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Almost Dead Girl: Azula conveniently waits until the battle is over to deliver a long speech to Sokka before she 'dies', despite being stabbed in the heart.
Amnesiac Dissonance: Azula is implied to go through this gradually, getting memories back in her sleep. However, the trope is not used to portray self-conflict and soul-searching right before a Heel-Face Turn, as per the usual implications. Instead, it becomes a Hand Wave that says "Azula is crying about the evil things she's done in the past, so that means she's automatically a really good and completely different person now."
Amnesiacs Are Innocent: Azula's amnesia essentially provides the reset to her personality necessary to get her together with Sokka.
She is also the only female character to not be treated to fancy ballgowns, jewelry, or hairstyles, which makes her look the closest to her canon counterpart.
The Bechdel Test: It actually manages to pass. Katara and Toph have a conversation about their dresses and the duties that each of them supposedly has to fulfill. Men aren't mentioned for about a minute of conversation, maybe.
Big "NO!": Sokka pulls off a particularly narmful one after Azula is struck in the chest with a throwing knife.
Blood from the Mouth: Sho's mouth is dripping blood after a fight with Toph. However, the injury doesn't seem very serious, as he's able to pull off a Deus Exit Machina just seconds after he's hurt. Either that, or he's just that Badass.
Brother-Sister Team: Zuko and Azula, Sokka and Katara, and Mai and Sho. Those last are the only team who really do stuff together, though.
Brought Down to Normal: Azula, in the beginning. Zuko, unwilling to execute her like he did with his father, is convinced to have Aang remove her bending.
Bus Crash: It's offhandedly mentioned that Ozai was executed.
Toph's parents died in the war.
But Not Too Foreign: Just look at the cover image (seen above). Particularly on Katara and Mai's dresses and the architecture.
Conspicuous CG: A rather odd variant. The only parts of the comic that Diaz actually draws are the characters and their clothes (well, most of them, anyway). Everything else (backgrounds, accessories, props, settings), are photos. Spectacularly few of them are of Diaz's own creation.
Convenient Miscarriage: Mai poisons Katara in the beginning, making her lose Zuko's love child. This leaves Katara free to act like an infatuated teenager when Zuko comes back into the picture three years later, and also serves as a source of cheap Wangst.
Costume Porn: Toph wears dresses. Without complaining. And the other girls' outfits are even fancier than hers.
Covers Always Lie: In addition to the comments Jackie Diaz wrote to look like critical compliments, not one of the three scenes pictured on the cover happens in the comic.
Cut and Paste Comic: Taken to truly absurd heights, especially considering that everything was traced or vectored in the first place. Each character averages in at about 4 distinct faces for the duration of the comic and about 2 poses for each outfit.
Dead Guy Junior: Katara's miscarried baby is named Kuzon, after Aang's Fire Nation friend from before the war. Her next baby is also named Kuzon, apparently in honor of his older brother.
Death by Adaptation: Toph's parents are said to have been killed in the war, when in canon, they still alive by the time Toph's children are teenagers
Deus ex Machina: Sho executes a firebending move seen only twice in the original series: the bender casts a sphere of fire and then disappears. Only he kicks it up a notch, where, instead of using this move as a distraction in order to run away in the resulting smoke, he turns it into a sort of Villain Teleportation. Have we mentioned that, up until this point, he's demonstrated no ability for firebending?
Dull Surprise: To be expected given the amount of copying and pasting; a character might be speaking calmly one panel, then shouting or breaking down into tears in the next with the exact same face.
Easy Amnesia: Rather than delve into the canon Azula's complex, fractured mental state, Diaz opts to use this trope as an excuse to completely rewrite the character.
Exact Eavesdropping: How Azula finds out that Sokka likes her. Interesting that he just happens to start talking about how physically attractive she is when she's supposedly hidden from sight...in a bright, salmon-colored, low-cut dress.
Face Palm: Iroh does this while Aang and Zuko bicker about whether Azula's memory loss is part of some larger plan.
Fairy Companion: Azula gets a miniature, flying, glowing Aang duplicate to lead her through the Spirit World. Ostensibly, it's a close-up of those glowing blue fireflies Aang encountered on his way to meet Koh.
Fanservice Pack: Sokka becomes noticeably, what is likely supposed to be, more attractive as time goes on.
Hauled Before A Senate Subcommittee: Zuko gets hauled before one when he wants to marry Katara. Justified because he's about to make a grand mess out of his nation just as the world is getting back to normal. And, well, he did institute the Senate, after all, so he really shouldn't be complaining.
Heartbeat Soundtrack: Attempted in several places. However, when it's written as "*heart beating faster*" in little italics floating in the background, it's a bit hard to take it seriously.
Highly-Visible Ninja: Azula spies on Sokka. In a bright, salmon-pink dress. No wonder the attempt failed miserably.
How Much Did You Hear?: "So, Azula, I assume you were hiding in that tree long enough to hear me go on and on about how beautiful you are? And about taking you to see the cherry blossoms, of course..."
Idiot Ball: Sokka starts the plot off by accidentally mailing a letter concerning all of the details of Katara's pregnancy directly to Mai's doorstep. The only explanation given is that he didn't bother checking where the messenger hawks were going, even though he didn't have a reason to be sending any messages to the Fire Nation in the first place.
Mai also holds onto an Idiot Ball by not only keeping the incriminating letter for three years, but leaving it out where one of her maids could easily spot it and bring it to Zuko.
Immodest Orgasm: Katara treats the reader to a description of her every sensation during her sex scene. Including her groans.
It's Always Spring: Azula mentions that she's been at Toph's estate for eight months. During that time we never see any leaves or snow on the ground, not even during a montage which shows two or three months passing. An equatorial climate could be an explanation for that, but the plants generally look like those belonging to a temperate region. It's a result of either Artistic License – Geography or SoCalization, but the lack of consistency makes deciding which one it is a hard call.
It's All About Me: Katara has a miscarriage. Traumatic and tragic, right? Except the thing that upsets her most (judging by what she emphasizes) is that it happened the day before her birthday. Topped off when, at the beginning of the story, Katara visits her baby's memorial on the anniversary of the miscarriage. She quickly jumps from mourning being unable to save her child to wangsting about how she can't confess her love to Zuko.
Kudzu Plot: It starts out with Katara missing Zuko and mourning her unborn son, but over time, includes deception, blackmail, amnesiacs, politics and many other plot threads, although few except those related to the shipping get any resolution.
Laser-Guided Karma: Mai almost killing Azula can be seen as this, especially since Azula almost killed Mai for betraying her in the Boiling Rock.
Even Toph, who only wears her hair down when she's having sex and sleeping, still tampers with her bun to make it more elaborate or wears pretty headbands.
Katara's might be accidentally justified since in the later half of season 3 and post-series comics and images show that Katara kept her hair mostly down.
Love Makes You Crazy: Mai's the intended (and most obvious) example of this trope, but it arguably applies to almost the entire main cast. Zuko deserts his nation for months to be with Katara; Katara murders her hypotenuse to be with Zuko. Azula ends up lobotomized and giggly even after she gets her memories back, and Toph... well, her sex scene with Aang is listed under Nightmare Fuel. And all of them, even Sokka and Aang who barely do anything else, defy nasty nation-centric prejudices (which were basically nonexistant in the series) for love.
Martial Arts Do Not Work That Way: There are a few hand positions traced from stills of the show that somehow make it into the comic. Other than that, none of the "bending" pictured in the comic looks even remotely like the complex forms depicted in the cartoon - mostly because the characters hardly ever move.
Meaningful Name: "Azula" is theorized to mean "dragon" in this fic, missing the point that it's most likely a reference to her blue fire("Azul" means "blue"), as well as, in universe, being named after Azulon.
Melodrama: So much of it, especially when characters internally monologue. Characters often talk about hating themselves, not feeling truly alive without their love interests, and so on and so forth.
Modesty Bedsheet: Both varieties are used: the L-shaped sheet one later love scene with Zuko and Katara, and the traditional invocation with Toph just before the Taang love scene.
Moral Dissonance: Zuko impregnates a fifteen-year-old girl, carries on a love affair with her after he marries his childhood sweetheart, then slaps and verbally abuses his wife when she dares to get upset. Yet he's presented unerringly as a hero.
Moral Myopia: Zuko quickly declares Mai's heart darker than either his tyrannical father or manipulative sister. Her crime? Not telling Zuko that Katara was pregnant with his child. This is portrayed as a horrible thing, even though Katara herself decided that for the good of the world Zuko must never know. (See Idiot Ball for how Mai, and ultimately Zuko find out anyway) When Mai tries the same logic, she's declared selfish.
Later, she kills Mai in a painful manner. Although it was in the heat of battle, which would be an acceptable excuse, Katara explains that it's because Mai poisoned her to cause her to miscarry. While the anger within Katara is understandable, the Moral Myopia comes from the fact that Sokka tells her that it was a heroic thing to do.
Obligatory Swearing: Quite a bit of it, which is especially jarring considering that it's based off of a children's show.
Oblivious to His Own Description: As Sokka is entering the Spirit World to save Azula, he begins describing the girl he fell in love with, and she doesn't seem aware that she's the person he's talking about. Justified in that there's no point at which he says "I'm talking about you," and as a result of being in the Spirit World, Azula is gradually losing her memory.
Off Model: Not simply compared to the original character models, but heavily applies by simply comparing different shots of the same characters. In fact, the title page demonstrates the recurring issue of Katara's skin tone varying wildly from page to page.
Pay Evil unto Evil: So your romantic rival's killed your unborn child-now what do you do? If you're Katara, you kill them in the most horrific manner possible.
Power Glows: Aang's tattoos glow avatar-state style while having sex with Toph.
The Power of Love: Used to the point of ridiculousness. Azula's love for Sokka allows her to completely regain her lightning bending, Sokka and Azula's Intimate Healing, and how Sokka is able to bring Azula back from the Spirit World.
Princess in Rags: According to the backstory, Azula was banished from the Fire Nation after Aang took away her lightning bending. Her first appearance has her poisoned and bleeding in a back alley, wearing only a tattered "ninja outfit." Sho later reveals that she got into such terrible shape because she tried to get a seat in the new Fire Nation Senate by blackmailing Mai about Zuko and Katara's child, and Mai decided to shut her up instead of caving.
Princesses Prefer Pink: Azula. One dress she wears isn't quite pink, more of a salmon or peachy color. But given that her usual regalia is the deep red armor of the Fire Nation, the difference is still quite striking.
Even more blatantly, while Zuko is pining for Katara in the first chapter, part of his inner dialogue contains lyrics straight out of "My Immortal" by Evanescence.
Aang lands on Toph's balcony, offers to take her flying, and asks "Do you trust me?" There aren't any lyrics written, but you can practically hear"A Whole New World" in the background.
Reality Ensues: Surprisingly enough, this is played straight when Azula, while regaining her bending powers, is hit in the chest with a thrown knife and nearly killed. This proves that 1) talking isn't a free action and 2) mundane weapons, even seemingly unimpressive ones such as knives, are a threat to benders.
Remember the New Guy: We're supposed to believe that Sho has been around since the beginning, since there's no explanation on how he can be Mai's older brother when she's said in canon to be the eldest child in her family. Tom-Tom couldn't be given a Plot-Relevant Age-Up and a name change, could he?
Replacement Goldfish: Azula becomes a veritable clone of Princess Yue in the end. Zuko and Katara name their new son Kuzon, after the baby Katara lost in the beginning.
Scenery Porn: Yes, the backgrounds are mostly stolen photographs with traced art Photoshopped on top of them. At least they're pretty stolen photographs with traced art Photoshopped on top of them.
Screw the Rules, I Make Them!: After listening to his Senate Subcommittee bicker over whether a marriage to Katara would be harmful or not, Zuko gets fed up. He reminds them just who instituted the Senate after the war (I AM THE SENATE!, anyone?) and dismisses the meeting.
Self-Insert Fic: Katara looks a lot like Ms. Diaz herself, who's also claimed that the events in the story are based on things that actually happened to her.
The sudden disappearance of Mai's mangled body might also count as a retroactive Sequel Hook.
Sex Equals Love: Zuko/Katara, Sokka/Azula. Aang and Toph just barely subvert this, since they become engaged before their sex scene.
Sexy Soaked Shirt: Azula's dress gets soaked during a sudden rainstorm. Mercifully, there's not all that much to see.
Sherlock Scan: Hana does one on an amnesiac Azula, suggesting that she must be from the Fire Nation, because she's been affected by a poison that targets firebenders, was wearing Fire Nation undergarments, and has amber eyes.
Shipper on Deck: Ping, one of the Air Nomads Aang found, ships Aang/Toph. To a lesser extent, everyone else, except for the villains, is either rooting for the characters to get together.
Shirtless Scene: Zuko, Sokka, and Aang all get at least one. Sho doesn't, despite the fact that he's just as good-looking as the others, because he'd be too sympathetic if he were sexy as well as cool.
Surprise Pregnancy: Azula, of ALL PEOPLE in chapter 5. Toph figures it out that she's three months in with her Earth-shattering Bending skills and tells Sokka with predictable results.
Sword Pointing: Sokka does this to Azula and later to Sho. In his defence, he was merely anticipating an attack in both cases. Not that he would've been able to stop either opponent with that ridiculous position if they did attack him.
Zuko whiles away his time pining for Katara in the Fire Nation, leaves his wife, then spends at least eight months doing nothing but lounging at Toph's estate with his new girlfriend. It's not until he's Hauled Before A Senate Subcommittee that we actually see him doing his job.
Sokka and Katara are supposedly Prince of the Northern Water Tribe and Princess of the Southern Water Tribe by now. We never see them carrying out any duties pertaining to this, aside from attending a ball in Katara's honor.
Aang is the leader of a Hidden Elf Village of surviving Air Nomads. He deserts them pretty early in the story, and never returns; in the sequel, he lives with Toph in "Bong" Sing Se.
Toph is the head of the Beifong Family and supposedly runs a quarter of the Earth Kingdom, which apparently means that she's Katara's head housekeeper at a splendid estate in the countryside.
Iroh apparently does nothing but get wasted once with the kids, drink tea, and play Pai Sho. And it's not an act of Obfuscating Stupidity, either, like it was in the show. Though that's exactly what he planned to do at the end of the series.
Azula, at least, has the excuse that she's been stripped of her title, cast out of her country, and is now suffering from Easy Amnesia on top of that. It still doesn't make it less painful to watch her giggle like a helpless teenager.
Teen Pregnancy: Katara would've only been about fifteen when she was pregnant with Zuko's child.
Visual Innuendo: It's chock full of phallic symbolism if you look carefully enough. There are candles in the Zutara sex scene which presumably flicker under Zuko's influence. The rain serves a similar function in the Sokkla sex scene, even though Sokka's not a bender. The Taang scene... is weird, but there. And, of course, Sokka wants to take Azula to see the cherry blossoms.
Mai: You see all those years ago, when I got to your letter, something had to be done. You where not sick... like I wanted everyone to believe... I had made something just for you to eat so that little problem would go away... and yes, I took pleaser in doing it...
What Happened to the Mouse?: After Mai gets murdered, she's never seen again in the comic. You'd think that a corpse with blood leaking out of its eyes and mouth would at least have been featured in the background, but no.
Appa gets a few moments like this, especially when Zuko and Aang land on the Earth Kingdom ship in Chapter Five. The Wall of Text discussion with Toph that gets rehashed Ad Nauseam with Sokka later? Pictured in great detail (metaphorically speaking). The ten-ton flying bison-thing that flew to the ship, had to land on the ship, and was possibly throwing off the ship's balance while this discussion is going on? Not even a glimpse of him.
Toward the end, Mai asks Sho if he had coated her knives with poison as she requested, and Sho says yes. This was just a ploy to confirm that Mai was responsible for Azula's Easy Amnesia, and the poison's never mentioned again. And then Sho comes right out and says that Mai had poisoned Azula, so that little tidbit becomes meaningless.
Ursa makes a total of two appearances, then disappears after informing Zuko and Aang of the battle against Sho and Mai, during which Azula was stabbed.
The new temple of Air Nomads - potential plot for a good Hidden Elf Village story arc, or throw-away backstory that unceremoniously throws all of Aang's Last of His Kind troubles into the trash heap?
The Water Tribes are reorganized into a hereditary monarchy. Yes, both tribes are now under the command of King Pakku and Queen Kanna, with Prince Sokka and Princess Katara in the wings as joint heirs-apparent. When and why did this happen? How did the people react to this huge overhaul of their national culture? Alas, no answers are given.
In this first chapter, Zuko proclaims Mai is no longer his wife and orders her to leave. However, when we see her later on, she's clearly still living in the castle and she's still the queen, even though it would have been months by now.
Ursa completely vanishes after the battle with Mai and Sho with no explanation of where of she's gone.
And, to quote King Bumi, where's Momo?
Why Couldn't You Be Different?: A scene in Chapter 4, which was meant to be a Crowning Moment of Heartwarming, but comes off as a retroactive example of this trope. After nearly a year at Toph's estate, Azula meets Zuko and Ursa. The two proceed to monologue about how much better Azula is now than she was when she actually had a personality. The canon Azula's claim that her family never loved her for who she was actually looks more feasible in this light.
Azula: I have seen my life for what it was back then. A life that was so empty. And I'm not going to surrender this life for no one without a fight. And by gods I'm not going to let him go either... I love you Sokka...
You Did the Right Thing: Katara gets this from Zuko after killing Mai. On the other hand, a closer analysis of the situation and the alternatives calls the morality and necessity this decision into question.