i will NEVER understand why bryke thought that quasi-face stealer amnesia plotline in the search comic was a good idea. never till the day i die.
because here’s the thing. i’ve harped before on how fucking dumb it is to take the character whose central line in the og show was “no matter how things may seem to change, never forget who you are” and have them immediately afterwards 1. actually somehow just not leave the country they were banished from, and 2. deliberately and knowingly choose to have their own memories wiped. like ???????!!?
and yeah, that then leaves the question, when it’s revealed in late s3 that she was banished and is possibly still alive: why didn’t she ever come back for her kids? why didn’t she at least seek out zuko, who was also banished and therefore at least theoretically accessible to her? why didn’t she try to intervene when she presumably learned about the agni kai and her son’s disfigurement? and if she never learned of it, how could that be without her either deliberately forgetting she had kids or choosing to actively ignore any opportunity to get information about them?
and my friends, this is where the silliest part of the whole kerfuffle is. because there was ALREADY a built-in, solid, well-explored piece of worldbuilding that could very easily have answered all of those questions in a way that wouldn’t fundamentally violate the basic foundations of her character’s nature. that piece of worldbuilding? the city of ba sing se.
As a writer, this solves so many of your problems. If Ursa ends up in ba sing se (which there’s decent reason for her to do, given that it’s entirely reasonable that she’d be worried about ozai changing his mind and deciding he needs to tie up loose ends, and that the city just repelled iroh, making it about the most secure location she could get) then once she makes it inside the walls she discovers there is no war in ba sing se. suddenly, trying to get information about anything to do with the fire nation, let alone the royal family, becomes extremely difficult and dangerous. she has a plausible reason not to know, or have very little and extremely delayed awareness of what’s happening to her children.
also, the city is fucking massive and packed to the brim with refugees. even with zuko and iroh getting all about the lower and upper ring, it’s completely plausible for her to have even still been there without amnesia and just. never happened to cross paths. big cities are like that. you could see a million people in a day that you’ll never see again and they’ll only be a tiny fraction of all the people there that you’ll never catch a glimpse of. plus, once you’re lucky enough to get in as a refugee, it’s probably not so easy to leave again, especially if you want to have a chance of being able to come back.
if you really want the amnesia plot, the dai li/joo dee worldbuilding is already set up there too! all you have to do is have ursa keep trying to find out about her kids, maybe even discover zuko’s banishment and try to either reach out or leave the city in response, and have the dai li catch her in a sting to crack down on citizens promoting awareness of the war.
badabing, badaboom, ursa gets joo dee’d and now you have an amnesia plotline without ursa deliberately abandoning even the memory of her kids.
Dema, you've drawn a lot of Zuko. I can't 'see' Zuko in the images I've seen from the upcoming movie. Other than the scar, he looks like a new character to me.
Can you explain what are some of the main visual elements of a Zuko? I'm wondering if the bangs are making his face shape look different, or if I'm being thrown off by the insane muscles.
I...might have gone a bit overload.
Extra Zukos + character design comparison between ATLA Zuko and Movie Zuko + long ramble about the danger of beauty conventions under the cut!
So, a little rant to complement...whatever this is.
I genuinely think that, out of all members of the Gaang, Zuko's the one who resembles himself the most in the new movie. Aside from the Ozai-bulk (which, yes, it does serve to distract you from everything else—except for his lack of lightning scar whereisthelightningscar); Movie Zuko looks like an adult Zuko would.
Compare his new design to, I don't know, Katara's (which I'm SO salty about), and you'll quickly notice which character is more identifiable as themselves.
(I'm adding my reference board for Zuko + a comparison between ATLA Katara and Movie Katara. You know. For evidence.)
See what I'm talking about? The sheer difference is asinine, but the explanation behind the change in design is both fairly simple and insultingly predictable:
Attractiveness.
Or, rather, what is believed to be found attractive by certain audiences.
Listen, I'm not saying anything new. Certainly nothing that a thousand other people haven't already explained far better than my uneducated self ever could. But it goes like this: the new art style draws a lot from westernized anime, not only in the animation itself (which is awestriking), but also in the character design. But that influence carries its own vices.
In other words: the new Avatar movie, gorgeous as it is, has been infected with Same Face Syndrome.
Why? Because, in anime-inspired art styles, the less identifiable facial features your MC has, the more attractive they seem. Wide noses, thick lips, or small eyes are a big no-no, especially if you're the female deuteragonist in a coming-of-age story written for male audiences. Or any kind of audiences, really—it has less to do with open misogyny than it does with artistic conventions.
Make an experiment. Remove all openly identifiable characteristics from each Gaang member (I'm talking hair, scars, skin tone, etc) and compare them to one another. Would you be able to differentiate Aang from Sokka? Toph from Katara?
The erasure of distinct facial features comes from a place of "beauty equals perfection", and what is perfection if not the lack of flaws? What is a wide nose or full cheeks if not a flaw?
Now, I don't mean to come across as snippy or judgemental—these are just my observations on what this kind of art style entails given its characteristics, and the effect it has on the facial design of characters so widely known and loved. Especially characters with identifiable ethnicities.
The new style affects characters like Katara, Sokka, and Aang more than it does others in the series because some of their features simply don't fit with what's considered attractive here. That's the reason they look so alien and out of place—because what made their design so organic has been watered down or erased to fit a beautiful mold.
So, you may ask, what's the deal with Zuko?
Why has no one complained about his design (other than the missing lightning scar)? Why does he resemble himself the most? Why—characterization problems aside—does he still feel like Zuko?
The answer is...pretty simple, actually. A bit dumb, if you will.
The new over-beautification of the Gaang doesn't affect Zuko as much because he was already designed to be conventionally attractive.
Yes, I said it. And I'll say it again.
Zuko, Azula, Ozai, Ursa—they were all, canonically, gorgeous people. The Royal Family was intentionally designed to fit traditional East Asian beauty conventions. The long faces, the delicate, narrow features... It's a perfect, immaculate beauty, dutifully in line with the perfect, immaculate image royalty is meant to project.
So.
So.
All of this to say that:
A) most of the misgivings we have with the Gaang's adult designs can be blamed on the new art style/direction.
B) ethnic erasure for the sake of abiding by westernized beauty conventions is not alright. Nor does it work, so just. Stop it.
C) having distinctive features is awesome, actually. Plastic-perfect "attractiveness" can go check the #BanTheSameFaceSyndrome tag and learn a thing or two.
And ultimately:
D) Zuko has always been, canonically, the poster boy for Conventional Beauty. So we have permission to draw him as gorgeous as we damn well please.
Azula felt unloved by her mother not because Ursa didn't love her, but because Ozai fed her a deeply unhealthy version of 'love' as a highly competetive, zero-sum game in which literally any degree of criticism or scolding must indicate general negative/unloving feelings towards the person being scolded.
Azula's feelings, particularly the ones she expresses in the beach episode, aren't an indication that Ursa didn't love Azula. They are an indication that Azula struggles to identify healthy expressions of parental love.
My favorite headcanon is Kaya spent way too much time with Uncle Zuko and it shows.
She was definitely taking notes from him. From the hairstyle to the facial expressions (and I’ve gathered plenty of screenshot proof). 😄
The new art of young Kaya II from her solo comic, along with the leaked footage from the upcoming "The Legend of Aang" movie, has officially convinced me of one incredibly precious detail.
Have you noticed Kaya’s hairstyle? Look closely at those loose side-bangs and the way her hair is framed. Now look at Uncle Zuko.
This is now my official headcanon: Zuko, our favorite dutiful 'girl dad', used to braid young Kaya's hair when she was a kid because it was the only hairstyle he actually knew how to do by himself!
He probably just learned a simple, practical style that also happened to be traditional in the Fire Nation, and little Kaya loved it so much that she decided to stick with it.
Young Kaya to Elder Kaya: Consistently pulls her hair back and leaves those long side-bangs. This is pure Zuko (or even young Azula) aesthetic. It is a very distinct fashion marker of the Fire Nation.
It’s so interesting how Kaya completely avoids traditional Water Tribe hairstyles for some reason. Water Tribe hair is always all about intricate braids, elaborate twists, ponytails, and a bunch of authentic accessories like blue beads, ribbons or hair wraps.
This isn't a traditional Water Tribe style at all. It is uniquely Uncle Zuko's style. He was the closest family friend, and this detail basically screams that he was that "cool uncle" who spent a lot of time babysitting the kids.
Uncle Zuko hairstyle… and fighting style.
The facial expression identity between these two characters just amuses me so much😅:
I just can't stop comparing screenshots of these two. I have no idea how much time Zuko spent with this family for their daughter to completely pick up his facial expressions.
Either that, or I have a very serious question for Katara.😏
I was just thinking about the fortune teller telling Katara she'd marry a very powerful bender.
And how both her and Zuko had to fight and struggle to learn their bending. And how it'd be a cute subversion to have the powerful bender she was meant to marry end up being Zuko because instead of just being born with lots of power, he worked for it by maturing and growing as a person, learning about/finding the value in the other cultures and their styles of bending and changing for the better- and becoming a stronger bender as a result. And because he is her parallel, it would be mirroring/acknowledging her as a powerful bender as well, and also one who worked to earn it long before becoming powerful. So he'd literally be her match.
So is now a good time to share the funniest thought I’ve ever had regarding Toph’s perspective?
Okay so like, prior to The Desert, Toph has been all bullshit and shenanigans regarding Aang. She openly bullies him in Bitter Work, she refuses to do anything to help the collective, and I’ve come to realize, that until The Desert, she just thinks Aang is a shy, dancy kid who doesn’t understand shit about how to face problems head on.
And then. I know she can’t see the glowing eyes, but she can HEAR him demand, “TELL ME WHERE APPA IS,” in the voice of EVERY avatar. She can feel him tossing around sand-boats like they’re toys. She can hear Sokka scream, “just get out of here- run!!” as he grabs her hand and hauls ass away from the frilly soft boy she felt totally confident pushing around.
Tl;dr-
Toph, pre-The Desert: lol I only let Twinkletoes get away with his whining because I like him
Toph, post-The Desert: ohhhh CRAP Twinkletoes only lets me get away with my whining because he likes me.
Love and the Political Landscape After the Hundred Year War in the Fire Nation
Alt. Title: What to expect when romancing Fire Lord Zuko, who to avoid to survive the court & how we got here - a historical summary for fic writers and readers
Length : 6,945 words. All links are to related Avatar Wiki and Wikipedia pages for further info.
As someone with a background in history and sociology, I realised while answering some "character mail" in Zuko’s POV that the Fire Nation's political history heavily dictates the romantic dynamics in my fic. In my fic, Zuko is navigating deep-seated prejudices that are interlinked with the political minefield he inherited. However, these pressures would exist for any relationship involving the Fire Lord. I’ve missed writing essays, and I couldn't get this information out of my head until I put it on paper in a casual essay. So, I’m stepping out of the narrative to give you all a deep dive into the ✨Lore✨.
Below, I’ve summarised the major historical events in the Fire Nation from the extended universe—the novels, the comics (*spits on ground* sorry, force of habit), and real-world parallels. If you want to understand just how volatile Zuko’s environment is, brainstorm potential antagonists or plot complications, or understand the threats any love interest of his would experience, this is the infotainment essay for you. Whether you write Zutara, Zukka, Maiko, Jinko, Zuko/OCs, or just "Fire Lord Zuko trying to get through his day," I hope this info-dump is helpful.
While this post focuses on the political history of the Fire Nation and its effects on marriage, love, and sexuality—and how they are warped by government regimes—I have plenty more rattling around in my noggin. If you guys like this, I can expand on things like decolonisation, class, labour, and gender in future posts.
So something to understand is that the Fire Nation isn't just "conservative"—it is a nation recovering from a century of state-mandated social engineering. If you’ve only seen the show, you might assume their rigid traditionalism has always been there. But what if I told you that according to the Kyoshi and Roku novels, same-sex marriage and diverse relationships were perfectly legal for centuries?
It was actually Sozin who criminalised them as part of his regime. Why would he do that (besides the obvious fact that he just sucks)? Because he had specific, calculated reasons for it—reasons that created the very obstacles Zuko has to navigate as Fire Lord today. It isn't just about unpicking tradition; it’s about dismantling a century of systemic rot, fascism, and even eugenics. As a history nerd, I love looking at the bones of Avatar world-building to see the mess Zuko has to clean up and his love interest has to navigate.
And BOY OH BOY, IS IT A MESS!
To understand the court Zuko is dealing with, you have to go back to the G.O.A.T. of Avatars and my personal problematic fave: Avatar Szeto. Never heard of him? That’s okay—that’s why I’m here to spread the good news.
Szeto was the Fire Avatar before Roku (the predecessor to Yangchen), and he is fascinating because, unlike other Avatars, he didn’t solve his nation’s problems with his awesome bending or spiritual power. He did it through lawmaking, accounting, and bureaucracy. So, what does this have to do with Zuko?
Everything.
Before Szeto’s time, the Fire Nation was feudalistic. Think of feudalism as the "MLM of governments": you have a ruling class that is divided into powerful noble families, called Clans, each ruling their own territory on behalf of an overarching Fire Lord. While we often think of the European medieval era or Game of Thrones, a much better comparison for the Fire Nation is Shogunate Japan. You have a massive, militaristic noble class that actually outnumbers the Fire Lord’s personal forces in both mobility and military power.
Because the Fire Nation is an archipelago, these islands acted as separate, self-contained strongholds. It was incredibly easy for a clan to plan a coup or seize a neighbour's land and subjects. The Fire Lord was supposed to keep these lords in line through a centralised government, but the system was crippled by nepotism.
By the time Szeto was born, the government was a mess of incompetent officials who were loyal to their specific family clan or faction rather than the nation as a whole. Family feuds were carried out over generations, and the Fire Nation was essentially eating itself alive with civil wars. To make matters worse, famine and natural disasters were driving the conflict—clans weren't just fighting for power; they were fighting for survival. The Fire Lord had completely lost control because information and reinforcements simply couldn't travel between the islands and the capital fast enough.
Szeto basically saved the country by descending from his pedestal as the Avatar to become a lowly bureaucrat. He worked his way into the position of Grand Advisor and forced through major government policy reforms that transformed the Fire Nation from a collapsing feudal state into a functioning Empire (Eh, they had taken no one else's territory yet so it just it was just a country but because of the geography of the Fire Nation and its royal dynasty, I would argue it is an Empire). Szeto, masted all for elements but focused on the "un-glamorous" side of stability and peace; statecraft. All the boring stuff: resource management, grain storage, accounting, taxes, laws, and auditing. Most importantly, he purged the ministerial bureaus and the Royal Court of nepobabies and cronies. And how do you do this? Well to me, it seems like it's implied he did it by implementing a system of ✨meritocracy✨
This was system famously and successfully used in Imperial China through the Imperial Examination system. Essentially, if you wanted to work in the government, you had to pass rigorous exams. Your score determined your position because it proved you actually knew your stuff. This system is what historically breaks the nepotistic chokehold on governments. This new system in the Fire Nation would have limited the influence of the clans and reduced the power of the noble class by allowing—shock horror—the peasants to enter the court. While the nobility would have still held an advantage due to their wealth and access to better tutors, they still had to pass the same tests as everyone else to earn a seat at the table.
Alongside these exams and ministerial reforms, the Fire Lord of that era stripped away regionalised control. Leaders of major islands were demoted from powerful governor-lords (or Daimyos if we continue the Shogunate comparison) to mere "mayors" answerable to the central government’s bureau or ministry.
Szeto's work was so effective that the Fire Nation survived and prospered through Yangchen and Kurruk's eras and was only threatened by civil strife with the Camellia-Peony War during the Kyoshi era. The death of the Fire Lord triggered a skirmish over succession. He had an older, illegitimate son with a mistress from a noble clan, and then a younger, “legitimate” son with his wife, who was from a rival clan. But because the government was run by competent civil servants rather than a playground of high-born elites, the nation didn't collapse even while the royals were fighting over the throne. This skirmish ended the power of the clans.
This is where we encounter the first issue Zuko may face in the modern-day Fire Nation as the new Fire Lord: The Fire Sages.
Didn’t see that coming? I don’t blame you. One of the unspoken rules of both worldbuilding and history is to keep an eye on religious institutions—they’re sneaky, watch 'em. For the newly appointed Zuko, this class is a nightmare. He needs them for the sake of ritual and tradition, but the institution is full of bad eggs.
In the Fire Nation, the Sages don’t just hold spiritual power; they hold intellectual and political power too. They keep archives, guard catacombs, uphold traditions and ceremonies. And unlike the monks and priests we may be used to, these Sages aren't celibate. We know this because Shyu, the lone loyal Sage from Roku’s temple in the original series, mentions that his father passed the “true ways” down to him. This means the Sages can be a hereditary class, and therefore full of the potential for political maneuvering, nepotism and entrenched interests.
Historically, the Sages have always been players in the game of thrones. During the Camellia-Peony War, different sects backed different heirs, which eventually led to Sages as a whole being stripped of some powers. However, in the aftermath of that dynastic crisis, I believe they evolved into something even more formidable: a powerful clergy class.
They gained authority over customary rites and became the moral and spiritual advisors to the Fire Lord and the nation. We see them at every Fire Nation coronation, funeral, and wedding in the franchise. In the comic The Search part 2 Ozai tells Zuko he was going to get rid of him because he wasn't sure he was a bender, but Ursa and The Sages convinced him not to. Also, it is implied that arranged marriages are not the norm in the Fire Nation; it is only the royal family and the high nobles that seem to have them, so who arranges them other than the families? I think the Sages play a part.
I believe we see a hint of this in The Search part 1 comic. Fire Lord Azulon mentions Ursa was hard to find, as if someone was hiding her. I suspect this was because of a schism among the Sages: one group of Sages loyal to Roku tried to hide his descendants to protect them, while another faction, loyal to the Royal House, searched for her desperately to secure a powerful bloodline.
My personal headcanon is that the Sect in the capital was officially appointed as the "Guardians of the Dynasty." They perform the royal family's ceremonial rites and ensure the Fire Lord produced only legitimate heirs with approved wives—all to prevent another civil war from a succession crisis. This explains why we don't really hear about Fire Lords with multiple wives or concubines after the Kyoshi era; the Sages tightened the leash. I'd personally say the Fire Lord could have lovers and mistresses, ect. But the Fire Sages would probably ensure there are no illegitimate children or ways for that mistress to manipulate the Fire Lord politically. And this doesn't necessarily mean the Sage would… dispose of any illegitimate children. It could mean that mistresses are confined to the palace to isolate them from influence, undergo medical assessments to check for venereal diseases before entering the palace as a mistress, and forced to take contraception. Or perhaps the more historical approach to this could be that any royal children that are illegitimate, disabled—or in this case maybe even non-benders—are handed off to the clergy to become monks and nuns and told they are orphans.
So here are some plot ideas you can use if you want to involve the Sages as Antagonists:
The Guardians of the Dynasty: This can be rhetoric that Zuko has Sages spout at him when he takes a lover; they might even force this protocol on Zuko’s partner automatically. Or if you want to add complexity to Zuko’s legitimacy you could introduce an older illegitimate or non-bending child that has been raised as a Sage, knows their origins and is contending for the throne and has the political power and backing of the Sages.
Another point of contention Zuko can have with the Sages is that they may pressure him to get married young. Zuko’s position is already incredibly precarious; he has no heir, Azula is a lingering contender for the throne, and Ozai still has a cult following and has been "horrifically maimed" by the Avatar and thrown in prison. To many, Zuko looks like a usurper. Even a well-meaning Sage would tell him he needs to stabilise his reign by getting a legitimate successor quick-smart. They would want/advise him to marry a respectable Fire Nation lady: someone with the right family connections to bridge the divide between him and the disgruntled nobility and provide him an heir.
An Evil Advisor: An ill-meaning Sage might... I don't know, plan a coup? Or plan to kill Zuko's love interest to make room for a relative or better candidate. They could even be two-faced character: a wise Sage who is actually an evil, scheming advisor.
Upholders of Tradition: The Sages the perfect antagonists for any story challenging the status quo. The Sages embody that High-Born dogma that views an unconventional choice of partner as a literal threat to the sanctity of the throne. If you’re writing a Zuko/Male Character fic or a Zuko/someone of a different class, element, or culture, the Sages are the ultimate bigoted enemy because they view the Fire Lord’s body as a vessel for a bloodline, not a person.
So we are watching out for the Sneaky Sages, what and who else do we have to look out for? So let’s move on to our next players: The Fire Court
We all know the famous line: "Everything changed when the Fire Nation attacked." But what’s often overlooked is that Sozin didn’t just start a world war—he radicalised his nation and performed a total internal coup first.
Remember Szeto working his nerdy ass off to make a government that actually functioned? He saved the nation through accounting and meritocracy. But Sozin would have realised that a room full of competent, independent thinkers is a nightmare for a dictator. So the first thing he would have scrapped is the civil service exams and replaced his inner circle with sycophants. So all of Sozin’s buds got power, and anyone who opposed him "mysteriously" found themselves unemployed—or worse.
Sozin and Azulon were masters of "curating" their court. They were pragmatic enough to keep a few small voices of contradiction around—ministers who would offer mild pushback—just to make the court appear impartial. It’s a brilliant, cruel tactic: create a naysayer for the rest of the court to mock or roll their eyes at, ensuring that anyone with a genuine grievance feels isolated and ridiculous. Sozin was excellent at appearing to be progressive and a "bleeding heart" for his nation, which is exactly why Roku didn’t see him as a threat (SMH Roku, seriously?).
What does this mean for Zuko today? It means nepotism is back, baby! The government and Royal Court Zuko inherits aren't filled with the best and brightest; they are filled with fantasists, elitists, and nepobabies who only have their jobs because their grandfathers supported the regime.
And even worse, unlike Sozin and Azulon, Ozai was notoriously heavy-handed. He incinerated opposition. We see this scorched earth approach to anything that upsets him in The Search when he sends assassins after his wife’s ex-boyfriend just because she misses him. In the same comic, he banishes Azula’s firebending teacher to the colonies for the “crime” of correcting her form—and this was all when he wasn't even Fire Lord yet; he was just the second son.
We see the ultimate example of his with Zuko’s banishment. When Zuko speaks up in opposition to a general, Ozai doesn't just take offense; I believe he takes the opportunity.
When Zuko spoke up at thirteen, Ozai didn't just see a disrespectful son, I would argue he saw an opposing voice who challenged the Crown by daring to suggest that the Fire Nation was to be as loyal to its people as its people are to the Crown. Ozai saw a future threat who might one day gather supporters and challenge him. Zuko wasn’t actually a disappointment to Ozai; he was not easily controlled. Zuko would try to please Ozai, but he never did it at the expense of going against what he thought was the right thing to do. Making Zuko believe he was a disappointment and weak, because of his resolve and empathy, was an effort to force him to conform. Ozai took this righteous outburst as an "legitimate" opportunity to maim and banished him while he was young and small for "disrespect". All to ensure no one else in the court would ever dare to prioritise human life over the Ozai's goals and that Zuko would never dare question authority again.
The result of Ozai’s rule in particular is that the military and ministry Zuko now leads are staffed by people who watched a child be publicly mutilated and either smiled like Zhao, claimed Zuko deserved it, or turned a blind eye to save their own skin. The ministers are of the same breed. They may not be as physically militant, but they are self-preserving, greedy, and fanatically loyal Ozai and the power his era gave them.
The court has effectively regressed to the feudal state it was in before Szeto’s time—with the added complication of the colonies. A new class of powerful families has emerged, forming what are essentially "New Clans" whose entire existence is tied to the expansion of the Empire.
If you haven’t read the comic The Promise, I’ll cut a long story short (one that frankly should have been a much longer story): within a year, Zuko attempts to dismantle the colonial system in The Harmony Restoration Movement. Anyone who knows anything about history or lives in a commonwealth country, knows that one year is nowhere near enough time to untangle that mess. The attempt to repatriate colonists nearly started another world war because people in the oldest colonies had integrated so deeply with the Earth Kingdom that they no longer identified as Fire Nation or Earth Kingdom. This led to the creation of independent territories (the future United Republic in TLOK.)
But think about the fallout for the Fire Nation: governors and mayors lost their positions. Resource revenue stopped flowing into the Fire Nation. A lot of rich, elitist families lost their entire livelihoods in a single year, and in their eyes, it’s all Zuko’s fault for “surrendering” to the Earth Kingdom. To them, they don't see a peacemaker, he is not benevolent and just; they see a "weak leader" who is a “puppet” of foreign nations, ruining their family fortunes. They hate his guts.
In the comic Smoke and Shadow, we see this resentment boil over into the New Ozai Society. This isn't just a fan club; it’s a secret society of nobles and ex-military leaders aiming to assassinate Zuko and put a non-bending Ozai back on the throne because, for them, life was better under a tyrant. They want to “make the Fire Nation great again.”
Take Mai’s father, Ukano, as the ultimate example of this new elite. His entire life was spent maneuvering through Ozai’s politics to secure prestige. In The Beach episode, Mai mentions her life was micromanaged to ensure nothing damaged her father's career. When he becomes Governor of Omashu, his wife Michi literally says, "We are like royalty here." They are after the status of being a Governor, these people aren't competent—Ukano loses an entire city to a fake plague because he's a terrible administrator—but they are loyal to Ozai. When the war ends, Ukano becomes the leader of the New Ozai society. Because he would rather lead a terrorist cell than live in a functioning, peaceful nation, because his power and life’s work is tied to Ozai’s fanaticism.
I propose that the immediate court Zuko inherites is split into two overlapping antagonistic factions: the Zealots and the Elitists.
The Elitists: These are the class-obsessed benefactors of the regime. They hate anyone Zuko appoints based on merit. They will fight the return of imperial exams tooth and nail because it threatens their "birthright." They will riot over budget cuts—and there will be budget cuts now that the colonial revenue is gone. The idea of paying taxes to a central government is a personal insult to them. We see this elitism trickle down to their children in the comic Ashes of the Academy, where noble students bully non-noble girls at the Royal Fire Academy, telling them they "don't belong here." This is two years after the war ended; the children are reciting the toxic rhetoric they hear at their own dinner tables.
The Zealots: These people are dangerous and fanatical. They operate like a paramilitary terrorist group. They aren't just gossiping in the palace; they are hiring operatives, spying on Zuko’s inner circle, and attempting assassinations. In Shadow and Smoke when they realise Zuko is travelling with Ursa and his half-sister Kiyi, they try to kill them too. In the comic The Rift, a character named Satoru mentions he had to flee the Fire Nation because his own parents were such hardcore Ozai supporters that his safety was at risk for disagreeing with them.
Zuko’s court is essentially bipolar. On the surface, everyone bows and scrapes, performing the required acts of loyalty. But beneath the silk robes, it is a nest of vipers. Every person in that room is either plotting his downfall, sabotaging his love interest, or—at the very least—indifferently trying to shield their family wealth from a "radical" young Fire Lord who isn't beholden to their factions.
Any reform that threatens their status—whether it’s taxes, decolonisation, public services, or the "horror" of allowing peasants to enter the court through exams—will be met with resistance. Sometimes that resistance is overt, but more often it is sneaky.
Aside from the literal daggers of the New Ozai Society, if you are writing for this era, you have a playground of antagonistic possibilities within the elitist class. They deal in "soft" warfare. They don’t need to be militant or violent to be deadly. Think about the following:
Social Sabotage & Isolation: These families have spent generations mastering etiquette and fashion that are intentionally exclusive and nearly impossible for "outsiders" to grasp. They can use snobbery as a weapon to bully newcomers like the ministers Zuko appoints personally, or make a love interest feel like a fool for wearing the wrong shade of silk or holding a tea cup wrong.
Marriage entrapment: To secure their own power, these families will relentlessly push their daughters as suitors. They might collude with the Sages to "prove" a certain union is spiritually mandated, or attempt to entrap the Fire Lord in a scandal to force a betrothal.
Smear campaigns: Rumours, false scandals, and social manipulation are the currency of this court. If they can’t kill Zuko, they will try to ruin the reputation of anyone he cares about. Along the same line is blackmail. Perhaps a court member has some dirt on Zuko’s love interest, or perhaps knows about the Fire Lord’s secret lover and threatens to expose this unless they are given a position or a tax break.
Assassination attempts: In the Promise comic Zuko says in the first year of his reign there have been 5 assassination attempts (for those unaware, he at Mai’s suggestion, employs the Kyoshi Warriors as bodyguards to counter this) Let’s not forget that Zuko himself managed to hire an assassin (Combustion Man) in the capital during the war. If he could do it then, these wealthy families can certainly afford to hire specialists to remove a love interest or poison them. Sometimes, if you have a character who is already the Fire Lady, a poisoning attack's goal may not be to kill her, but to damage her fertility or cause a miscarriage.
Some of these would go really well with Sages getting involved, as you have two different factions with the same motivators.
The final and perhaps most daunting antagonist Zuko faces isn't a person at all—it is the lingering shadow of the regime itself.
To understand why Zuko’s personal life is a political battlefield, we have to look at how Sozin successfully transformed a diverse archipelago into a cult-like, militaristic machine, loyal specifically to his bloodline. He used the oldest trick in the dictator’s playbook: he created an enemy within.
While Roku was occupied, staring into Ta Min’s eyes or watching the volcano smoke above his village (jk)—Sozin was busy dismantling the social fabric of his country. He began targeting the poor, criminalizing same-sex couples and interracial relationships (within the mainland; we see interracial couples in the colonies, but that is a can of worms I won’t open here) while simultaneously preaching the gospel of firebender superiority.
This wasn't a random conservative uptick; I believe it was a calculated move to create a "pure" Fire Nation identity on the surface, but beneath the facade was the goal was to create more soldiers.
Why target same-sex and interracial couples? Because in Sozin’s eyes, they were not supporting production of firebenders. Under his fascist social engineering, citizens were turned into soldiers and families into factories for the state. If you were a minority, you were seen as actively choosing not to support the Nation’s growth. By narrowing the definition of a "true" citizen and a "legitimate" family, and promoting the industry and innovation of the time he united the people under a banner of supposed superiority and prosperity. This superiority then provided the moral justification for the Fire Nation to "spread its prosperity" to the rest of the world under the guise of enlightenment.
Sozin was on this propaganda train for decades. Roku was still alive when the first Earth Kingdom colony, Yu Dao, was established. This means Sozin spent a lifetime gaslighting his people before the peak of this fanaticism, the Air Nomad Genocide. It is worth noting that the general public did not know the true extent of it. By now after his propaganda the army was full of hand-picked and indoctrinated zealots, Sozin was free to return after the comet and tell the public a different story: that the Air Nomads were amassing an army to wipe out the Fire Nation and he and his elite guard had saved them. Then the history books, likely written by the Sages, concocted a story that Aang encounters at school: that there was a battle and army.
So why the Air Nomads and minorities within the Fire Nation? Other than the fact that Sozin thought he could take out the Avatar before they reached adulthood. Sozin was a narcissist who wanted to make his problems everyone else’s problems. There is a deeply personal, almost petty, edge to these laws and campaigns. Sozin’s own sister, Zeisan, was a non-bender (and a chi-blocker) who joined a radical Air Nomad movement that championed egalitarianism and she fell in love with an Air Nomad who led the group. Sozin saw her beliefs as a challenge to his rule and dangerous, he targeted his own sister's lifestyle to consolidate and hold power. By crushing the rights of those like her, Sozin ensured he was the only "valid" branch of the royal tree. Because she joined an Air Nomad sect and married an Airbender; it is heavily implied Sozin would have killed her and any children she had in the genocide.
There may even be a layer of internalised homophobia and repression here. Sozin—the man obsessed with "pumping out firebenders"—didn't have a child until he was 82. Azulon was born the same year as the Air Nomad Genocide. This implies a massive age gap between Sozin and his wife (if she was at the oldest, 45 there is at least 35 years, ew), suggesting the Sages likely intervened to ensure the dynasty continued. I think Sozin having to be Roku’s best man and watching him marry Ta Min, while he himself as heir to the throne is not allowed to marry for love, could have been Sozin’s villain origin story. Sozin proposes his plan for conquest at Roku’s wedding; I don’t think it’s a coincidence. Sozin, perhaps bitter over his own repressed nature or his unrequited bond with Roku, decided that if he had to suffer for the "glory of the state," everyone else would too.—But that’s just a theory, a film theory.
So this extreme nationalism and social deconstruction continues for 100 years. This veneration of firebending as the ultimate gift and status indicator (because the state wants more soldiers) created a toxic hierarchy. A good example of this attitude is in Master Piandao’s backstory. Piandao was born to two Firebending nobles, a family with an established history of strong benders and high ranking in the military. He was disowned by his parents when he reached his teenage years because he was a non-bender. This is why he took up the sword and calligraphy, as a middle finger to his parents. (which is kinda neat considering he was Zuko’s sword tutor) In a society where your worth is measured by your ability to contribute to the war effort and the strength of your bending, for a noble military family, a non-bending child is a broken product.
Perhaps the greatest tragedy of the regime was the butchery of firebending itself. The weaponisation of fire became so severe that by Zuko's time, firebending was taught only as a tool of rage and violence. As we see in the episode The Firebending Masters, the ancient art of fire—which was about life, energy, and sun—was streamlined into a weapon of pure rage and destruction. The regime taught that fire only destroys and burns away impurities and opposition. As Aang shows us in the episode The headband, the Fire Nation 100 years ago was very different, they have lost, dances, slang, even Dragons—the masters of firebending and the national animal. It has all been eradicated.
Fire is a fundamental element of the fine manual arts—pottery, metalwork, glassblowing, Woodburn and culinary art—yet in Zuko’s time, these artisans are nowhere to be found. As we see time and time again throughout history, the "Arts" are seen as frivolous and wasteful during wartime. It is interesting that theatre in the Fire Nation seems to be an acceptable art form and entertainment, and I would argue that its because it can be used as propaganda. The Ember Island Players does a marvellous job of showing this. So where are the artists? Well, they are on the front lines.
In Fire Nation, the line between "citizen" and "soldier" completely vanished. This is what fascism does turns people into resources and families into factories for the state, and calls it duty and honour. It is my headcanon that under the regime, all firebenders are conscripted for mandatory military service. Why do I think this? Look at Book Three in the original series; do we ever see a firebender in the home islands who isn't a soldier or a guard? We see two that I can recall; one is the child who bullies Aang at school, the other is Yon Rha (the man who killed Katara’s mum) and he is a retired soldier. There are no firebenders of serving age in the homeland unless they are guards or in the domestic defence forces. All “civilians” are non-benders who don’t volunteer to go into the military, but probably work in factories or grow produce for the war effort or make and mend uniforms.
When Zuko speaks up in the war meeting to defend a "division of new recruits” note that in our world a Division in the military is 10,000 to 25,000 soldiers and a naval division (what I think/hope is the more likely one they were meaning) is 3 or 4 ships. Basing the number of crew on Iron Clad class battleships in the late 1800's of the same size as the Fire Navy ships we see in the show, a battle cruiser in Zuko’s era is crewed by 130 to 300 men. Zuko is defending somewhere between 600 to 25,000 “new recruits”. It is not only FriCKING STUPID to have an entire division of people who don’t know what they are doing lumped together, but to have enough new recruits to fill AN ENTIRE DIVISON implies that these are not actually “new recruits”… Zuko is actually defending conscripts—a whole age group or “lot” from a draft of fire benders who had no choice but to serve.
(Just to note, the Netflix adaptation changes the dialogue to say “mostly conscripts and new recruits.” The episode Masks, is the only one where Bryke are credited as writers for this episode, so I am more inclined to believe that it is intended to be canon that the Fire Nation does conscript its Fire Benders.)
So this is the “culture” and traditions Zuko is bringing his nation out of. Zuko’s battle isn't just about changing laws; it’s about convincing an entire nation that they are allowed to be more than just soldiers and soldier factories. He is trying to bring back a world where a firebender can be an artist, where love isn't a state-regulated resource, and where the purity of a bloodline doesn’t matter, where people are equal, not superior to others.
Zuko is in a unique position where he was the "poster boy" for this regime as the Crown Prince, yet he was also its victim. He’s trying to reinstate those ancient merit-based exams and marriage rights not just because it’s fair, but because the current system is designed to keep people like his friends and the people he actually would need to achieve his vision of an era of peace, in the shadows. When he tries to introduce a partner who is a non-bender, a different race, or a different culture, or queer, he isn't just making a personal choice, he is attacking the very foundation of Sozin’s "Fire Nation." A relationship is not just a romance; it’s political and a war against his own ancestors. To the Sages and the Elites who benefited from this system, an unconventional relationship isn't just scandalous—it’s an act of treason against the national identity they’ve been fed for a hundred years.
When writing a love interest for Zuko, whether an OC or a canon character, the biggest hurdle isn't just the people in the room; it’s the voices in their own heads. A century of fascist social engineering doesn't vanish overnight. Here are some ways you could explore that:
The Weight of the Crown & Ancestral Guilt: Zuko is constantly battling the Legacy of Sozin vs. the Legacy of Roku. He may have unchecked biases or blind spots to attitudes that he hasn’t realised are hurtful to his partner yet. It could be something as simple as, “Why don’t you know how to use chopsticks correctly?” Or “Don’t you like this play we are watching?” (Love amongst the dragon’s literally has an Evil Blue Water spirit as the antagonist who is killed and then the dragon emperor and empress kinda kiss and reunite over their corpse 🫤) Or Zuko may struggle with the fear that he is "poisoning" his partner by bringing them into a world that once tried to erase them.
The "Reproductive Duty" Pressure: The Fire Sages and the Court view the Fire Lord’s partner as a pedigree asset. There is immense pressure to produce a powerful firebending heir. If a love interest is a non-bender, a different bender, or a man, the Sages will weaponise this, claiming the union is weakening the Nation. If the love interest is a woman from the Fire Nation like Mai perhaps, she might be subjected to degrading medical exams or deeply personal dive into her genealogy to prove her “fitness” and Zuko might not be aware of this because he is occupied with his duty or unaware of what a woman that becomes his consort might have to undergo because as a man he has been told something along the lines of “it’s women’s business.”
Navigating Repression: As an extension of that reproductive pressure, if writing an M/M or queer relationship, Zuko might have to unlearn the mindset he grew up with. Even a progressive Zuko isn't immune to a century of indoctrination. You can explore his struggle with internalised homophobia or fears of judgement. He might feel he must have a biological firebending heir to "fix" the nation, even if it’s not what he wants, leading to deep resentment or duty-bound misery.
The Double-Sided Judgment: A partner from another nation faces judgment from both sides. To the Fire Nation elite, they are an unrefined outsider. To their own people, they might be seen as a collaborator or a trophy for the Fire Lord. This creates a deep sense of isolation for the couple.
Educational Gaps: Because Sozin streamlined the education system for the war effort, Zuko and his peers might have a very limited understanding of healthy sexuality or self-expression. They might be clinical about "duty" but completely lost when it comes to intimacy or emotional vulnerability that isn't tied to the state. You could have a light-hearted plot about them exploring this by finding an old novel in the royal library, or perhaps encountering a different culture’s erotic texts or items. For example, maybe the Earth Kingdom has Jade Eggs or other toys.
Exoticism: Perhaps members of the court might try to sexualize or "other" an outsider partner, treating them as a curiosity or a "forbidden fruit" rather than a person. This is a subtle but cruel form of social warfare that tests Zuko's ability to protect his partner's dignity.
Beauty Standards & Erasure: The Fire Nation's beauty standards are likely to be incredibly rigid—pale skin, sharp features, perfectly manicured nails or beards. A partner with textured hair, darker skin, or traditional tattoos might be bullied to conform, to look more like a respectable consort. A love interest might find themselves being pressured to change their name, their clothes, or their hair style to fit in at court, slowly realising that the court is trying to turn them into a respectable Fire Nation citizen by erasing everything Zuko actually loves about them.
The Loss of Shared Culture: Zuko might try to share Fire Nation traditions with his partner, only to realise those traditions were twisted by the war. There’s a great moment in The Lost Adventures comics, a collection of deleted shorts that are considered cannon, Game time where the Gaang play hide and seek. Zuko begrudgingly agrees to play but loses immediately because the Fire Nation play’s a different version of this game called Hide and Shriek; where you jump out at the seeker and the seeker is supposed to show how tough they are by not being scared, if you scare the seeker you win the game. A simple festival might have been turned into a military parade. It can be really cute to have them sift through the ashes to find the "real" Fire Nation underneath the propaganda together.
There is hope though, and it is not all angst!
While Zuko’s reforms make him a villain in the eyes of the elite, there is a massive silver lining: the common people would probably grow to love him. For a century, the average Fire Nation family has been a fuel source for the war machine. They’ve watched their precious firebending children be sent off to the front lines, only to be treated like disposable meat by generals who valued “glory” over human life. When Zuko ended the war, he didn't just stop the fighting; he stopped the conscription. He gave families back their sons, their daughters, and their futures. In a nation where non-benders are the majority and the underclass, the sudden shift toward equality is revolutionary. Under the old regime, you only mattered if you were a weapon. Under Zuko, you matter as an individual.
Zuko didn’t just make peace with the other nations; he is allowing the Fire Nation to rediscover what it means to be them, a citizen without a uniform. He is trying to bring back the arts, the meritocracy, and the freedom to love whoever you want. We can imagine a massive cultural explosion following the war—a Fire Nation Renaissance. Throughout history, we often see these Golden Ages of art and fashion immediately following the end of a long conflict or a major social reform. With fire no longer reserved for destruction, the artisans return. We see the rebirth of arts and individual expression.
The Fine Arts: Bending being used for glassblowing, intricate metalwork, and delicate pottery.
The Culinary Arts: A focus on the 'art of the tea' and the complexity of Fire Nation cuisine, moving away from the bland 'soldier's rations' of the past. Think of the teppanyaki and BBQ potential guys.
Fashion & Expression: A departure from rigid, militaristic uniforms and utility, toward vibrant silks and personal styles that reflect individual identity rather than rank.
Festivals and uncensored performing arts: we know the Fire Nation celebrates New Year’s with a fire festival; it is also said in the Kyoshi novels that the Fire Nation has festivals and feast days for their Avatars. It is likely that Zuko would reinstate lost holidays that were unmilitaristic. And promote art, remove censorship and propaganda from plays.
And most importantly, this Renaissance includes the right to love. One of Zuko’s first and most vital acts would be the decriminalization of same-sex and interracial relationships. By striking Sozin’s “purity” laws from the books, he is giving every citizen the protection that their heart is no longer the property of the state.
Zuko and his partner might have to walk through a palace filled with whispers and glares, but when they walk through the streets of the Capital, they are walking through a nation that is finally learning to breathe again. They aren't just a couple; they are the face of a new era where love, merit, and art are the true sparks of the Fire Nation.
If you want to use any of these ideas for your fics you do not have to credit me. I made this to be helpful and encourage others to be able to tackle complicated plots with confidence. I wanted to make a basic version of the political and historical info for the Fire Nation because there is so much more source material out there now than just the show it can be daunting. I will end this with a disclaimer that this is a combination extrapolation on historical canon using theory, opinion, and educated guessing. It is also a bit catered toward Zuko x Female character, because that is what I am currently writing. The asides and sarcasm are my attempt to be entertaining. If I offended people or missed something; I'm sorry. Please know I that I don't do it maliciously. I welcome the opportunity to learn something new, so let me know if I said something outta pocket. The links in this post are to the wonderful Avatar Wikki and to Wikipedia because I want to cite my sources but in an accessible way that doesn’t distract the average reader. Thank you for reading 🥰
