| Note: The commentators recorded the commentaries for "Sozin's Comet, Parts 1-4" in one sitting, cutting off the commentary just before the credits on each episode, with the exception of "Part 4". | |
| Michael Dante DiMartino | Welcome back to "Part 3" of the finale, this is Mike. |
|---|---|
| Bryan Konietzko | This is Bryan. |
| Mike | And, uh, like Bryan had talked about a little bit earlier, uh, we-we-we both co-wrote this episode, and when we-when we wrote it, it was the length of a normal script, about... think it was twenty-five pages maybe, twenty, I don't know. Some-somewhere around there, the normal script length that we usually have. And we thought, "yeah, this-this will all fit into one episode," but, uh, during the storyboard process and making the animatic, and stuff, um, we realized it had grown to exponential, [Bryan and Mike chuckle.] an exponential size, and-and that it wasn't going to be able-if we had tried to f-keep it all in one episode it would've felt really rushed, and we wanted, pacing-wise, we wanted it f-to feel more like a f-a feature film. So, like, we wanted to hold on shots longer so that the effects could kind of, you know, fire could dissipate, and-and just have these longer moments that we don't normally get to do in an episode 'cause we're trying to tell the story and get through it all in-in twenty-two and a half minutes, so. |
| Bryan | The exact same thing happened with Dr. Phil. Um, [Mike laughs intermittently.] I think when he did, like, his two-hundredth episode, he was like, [Imitates Dr. Phil's Southern accent.] "you know, we just got so much good stuff, we got to do two," you know. So, um, just like our colleague Dr. Phil, [Mike affirms.] see, we had the same issue. |
| Mike | So, it was kinda-it was... it was the first time we had ever done that, where we hadn't intended something to be too-but, uh, yeah, I think it was-it was kinda the story was telling us it needed to be paced out longer. And, uh, we got to... add in some great moments that we wouldn't have been able to. And-and definitely, you know, when we get to it, we'll talk about it more, but the end of-of the whole thing, you couldn't just have like a one-minute wrap-up, you know, you needed to, like, let everyone have their moments at the end. |
| A pause in the commentary occurs until the shot pans up to the eel hound Sokka, Toph, and Suki are riding, the hybrid creature's head swaying as it swims through the calm ocean waters, and the light from Sozin's Comet bisecting the dark orange clouds in the sky. | |
| Bryan | This is one of my favorite shots, no, no, with this... this is one of my favorite shots in the-in the whole last two episodes. |
| Mike | [Brief pause.] Yeah, and just wanna give a little shoutout to JM Animation, who, um, uh, animated 320 and 321. Uh, they basically... almost killed themselves making [Bryan and Mike chuckle.] these two episodes back-to-back, with some of the most complex effects and character animation we've done. [Refers to the 3D modeled Fire Nation airships lifting off.] A lotta CG with the ships, and-and things like that. So, they just went above and beyond, and just really gave us, what I think, you know, there's-there's certain scenes that are just feature-quality. |
| Bryan | Yeah, it was a-a grueling process, and, um, they just-they worked so hard. Jae Myung, uh, our animation director who started with us on the-on the pilot, you know, I just kept telling him... you know, what-what can we do to simplify this, and-and basically, he wanted to make it, he's like, "this is my last chance to work on-on Avatar, and I just have to make it the best ever." And, uh, so a lotta the artists just really-they were so proud of it, and, uh, wanted to make it as good as it could be, which was our plan from the start. Um, Mike and I had worked on all these shows where... the Korean studios were used, you know, I-we've-we've said this before, but the studios were used just sort of like a factory situation, um, with little to no contact between the showrunners in the States and the artists in Korea. And, um, we just knew we wanted-we wanted people to be more invested on all levels of the-of the project. So... um, you know, we-we didn't want people to, uh, live in their, [Laughs.] in their studios and under their desks for months on end, but, um, they just-they-they really wanted this to be something special, so they-they pushed themselves that hard. And, I mean, you know, we boarded it and wrote it rather ambitiously. Um, I went over to Korea to help 'em, and, uh, man, they were like, "just draw fire," [Laughs.] we-there is so much fire in these two episodes. [Mike affirms; refers to an armored Toph using more kicks with her metalbending during her fight against the airship crew.] Just want to point out that this is, um, some really cool special kung fu from, uh, Sifu Manuel Rodriguez. Um, he-he brought his son Scott over to do some really rare, cool Southern Praying Mantis stuff that we used for Toph for this scene. |
| Mike | [Refers to the powerful, sustained fire blasts created by the augmented firebenders.] Yeah, and I just want to point out, too, that the, like Bryan said, all the fire, I think probably ninety-nine percent of the fire in this episode, maybe a hundred percent, is hand-drawn and hand-animated, and the computer is used for the glow effects and the coloring and, you know, the lighting and stuff like that, but, the actual movement of the fire is, uh, is all hand-drawn. So... |
| Bryan | [Interjects.] Some of these, uh... |
| Mike | ... think about that. [Laughs.] |
| Bryan | ... yeah, some of these shots, like, single shots in, uh, this episode where Aang is fighting Ozai, took, like, a week just to do the in-betweens, and, uh, another week to color. I mean, fire is... has to be one of the hardest things to animate, um, it's just so intricate and organic, and, uh, luckily, uh, Yu Jae Myung is just one of the most amazing effects animators. Um, we're very lucky to have met him. |
| Mike | [Refers to an Imperial Firebender named Qin Lee and an airship engineer making awkward small talk as they wonder whose birthday it is, being dropped out of the airship by the hijackers just as they learn it is actually another crew member's birthday.] So, this is, uh, a fabulous scene that [Bryan chuckles.] got saved from... |
| Bryan | [In the background.] Fabulous... |
| Mike | ... [Laughs.] cutting-cutting room floor. |
| Bryan | ... marvelous. |
| Mike | [Laughs.] It's a bit of a digression, bit-bit ridiculous, but, uh, in such a serious finale, but-but a little... |
| Bryan | [Interjects.] I was-I was totally against it, [Mike laughs.] and then, uh, I was like, "oh wait, Mike and I will do the voices, and then I'll like it." [Laughs.] |
| Mike | [Laughs.] That's right. |
| Bryan | Naw, that's not why, but we did do the voices. |
| Mike | [Brief pause; refers to the airship engineer wishing the crewmember a happy birthday after they surface from the water.] That's the last joke for a while, people. [Laughs.] |
| Bryan | [Laughs.] Yeah, we did need some-some levity. [Brief pause; refers to Ozai's Phoenix King armor, the shoulder guards and breastplate being two phoenixes facing away from each other, their wings folded over his chest.] I like Ozai's, uh, shoulder pads. [Mike chuckles; refers to something on in the commentator's space.] What were those flashes? [Brief pause; refers to the theme playing as Azula meets with Lo and Li.] So, again, I want to, um, point out Jeremy Zuckerman's world-class score here. Uh, it was really cool when, uh, we sent this to M. Night Shyamalan, he-he called me really late one night, he and his family had just finished watching it, and one of the first things he said was just like, "aw! I loved the orchestra, just sounded amazing, he's like, 'it was so cinematic.'" And, uh, it was really fun, we-we talked about really like, uh... kinda esoteric things, like, "oh, let's do just textures, and these, like, really, uh, dissonant chord clusters," and Jeremy had all these ideas about harmonics and things, you know, things he could really take advantage of the live players. And, uh, he-I-he wrote some software that would do, like, digital mock-ups of this, these twenty-four note clusters and all these things, and, um, little microtonal shifts, and just not the kinda stuff you probably get in animated, uh, TV scores. [Laughs.] |
| Mike | Yeah, I don't even know what any of that is, so... |
| Bryan | [Interjects.] I know... |
| Mike | ... I just know... |
| Bryan | ... what most of it is, but even, uh, you know... |
| Mike | ... I just... |
| Bryan | ... beyond-beyond the technical nerdiness of it, um, it just adds a depth and a-and a beauty that, uh, we're just so honored to have. [Refers to the tilt shot with Iroh and the other White Lotus Masters, shifting down to show the other members behind Iroh.] This is a really cool sequence. I love that shot, the camera shift, it's cool. |
| Mike | [Refers to the White Lotus masters fighting the Fire Nation army at Ba Sing Se.] Yeah, it's nice to see the-the White Lotus guys have their moment. And... |
| Bryan | [Interjects; refers to a shot Sozin's Comet fading in and out between Iroh breathing, a large ring of fire flaring up around him and the other masters every time he breathes in.] It's cool to show, like, uh, how the firebenders are tied in with this, uh, natural event, this phenomenon, with the comet in the atmosphere. |
| Mike | [Refers to Sozin's Comet travelling high above the surface of the Earth, never descending downward.] Aw yeah, that's a good thing to point out that peop-might not realize is that, the idea was that the comet is actually skimming... |
| Bryan | [Interjects.] Through the atmosphere. |
| Mike | ... through the atmosphere. So-so, it's not-although it's not crashing into the Earth, it's-it's, like, basically just, yeah, just kinda skimming across, uh, through the atmosphere. [Refers to the sky being dark reds and orange in the episode's various settings.] So, that's why the, you know, sky glows red; it's, like, basically the s-the sky is on fire. |
| A brief pause in commentary until the White Lotus masters breach Ba Sing Se's Outer Wall, with Pakku immobilizing his opponents or blocking augmented fire blasts with waves of water, while Piandao swiftly breaks apart his enemies' weapons with his sword while using it to slide across the ice Pakku bent along the ground. | |
| Mike | Yeah, this was a very detailed sound design job by Ben Wynn. A lot of... this whole episode was probably-probably the most [Laughs.] effects [Bryan affirms.] he's had to deal with. Just... |
| Bryan | [Interjects; refers to the roaring sound of Jeong Jeong's fire walls, as they push back the fire blasting out from the Fire Nation tanks.] Yeah, we were like, "alright, Ben, so, [Mike laughs.] the fire has to be bigger than any fire we've ever had. And it all has to sound different. Like, the fire wall has to sound different than the tank fire," and this and that, and... just, you know, very creative solutions that he came up with. [Refers to Azula, now alone in the palace, trying to tie her own hair, before haphazardly cutting it in her manic frustration.] This is one of our favorite scenes, I think, uh, [Mike affirms.] probably in the whole series. [Refers to the piercing violin strings playing in the background.] Um, here you can hear some of these really... creepy harmonics from the violins, and things. And, uh, again, we kinda carefully plotted out Azula's unravelling since the end of episode 315. [Refers to Azula talking to a hallucination of Ursa, her mother appearing as a reflection in the mirror.] And this was-this was meant to be when you really knew [Mike affirms.] she had cracked. |
| Mike | [Refers to Azula's dishevelled, lopsided bangs.] Yeah, we wanted, like, a visual representation of her craziness, uh, too. So, like, you know, through the series, her hair has been perfect, she's always well-dressed, and, you know, very proper, and stuff, and she just chops off her bangs and her hair's a mess, and, you know, just-just an unkempt disaster. |
| Bryan | [Refers to Azula treating Ursa as though she were actually there, turning away from the mirror to look behind her and talk at Ursa.] I also like the-the ambiguity of this scene; is it-is it really her mother? Is it a ghost? Is it a... something in her-in her head? [Refers to Azula breaking the mirror, Ursa's reflection fading away as the shards of glass fall to the ground.] You can-if you look really closely as that big piece of glass is falling, she's-mother's fading off. Kinda cool little detail. |
| Mike | Yeah, 'cause you want going into that, her showdown with Zuko, you want that feeling of, like, not only is she super powerful on this day, she's totally [Laughs.] out of her mind, [Bryan affirms.] and-and... |
| Bryan | [Interjects.] Total loose cannon. |
| Mike | ... yeah. |
| Bryan | [Brief pause.] Yeah, she's-it's like how can Azula be more dangerous, and, like, even crazier? [Mike chuckles; refers to a shot of Sozin's Comet fading in and out between shots of Ozai raising his head to the sky with his eyes closed.] So, we see that Ozai has the same connection. |
| Mike | [Refers to Ozai scourging the land below him with a massive, sustained stream of fire.] This was a kinda crazy Seung Hyun had, this-he called it "the seed of fire". [Bryan chuckles.] Or maybe you called it that, I don't know. [Laughs.] |
| Bryan | Naw, he did, he-I remember. |
| Mike | I never really understood it, but once it was all animated and everything, I think it's cool. |
| Bryan | [Refers to the smoke billowing out from where Ozai's stream of fire hits the ground.] Just want to thank JM Animation for adding all that smoke. [Mike chuckles intermittently.] They did a beautiful job on all that fire, and then we're like, "oh man, but you put the smoke in the other scene, do you think you could put it on that scene?" I mean, that was, like, a weeks worth of work. Just crazy. [Refers to the flocks of birds flying and scattering in the background as they flee the Fire Nation's attack.] I love all those birds [Mike affirms intermittently.] in the background, too. Nice scale. Very-it's very-I say this all the time, but it is really hard to get a sense of scale in TV animation, um, just because of the way the process is setup with overseas, and things. Um... |
| Mike | [Brief pause.] And the screen's a lot smaller, Bryan. |
| Bryan | [Laughs.] Things just tend to be, um, they tend to flatten out, uh, when they go through the-the process of just kinda-just it's an ine-inevitable thing you have to fight. And, um, yeah, little things like that are always satisfying. |
| Mike | [Brief pause; refers to Ozai removing most of his armor and garb, either throwing it away or burning it, as he flies off to confront Aang.] I like that he just burns off his clothes, he's like... |
| Bryan | [In the background.] Like, I... |
| Mike | ... "I-I'm not going to need these." |
| Bryan | ... I think I added that because [Mike laughs.] it was a little weird that he was just ripping his clothes off, so I was like, eh, [Mike affirms intermittently.] he's gotta set them on fire to be a little cooler. |
| Mike | Totally. |
| Bryan | [Refers to the shot of Ozai, the camera rising up to show his exposed muscular physique.] And we see Ozai, he's down to his fighting weight. [Mike chuckles.] He's pumped. |
| A brief pause in commentary until Sokka realizes that Aang has returned, seeing the damaged airship he brought down through a telescope. | |
| Mike | Yay. |
| Bryan | Aang. [Mike chuckles.] |
| Another brief pause in commentary as the scene fades to black, transitioning back to a long shot of Aang and Ozai on separate rock pillars, staring each other down before their confrontation. | |
| Bryan | Alright, the madness begins. |
| Mike | Yeah, so, uh, Bryan storyboarded, I think, all of the Ozai action, right? Or a lot of it. |
| Bryan | Uh, yeah. |
| Mike | Ozai-Aang battle. |
| Bryan | Yeah, this stuff in 320. [Mike affirms.] Um, yeah, it was really fun. This all took a lot of, a lotta board artists. Mike did a lot of 321, he did all of act three, and, uh... just bunch of people. |
| Mike | We got everyone involved... |
| Bryan | Yeah, everybody. |
| Mike | ... Seung Hyun... |
| Bryan | [In the background.] And... |
| Mike | ... basically, as people were finishing their shows, we got them to come and help on, [Bryan affirms.] on these, 'cause as the board kept getting bigger and bigger, we were like, "oh man, we need some help." |
| Bryan | Yeah. [Mike chuckles; refers to the pitched wailing sound that plays when Ozai bends a circular wave of fire at Aang.] Like there, it was like a scream in that fire, it's really cool. [Refers to Aang sending a chunk of a rock pillar at the pillar Ozai is standing on.] So, you see Aang's hesitation to sort of shoot directly at Ozai, he's always kind of shooting below him, or-or throwing something at him that he can avoid. |
| Mike | Yeah, and-and throughout the-all the action sequences of the-of the finale, we tried to be careful about the fact that there was still a story being told. Like, we wanted to do cool action, we want it to be exciting and amazing, and-and stuff, but we also wanted to make sure that there was still this emotional heart driving these action scenes. [Refers to Aang dodging Ozai's attacks more than he attacks.] So, for Aang in this sequence, it's-it's-it's him really trying to evade the Fire Lord, you know, he's throwing some shots at him, but he's not-he hasn't made up his mind what he's gonna do yet, so he's kinda not [Bryan affirms.] fully in the fight, he's-he's... |
| Bryan | [Interjects.] He doesn't have a really good game plan, [Mike affirms.] and, uh... yeah, there's-there's, like, different, [Refers to the long shot of the Imperial Firebender's streams of fire hitting the ground from above, unleashing a massive wave of fire and smoke on the surrounding landscape.] oh, I love that shot, that's one of my favorite ones. Joaquim, uh, Dos Santos, the director of, uh, 320 and 321, did this storyboard. Amazing director. [Brief pause.] He, [Laughs.] I remember, uh... I was-he had done, uh, the 316 action with all the airships, and I said, [Refers to Sokka slamming the commandeered airship into the rest of the airship fleet.] "hey, man, think we're going to have you do the, uh, Sokka versus the airships in-in 320," and by the end of it, he was like, "I am so sick of drawing [Mike chuckles intermittently.] those stupid airships, with the horns, and the-the tube thing in the sky." He was just, oh, he had had enough, but he did a great job. [Brief pause; refers to Sokka's airship scraping along the tops of the enemy ships.] Here's a cool moment. |
| Mike | [Refers to the piercing sounds of metallic scraping as the airships come into contact with each other, and the airship the kids are on breaks apart around them.] Yeah, I lo-the sound is just great in this part, you really feel the metal just ripping apart, and... |
| Bryan | It was very challenging, uh, you know, Ben and Jeremy, the Track Team, really tried to plan... they knew the music had to be big, and the sound had to be big, but, um, you know, there's only so much, uh, bandwidth that you can take up with, uh, the audio, you know, something's got to give, something has to step out of the way and-and let the other thing be in the front. So, they tried to write around each other, and, um, and then sometimes we make conscious decisions to, uh, [Refers to the music cutting out just before Sokka's airship crashes into the first airship.] like that moment right before the crash, they bring the music down so that we can really hear and feel the impact of the, uh, of the crashes. If you don't do that then you're not-if it's loud all the time, you-there's no dynamics, you don't feel the-the impact. |
| Mike | [Refers to the five Fire Sages being the only attendees at Azula's coronation.] I love that there's, like, there's basically nobody there 'cause [Laughs.] Azula banished... |
| Bryan | [In the background.] She kicked everybody out. |
| Mike | ... everyone except the F-the Fire Sages 'cause she-she just needed them for the crowning part. |
| Bryan | [Brief pause; refers to Zuko and Azula's Agni Kai.] So, of all of the different storylines, I gotta say I feel this one really stole the show. Um, there's something about these two siblings, and all the history... and then... |
| Mike | [Interjects.] It's got the most emotional weight behind it, [Bryan affirms.] somehow. |
| Bryan | Dean's, Dean Kelly's storyboards are just amazing. Jae Myung's key animation is just amazing. Music, the sound, [Refers to the "Last Agni Kai" theme that plays as Zuko and Azula initiate their duel, which dominates the scene, with the sounds of the siblings' firebending being dulled and muted.] and this was a case where we-we artis-made this artistic decision to-to mute the sound design, and-and really kinda turn it down and let this be more of an emotional, um, more of an emotional action scene. |
| Mike | Yeah, the-the sound mix for this, the-the last four episodes, we kinda did like a movie, we mixed them all the same week, and-and it was, creatively, it was really satisfying 'cause it-we were all there with Ben and Jeremy, and... |
| Bryan | [Interjects.] It was the most people we've ever had. |
| Mike | Yeah, [Bryan chuckles.] there was a lot of people, and it took a lotta time. Like, sometimes with these episodes, you know, they're-they're good, they're all set, the-our mixer Tom does a great job, and we go in and we're like, "yeah, sounds great, we got a few notes." We're, you know, takes-takes an hour or two. This one, we really, there were so many... there were more decisions to be made, I think, and-and [Bryan affirms intermittently.] more-more opportunities for doing creative things with the sound and music, that it took a lot longer, but it, in the end, we were all just so much happier with how it-how it all balanced, and stuff, uh... |
| Bryan | [Interjects.] Just want to thank Tom for putting up... |
| Mike | [In the background; laughs.] Yeah. |
| Bryan | ... with all of us, and all the-the notes. Of course... you know, Jerem-when Ben and Jeremy were both in there, Ben was like, "sound up!" [Mike chuckles.] And Jeremy was like, "music up!" And Tom's like, "I can't turn both up." So, that was cool. [Refers to the long shot of Aang launching from one pillar toward another one with airbending, then using his momentum and earthbending to send the latter pillar at Ozai.] That's a shot that works better if you have a large TV. [Mike affirms.] Mike... Mike, uh, was like, "it too small," and I-I wish I had made a little closer shot, but... |
| Mike | No, but if you-we-we saw one of the shots on a-projected really big, and all these shots Bryan did where those characters are really tiny, that are har-it's hard to see on TV, totally see 'em on the big screen, and it looks awesome, so. [Laughs.] |
| Bryan | Well, here's-here's the thing, we-we storyboarded this right when you got your really big TV. [Laughs.] |
| Mike | [Laughs.] Yeah, right. |
| Bryan | And, uh, I didn't have a TV at the time. I go over to Mike's house, and you're showing me Planet Earth, and, I mean, we're watching these tiny, little, you know, elk or whatever, running away from these African dogs or something, and they-they were so tiny on the screen, I was like, "man, you know, the-the thing in TV is always so close, everything's framed so tight," so I really made this conscious effort to, uh... |
| Mike | [In the background; refers to the slow motion sequence of Aang, lightning coursing through his body, sending the energy away from Ozai, refusing to kill him.] Cool. |
| Bryan | ... do real wide epic shots. But then we were doing retakes, we're like, "man, we can't see anything." [Bryan and Mike laugh.] So, maybe I went too far. But, now I have one of those big TVs. |
| Mike | Unless you got a big TV, [Bryan laughs.] then it looks pretty sweet. |
| Bryan | Sorry, I don't mean to be... |
| Mike | [Interjects.] Or sit really close to it. |
| Bryan | Don't do that stuff, or... |
| Mike | [Laughs; refers to Aang pulling the ocean water up to him with waterbending, cushioning his fall.] Love this animation, the water coming up, and Aang... |
| Bryan | [Interjects.] That's real cool. |
| Mike | ... get-going into it. [Refers to Aang's silhouette being visible underneath the surging water.] You even see his little shadow, [Bryan affirms.] like, swim underneath the water, which I hadn't noticed the first time. |
| Bryan | [Refers to the filtered water flowing sound effect that plays while the shot is initially framed under the water of Aang's wave.] Cool sound design underwater there. So, you know, the plan was Aang was gonna get his butt whooped in this episode. [Refers to the cut back to Zuko and Azula's fight, the music once again dominating, with the sound of the firebending dulled.] Alright, here's-here's this, uh, just beautiful music. And not to say the sound design's bad, it's just... we-I actually love how it sounds, we-we filtered it down, turned it down and let the music just stand in the front. |
| Mike | [Refers to the tragic timbre of the "Last Agni Kai" theme.] Yeah, the music was just so emotionally resonant and powerful that every time we-the fire was louder, we're just like, "ah! We can't really-still can't really hear the music," you know, or you-you can hear it but it wasn't, like, wasn't getting you in the gut, [Bryan affirms.] and, uh... |
| Bryan | [Interjects.] This is the best of both worlds, I mean, [Mike affirms.] you-now you... the fire sounds are kinda distant, but, you know, the emotion is really present, and... |
| Mike | [In the background.] I th... |
| Bryan | ... yeah, it's just my-this is my favorite sequence. |
| Mike | Yeah, and it-it... s-since Aang and Ozai's fight is-is really, like, non-stop loud fire and rocks and everything... think you-that your ears kinda needed a break, too, [Bryan affirms.] you know, from that, so it's-it's cool. |
| Bryan | Also, I like that the-the fights have different characteristics, [Mike affirms.] I mean, that's something I, uh, being a fan of action, um, as-as, you know, a... executive producer on the show all this time, I was always saying to the board artists when, you know, either in the kung fu sessions with Kisu, or, um, when we're storyboarding or doing the start-up meetings, you know, each fight has to have its own characteristic, and, um... and, uh, I really like how this one has a much different pace than-than the Aang-Ozai one. |
| Mike | [Refers to Azula generating lightning, ostensibly to shoot at Zuko; in a mock anticipatory tone.] And then... |
| Bryan | Not to say it's better or worse, it's just different. |
| Mike | [Refers to Azula instead targeting Katara.] You're like, aw, Azula, you didn't. [In a mock astonished tone.] Aw man, she did. [Bryan and Mike laugh; refers to Zuko protecting Katara by redirecting the lightning into himself.] Now, this is just... |
| Bryan | [Refers to the slowed down crackling sounds of the lightning strike.] Another s-cool sound... |
| Mike | [Interjects.] Great moment, too. |
| Bryan | ... sound moment. [Refers to the slow motion over-the-shoulder shot of Katara looking out at Zuko as he intercepts Azula's lightning..] I like that shot. |
| Bryan makes several dramatic breathing out noises, mimicking the flashing lightning during Zuko's dramatic sacrifice as seen by Katara. | |
| Bryan | [Refers to Zuko redirecting the lightning toward the sky while lying on the ground, electrical shocks coursing through his still shaking body.] So, Zuko releases most of the electricity, but he didn't really do it right, like Uncle warned him. |
| Mike | Man, Zuko, like, sacrificed his life for Katara, and she still didn't go for him. What up, Zutarians? |
| Bryan | She-she can go with for him. [Laughs.] "Zutarians". |
| Mike | [Laughs.] They're mad right now. |
| Bryan | Aw, they're gonna be mad. What're you gonna do. [Brief pause; refers to and imitates Ozai saying Aang, just like the rest of his "weak" people, did not deserve to live in Ozai's world.] "In my world!" [Brief pause; refers to Aang encasing himself in a sphere of rock to protect himself from Ozai's onslaught of fire.] So, again, everything ends bad in this one. [Laughs.] |
| Mike | [Laughs.] One more to go! |
| Commentary ends. |