Avatar:The Last Air Bender: Sozin's Comet Review
The Epic Conclusion To An Outstanding Series
Jul 23, 2008
No one could of have expected a show like Avatar: The Last Air Bender from Nickelodeon three years ago. An epic cartoon that gets its inspiration from Japan's best animated shows and Star Wars most memorable moments. A chimerical yet unexpectedly real show made by people who remember when other-worldly was always better. The series is at its best when it mixes its unlikely heroes with an unexpectedly strong problem. "Sozin's Comet" does just that while providing some of the series most thrilling moments.
A Boy and His Bending
Avatar isn't a show that's looking to pull off any ambiguous plot twists or subplots in its swan song. It remains appreciatively straightforward in both execution and story. The only remaining sources for ambivalence are the characters themselves. Akin to the final act in the Star Wars trilogy, the characters know that an immense task is placed on them, but miniscule difficulties still plague them.
The opening sequence might seem foolish if it were anyone but the main protagonists of the show. A continent is on the brink of getting destroyed, and its only savior is enjoying a beach party. Its innocuity is jaw dropping, but it's a decision the writers needed to make to convey that these children are still children. Aang isn't an all-powerful warrior like his previous incarnations; he's boy who would rather play first then work. Zuko's presence on the show proves to be essential as he provides a balance for Aang's childish ways. He's the only person who knows first hand just how ruthless the Fire Nation can be, and his outrage to Aang's infantile ways imbues a sense of emergency into the episodes.
The writers could have made the finale hackneyed by establishing the tension between Aang and Ozai out of fear. However, the writers made an intelligent choice by deciding to build upon Aang's reluctance to take a life as the prime tension builder. It adds a whole new layer of depth to the series and has Aang at his most reflective and cogitative state. Similar to Luke constantly contemplating how he would stop his father in Return of the Jedi, Aang's turmoil is the conclusion; not the battle. Aang has been well past due for a moment like this.
Similarly, Azula's newfound paranoia is also shockingly real. It's very superfluous in its execution, (the amount of twitching is almost comic) but it's believable. It's a whole new side of the character the audience has yet to see, and it's gratifying to see such a cocksure villain break down. Other characters from the shows past make an appearance, and there's no denying how great it is to see the old masters again. However, the writers made an odd choice to include some very minor characters (Jun), but leave out some old favorites (Jet’s old gang for instance).
The Last Of Its Kind
The writers do a terrific job challenging Aang and the audience right until the very end. The last battle is thrilling, and the writers never suggest Aang has found a convenient way to stop Ozai without killing him. What's more amazing is that the character contemplation never over powers the other material. There's still riveting action and heart warming moments (Zuko and Iroh's will be unmatched). In the end, the writers are forced to lower their knife, but it never stopped being one of the most dramatic adventures in the series run.
