he seems to have much more pronounced Inuit features than the kids (though is voiced by veteran white voice actor Richard McGonagle).
The abbey featured in this episode doesn’t have a formal name, but I just love the idea of nuns living a simplistic life crafting perfumes and poultices; a nice, sober counterpart to historical monks turning to brewing beer for revenue.
**Offscreen cough** “You have your father’s wit…”
The tavern is also a great, little-seen locale - I just love the idea of a strong, independent woman (June) dominating one of the more explicitly hostile locations we see in this world.
She even beats Ryu in arm-wrestling. How can you not love June.
“Make it your weight, and we have a deal,” - Begs the question of just how much of a royal stipend does the banished prince of the Fire Nation get?
This is another of the less-loved episodes of the series because of Aang’s subplot about trust - it does feel like a “lesson” episode, but especially for featuring the June-Zuko-Aang fight at the climax I feel like this ep gets undue flack.
They’ve been seen previously in the season - ostrich-horses (definitely drawing from Chocobos in Final Fantasy) are among my favorite hybrids.
We get a nice retrace of the last two episodes as June, Zuko, and Iroh trace the Gaang’s path from the Herbalist, to Wu, to the abbey.
“At my age there’s only one big surprise left, and I would just as soon leave it a mystery.” - Only Iroh can be wonderfully existential while flirting.
I can’t help like feeling “cliff dodging” is much more deadly than “ice-dodging”... but Bato is the number two to Hakoda’s schemes so I suppose it’s in character for him to take risks.
Southern Water Tribe ships are identified as “cutters” on the wiki.
Given it’s very unconventional circumstances in this episode, I wonder what the usual rules about benders in the ice-dodging ceremony are.
Given I think Aang acted out of character, Sokka’s outburst at the discovery of Aang’s lie is justified - “I’m with you Sokka” is a nice visual parallel to the pilot when Katara almost left with Aang and without Sokka.
The broken abbey doors as Nyla barrels through them the second time are a nice visual gag.
I believe this is Aang’s fourth proper one-on-one duel with Zuko - twice in the South Pole, one on Kyoshi Island, and now here.
Appa would’ve absolutely killed June if she hadn’t gotten out of the way of his foot.
Notable that this is some of the most explicitly offensive airbending we’ve seen from Aang up to this point - he directly mirrors a firebending move of Zuko’s.
Iroh quietly pocketing perfume mid-battle is excellent.
The well section of the duel is one of the more expertly crafted combat setpieces of the early show.
Sokka shows off his smarts in blinding Nyla with perfume.
“June! Noooooooo,” - Iroh’s slow-mo catch of June is hilarious if lowkey lecherous.
The reconciliation as the team flies away is a nice scene - Aang is “family.”
Aang literally twiddles his thumbs after Katara kisses him on the cheek what a cutie pie.
1.16 - The Deserter
The “Fire Days Festival” is roughly analogous to Chinese New Year, and features many similar celebrations and customs.
“Because we always leave before we get into trouble.”
So, I never really reckoned with the idea of colonial Fire Nation towns as a kid, but that’s what this town is - it is meant to be a Fire Nation society retrofitted onto an Earth Kingdom town. Notice the ornate architecture built onto the more stoic Earth-style rooftops in establishing shots.
The fire-dragon being airbent into confetti is georgeous shot.
I think I assumed as a kid that, as a Fire National deserter with Jeong Jeong, that Chey was a firebender; but he appears to be a nonbender skilled with explosives.
I. ADORE. The Heart of Darkness/Apocalypse Now “warrior retreated into nature” aesthetic given to Jeong Jeong and his followers. Even his guards seem directly inspired by the Viet Cong.
“The festival went off without a hitch!” **THUD** “No fights, theft was way down…”
“He can tell,” - Chey, on how Jeong Jeong knows Aang hasn’t mastered water- and earthbending. This sounds perhaps super-mystical and mysterious when you first hear it, but after we see Aang go through earthbending training in the next Book, it completely tracks that a bending master like Jeong Jeong would be able to tell a bender by their gait - ex: earthbenders would be rooted and sure-footed.
Jeong Jeong is just an endless font of wisdoms;
“Destiny? What would a boy know of destiny? If a fish lives its whole life in this river, does he know the river’s destiny? No! Only that it flows on and on, out of his control. He may follow where it flows, but he cannot see the end. He cannot imagine the ocean.”
Jeong Jeong is voiced by American VA Keone Young, a voice apprentice of Mako (Iroh); he is the son of Japanese and Chinese immigrants and was born in Hawaii.
Roku is exaggerating in his vision to Jeong Jeong - “a thousand times, in a thousand lifetimes” - as previously discussed, if the average Avatar lives about 100 years, there should only have been about 100 Avatars between Wan and Aang.
Jeong Jeong emphasizes control and concentration is his teaching; “power in firebending comes from the breath,” is the same Firebending 101 Zuko gets in the pilot.
“You want to stop breathing?”
The visual storytelling of Jeong Jeong talking about his “former student” as we see Zhao raze the riverside with his bending is just perfect.
One could read this episode on a fable on the importance of restraint with weapons; as we learn much later in Book 3; firebending is not exclusively destructive, but it is easily the most offensive bending style - it can be utilized, but with control and respect for its power.
The scene where Aang burns Katara is simultaneously heartbreaking and horrifying - a kid playing with a gun.
Similarly, Katara’s brief scene with Jeong Jeong (when she discovers her healing) is a powerful moment, as the master contrasts Katara’s “blessing” with his “curse.”
I believe this episode is Aang’s only one-on-one “duel” with Zhao.
Aang claims he will never firebend again - a stance he maintains until the very end of Book 2.
I need to do more reading, but bending negation is something that fascinates me; like, if Aang had refused to use firebending offensively, would he have acquiesced to using it to deflect/cancel fire attacks in self defense? In the Kyoshi novels, the Avatar reflects on negating earthbending - it’s an idea that fascinates me.
Even with as little of Aang’s bending as he’s seen, Jeong Jeong warns Zhao of Aang’s “raw power.”
So, Zhao wrecking his riverboats is not only a military failing - he inevitably had to take a walk of shame back up the river to his operating base.
Zhao’s failure to know when to stop is a flaw we see come to a head in the season finale.
There is a nice moment of visual symmetry in a pair of matching shots of Zhao and his old master - Jeong Jeong’s face shimmering in his wall of flames, used defensively; and Zhao’s lit with the fires of his failure.
“Two fish hooks?” “He tried to get the first fish hook out with another fish hook.”
This episode was directed by Lauren MacMullen, who also directed “The Storm,” “The Siege of the North, Part 1,” and a number of other excellent eps across the first two books.
History & Culture Corner: Inspirations for Cuisine in the World of Avatar
There is - perhaps obviously - an extensive wiki page detailing the cuisine of the Four Nations - consider this a sampling.
As seen in “Bato of the Water Tribe,” a delicacy of the Water Tribes is stewed sea prunes. Drawing further inspiration from their real-world Inuit origins, Water-cuisine is very seafood oriented, and features the likes of blubbered seal jerky and multiple seaweed-forward dishes.
As seen in “The Deserter” with Sokka’s “flaming fire flakes” - the Fire Nation gravitates toward spices in their food. The Fire Nation and Earth Kingdom draw their culinary inspiration from Chinese cuisine, and the **Fire* Nation places particular emphasis on flame-based cooking, ex: roast duck, and smoked sea-slug.
The Earth Kingdom, as the biggest nation, has perhaps the most diverse collection of food options, including fruit-, vegetable-, and rice-based dishes, as well as meat and poultry. The class strata of the Kingdom can be seen in the differences between the simpler village fare of the countryside and the elaborate dishes of the wealthy in cities like Ba Sing Se.
The Air Nomads… well were (at this point in the timeline) the only vegetarian nation, as mentioned quite a few times by Aang. As such, the Nomads were capable bakers (ex: the fruit pies seen in Aang’s memories of Monk Gyatso) in addition to the fruits, vegetables, and tofu that composed their diet. Like their culture at large, the airbenders’ vegetarianism was inspired by the practices of Hindu priests and Tibetan monks.
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I can’t believe I’m almost through Book 1! Since I fell behind in my posting, I’ll be playing catchup and posting my reflections on the end of the season next Monday before returning to my normal schedule of posting every other week.
Until then, be well, be safe, and May the Force be with you.
- JMC