| Bryan Konietzko | [Imitates Katara naming the four elements in a dramatic tone.] Water. Earth. Fire. And air. This is Bryan Konietzko, co-creator of Avatar, and, uh, art director and stuff. |
|---|---|
| Michael Dante DiMartino | This is Mike DiMartino, the other co-creator, and-and executive producer of the show. |
| Bryan | And story editor and stuff. |
| Mike | Yeah, we do a lotta stuff. |
| Bryan | Not me, Mike, but... |
| Mike | [Laughs; brief pause.] So, we're here to talk about the second half of the big invasion eclipse, uh, event, which was a, you know, story idea we had pretty early on. We knew there was gonna be a-an eclipse and a big invasion sort of event. |
| Bryan | [Brief pause.] Yeah, Mi-I remember Mike, um, I think maybe even before we pitched the show, had this idea of the Day of Black Sun, and, uh, we knew there would be some really big, uh, invasion attempt by the good guys. |
| Mike | When the firebenders would-would have no power. Seemed like a logical strategic choice. |
| Bryan | 'Cause we always, since we wanted the so-called, you know, magic of Avatar, the bending, to be more of a natural type, we really wanted the, um, like, natural phenomena to have an effect on the bending, so that it wasn't always just a constant, you know, thing, it was something that was tied in with the energies of the-the Earth. |
| Mike | [Brief pause.] This episode was written by Aaron Eha-Ehasz, and, uh, directed by Joaquim Dos Santos, two very capable and big contributors to the show throughout this-in all the seasons. |
| Bryan | [Brief pause.] So, this was, um... a really big episode also for, uh, Zuko and there was, uh... y-you know, very early on in development, um, we knew that Zuko would eventually confront his father, and, um, you know, years ago we didn't know that it-exactly that-when it would happen, we weren't sure if it would, you know, I think the idea that it coincided with the Day of Black Sun came a bit later. But, you know, this was something that we had been looking forward to telling for years, and, uh, I remember when we went to South Korea to start the series production on season one, I remember, like, [Laughs.] the whole animation crew at JM Animation gathered around and it was like story hour; like, they wanted to hear the whole story, even though we were just starting season one. So, I sat there and pitched it to them, and then it was translated into Korean, and, uh, our friend, uh, Seung Hyun was working there at the time, and when I said, you know, "and then Zuko's gonna get confront his father and tell him this and that, and there's gonna be this big lightning thing," and I just remember he was like, [In an enthusiastically pleading tone.] "I want to-I want to draw that!" [Laughs.] So, we were all really excited about it for years. |
| Mike | And I think he did end up drawing some of it, so. |
| Bryan | Yeah, he did. [Mike and Bryan laugh.] All worked out. [Brief pause.] And there was, uh, before we started recording, Mike reminded me that there was a lot of, uh, lot of upset fans, uh, at the end of season two, um, really [Laughs.] traumatized by the choice that Zuko made, and, uh, I think we even had letters from people asking us to... |
| Mike | [Interjects.] Change the ending. |
| Bryan | ... to-to, yeah, just to... |
| Mike | [Interjects.] "Can you reanimate the end of season two?" Like, we had already obviously done it all. |
| Bryan | And aired it. [Laughs.] |
| Mike | [Laughs.] Yeah. |
| Bryan | I think it was on DVD or... |
| Mike | [Interjects.] Yeah, we were-we were, like... |
| Bryan | ... on its way. |
| Mike | ... if you wanna, you know, send us, like... |
| Bryan | [Interjects.] Couple hundred [Mike laughs.] thousand dollars. [Laughs.] |
| Mike | ... then, yeah, sure, we'll-we'll... |
| Bryan | [Interjects.] No problem. [Mike laughs.] It's a big retake budget, but, uh, [Mike affirms.] we can do it. |
| Mike | Well, I remember even in s-season one, like, the f-you know, fourth episode or something, people were like, "Zuko's totally gonna join their group, and-and help them fight the Fire Lord," [Bryan laughs.] and we're like, well... |
| Bryan | [Interjects.] There goes the element of surprise. [Laughs.] |
| Mike | I mean, we kinda di-we were like, "aw, they already figured it out," but we were like, "well that's not gonna happen, like," I think s-some people expected it to happen, like, right away, and we're like, you gotta-gotta earn that. |
| Bryan | And also, [Mike laughs.] you know, after the initial like, "wow, they figured that one out quick," the-there wasn't ever really meant to be a surprise, the main thing is the character arc [Mike affirms.] that Zuko goes through to get there. Um, and, you know, unfortunately for the fans who are upset at the end of 220, you know, that character arc's gonna involve mistakes, and, um, people often say you learn a lot more from your mistakes than you do your, um, successes. So, that's, uh, what we had planned for Zuko, we didn't want it to just be, like, you know, so easy for him to, uh, choose the right path. 'Cause he's, you know, he has a complex life, that's always been an issue for him. Complex family. |
| Mike | And once he does choose the right path, it's-the kids don't just say, "alright, cool. C'mon in." |
| Bryan | [Imitates Team Avatar; in a mock accepting tone.] "Sure." |
| Mike | It's, uh... it's a lot harder than that. |
| Bryan | So, you know, for Mike and I, and-and Aaron and-and the other creative people involved, um, you know, we're trying to tell a-a deep, richer and more, um... realistic story, not in the sense that, you know, I mean, people can't shoot fire and stuff, but just treating these characters, uh, their problems and their-their character arcs with-with respect, like we've said many times. So, yeah, for Zuko, we just wanted to, um, treat it realistically, and unfortunately, none of us make the right decisions all the time. |
| Mike | I thought people could shoot fire. |
| Bryan | Oh. |
| Mike | [In a mock slight accusatory tone.] You never told me they couldn't. [Bryan laughs.] I can't believe... |
| Bryan | [Interjects.] Are you still going to work on the show? |
| Mike | Uh, yeah. |
| Bryan | Now you know. |
| Mike | I guess so. I can't believe you told me now, though. |
| Bryan | People can't create wind. [Mike chuckles.] Let's just leave it at that. |
| Mike | [Refers to the Fire Nation official, Qin, that Aang, Sokka, and Toph accost in the bunker.] So, that guy, some people might not realize, that's-he's actually appeared in a couple other episodes. He's, uh, he's, uh, War Minister, uh, Qin. |
| Bryan | Is that... |
| Mike | [Interjects.] Qin. [Bryan laughs.] Qin, Kin, something. I don't know how to pronounce it. |
| Bryan | I actually don't even know his family name... |
| Mike | [Interjects.] But he... |
| Bryan | ... I just know he-I just know him as the war minister. |
| Mike | Yeah, he's the war minister. He was in "The Drill", and he was the guy who found the, uh, the war balloon in season one, [Refers to the first mass deployment of the Fire Nation war balloons and airships.] which we all know plays an important role in this-this episode. |
| Bryan | So, it's kinda why he's here, back in the Fire Nation, [Mike affirms.] he's got the, uh, the whole airship, uh, zeppelin, you know, fleet launched now, which is there. Big secret weapon, and, you know, they-I don't know, maybe they had some prototypes, it would be pretty quick. [Bryan and Mike chuckle.] He would've built those things pretty quick; uh, 117 was the first time they had the idea. But they... |
| Mike | [Interjects.] Sus-you gotta suspend your disbelief. [Bryan laughs.] It's alright. |
| Bryan | [Refers to the mechanist telling the invasion force to put on their eclipse glasses.] And there's the guy who built the, uh, war balloons. |
| Mike | [Gives an affirming murmur.] He's gonna feel bad later... |
| Bryan | [Interjects.] So, these, uh... |
| Mike | ... for what he did. |
| Bryan | ... [Refers to the eclipse glasses the invasion force wear during the eclipse.] little side note, these, um, little glasses they're putting on are actually, like, leather with thin slits. Um, sorta similar to, I think sometimes in, like, desert cultures, you'll see these glasses, they reduce the-they're not really glasses, there's no glass in them, but they reduce the sun glare, um, and allows people to see, and then also for sandstorms. And, uh, we specifically got the idea of them from, uh, a great Inuit film called The Fast Runner. Think it's-I think the Inuit name is Atan-Atanarjuat; something like that. Really great film, um, lotta great inspiration for the Water Tribes came from that film. And, uh, yeah, they had a-a character in that movie that had really cool leather... glasses, I think for cutting down the glare. [Refers to Zuko unsheathing his swords at his father, as he orders Ozai to sit and listen.] Oh hey, here we are in this, uh, scene, [Mike laughs.] I'm talking about eyewear. [Mike laughs.] This is what we were gonna talk, [Refers to the cut to Team Avatar confronting Azula.] ah, it's gone. |
| Mike | Ah, they're-they-they come back, it... |
| Bryan | [Interjects.] Oh, you're right, you're right. |
| Mike | So... |
| Bryan | [Interjects.] Anyways, they're not-they're not fancy, uh, sunglasses, they're just leather. |
| Mike | Yeah. [Refers to Azula divulging to Team Avatar that she knew about the invasion plan months in advance.] So, this-Azula knowing they were coming was kinda set up in season two, where, uh, she had disguised herself as a Kyoshi Warrior, and was, uh, hanging out with the king there for a while. So, she heard all about the fact that there was this eclipse coming. So, really, the kids had no chance, they were-she knew the whole time, so they had time to prepare and get the zeppelins going, and stuff. |
| Bryan | So, obviously they wanted to, you know, they were gonna give it a fighting shot of keeping them from invading, um, but they, you know, the... the good guy-good guys allied forces were able to penetrate the wall and-and get in. So, this was their, uh, second phase of their plan. Sort of lure them in and then trap 'em. |
| Mike | [Refers to Azula summoning two Dai Li agents to fight Team Avatar.] And Azula has her-this is actually the first time we see that she has the Dai Li agents. They're-I remember in-I think it was the first episode of season three, there wa-there was a scene where you saw some Dai Li agents, but I remember we-we cut that out because... by that time, we were writing this episode or had the animatic, and it was, like, wanted to be more of a surprise at that moment that you didn't know, like, [Refers to the bent earth Toph trapped Azula within crumbling apart; in a tone of mock surprise.] whoa, how'd she get outta that rock. |
| A brief pause in commentary until the scene cuts back to Zuko rebuking Ozai's and the Fire Nation's cruelty. | |
| Bryan | Hey, we're back. Alright, so. |
| Mike | And this is, you know, kind of a different-we don't have a lotta scenes where it's just two characters standing around talking. It doesn't happen too, [Laughs.] too much in Avatar, but... |
| Bryan | [Interjects.] This kinda reminds me of when Zuko faced Zhao in, [Mike affirms intermittently.] uh, 103, where they were-there was just a tense scene, lotta dialogue. |
| Mike | But I really like-I really like those tense moments, and-and, uh, both Dante Basco, who plays Zuko, and Mark Hamill, who plays Ozai, did-did a great job with, uh, the acting and the emotions. |
| Bryan | Yeah, for me, you know, just as a viewer of Avatar, um... it's just great having been with Zuko through so many ups and downs, and then... you know, [Refers to Zuko's disgusted tone as he states how he, through his time away from Ozai, has learned the Fire Nation's supremacist justifications for starting the war have engendered nothing but hate and misery in the world.] you really believe what he's saying and you feel the emotion behind it. He really earned these, uh, revelations that he's had, you know... which is, again, it's a really important theme for us is that people aren't just given things in Avatar; hopefully they-they earned them, like powers, or, you know, knowledge, or respect. |
| Mike | [Brief pause; refers to Zuko proudly saying his new outlook is due to Iroh's influence.] Little-little nod to Uncle there, and his influence on Zuko. [Refers to the sequence of Aang, Sokka, and Toph trying to catch a powerless Azula, with the Dai Li blocking or helping Azula evade their attacks.] So, this begins a crazy action sequence that Joaquim Dos Santos, the director, boarded. I remember when he pitched this to us, we were just, like, [Bryan chuckles.] blown away by it. He's-he's-really great action choreographer and storyboarder. |
| Bryan | So, he also did the fight-he storyboarded the fight in 217, which was the other underground fight with the Dai Li. [Mike gives an affirming murmur.] So, he had some-some moves to riff off of. |
| Mike | And he did a lotta stuff, uh, [Refers to Azula evading Team Avatar's attacks with acrobatic jumps and leaps, not fighting back at all.] with Azu-since Azula doesn't have firebending, you know, the idea is she's just basically buying time and trying to-she's fighting like-like Aang usually does, which is just to avoid the attack and waste time until the eclipse is over. So, I think he referenced a lot of, like, parkour moves, uh, uh... |
| Bryan | [Interjects.] Yeah, French [Mike affirms.] roof jumping. Don't try that at home, by the way. [Laughs.] |
| Mike | [Laughs; refers to Azula jumping between the ground, the metal beams, and the cave walls in the bunker, using them to dodge Aang's airbending.] That's why she's jumping all around here from... wall to wall. |
| Bryan | And that's, uh, you know, we had this idea with, um, Ty Lee and Mai is that one of the reasons Azula chose them as friends is they had these skills that she did not have, and she spent, you know, the better part of her adolescence and, uh, learning these skills from them. [Refers to Azula not touching the obstacles around her, or Sokka underneath her, as she clears a jump through the hole in an earth barrier.] So, here we get to see, uh, what she's learned from Ty Lee, and how agile a gymnast she's become. [Brief pause.] She's always, like, ten steps ahead of everybody in her, [Laughs.] in her thinking and manipulations. [Refers to the Dai Li agent sending his rock gloves at Toph at point-blank range, only for Toph to break them apart before they connect.] So, there we see, uh, it's kinda hard to see, but the Dai Li guy shoots those little rock gloves at Toph, but she breaks 'em. [Brief pause; refers to Azula mocking Team Avatar's attempts to catch her, patronizingly telling them she is giving it her all to escape them.] Like, Grey DeLisle did an amazing job. I mean, she's always great, but these reads are so good for Azula. |
| A brief pause in commentary as Azula smugly lets Toph know that she is rolling her eyes at her, with Toph retorting she will roll Azula's whole head. | |
| Bryan | I think Azula and Toph are such a great match, [Laughs.] 'cause they're so comfortable in themselves, you know, [Mike affirms.] or seemingly, and they... two huge personalities. |
| Mike | [Laughs; refers to Azula provoking Sokka by mentioning how she had imprisoned Suki.] I just realized there's a lot of-lot of season two finally comes back in this episode. [Bryan chuckles.] 'Cause a lot of people were like, "where's-what happened to Suki?" [Bryan affirms.] And they, you know, they had a big figh-she had a big fight with Azula, and all that kinda stuff comes back, so. |
| Bryan | [Refers to Azula covertly bringing out a knife from her sleeve as Sokka charges at her, which has the same design as Mai's.] And there we see Azula with one of Mai's daggers, so, she's really picking up skills from her friends. |
| Mike | [Laughs.] She wasn't gonna do anything bad with that dagger, though, right? She was just holding it. |
| Bryan | I-I think she was just gonna [Mike affirms.] trim her fingernails. |
| Mike | Okay. |
| Bryan | [Brief pause.] She-I think she was gonna reflect some light in his eye, [Mike laughs.] and... |
| Mike | [In the background.] Blind him, and... |
| Bryan | ... make him blink and trip and possibly... |
| Mike | [Interjects.] Okay. |
| Bryan | ... fall. Safely. |
| Mike | [Refers to Zuko telling his father that he will help Aang defeat him.] That's the moment right there, that we've been waiting for, for two and a half seasons. [Laughs; refers to Ozai luring Zuko back with the truth about his mother, buying time until the eclipse ends.] But now we see-we kinda see where Azula gets her-her smarts and her attitude... |
| Bryan | [In the background.] Her smarts? |
| Mike | ... from-from her-from her dad. She's got some smarts, [Bryan chuckles.] some street-smarts. But he's kinda doing a similar thing where he's-he, by bringing up his mom, he's-he's kind of keeping Zuko around a little bit longer, 'til... |
| Bryan | [In the background.] Pushing-pushing his buttons. |
| Mike | ... 'til the eclipse is over, yeah. |
| Bryan | Baiting him. [Brief pause.] See that everybody sort of has a weakness, you know, some sore spot. [Brief pause; refers to the faint echoes on Ozai and Zuko's voices as they speak in the Fire Lord's subterranean chambers.] Thought Tom did a great job mixing this, I love the-the reverb in this chamber. |
| Mike | Yeah. So, now we, uh... |
| Bryan | [Interjects; refers to Ozai recounting how Ursa committed treasonous actions in order to save Zuko from Ozai and Azulon's punishment.] Another season two thing. |
| Mike | Another callback to season two, uh, where we saw the flashback to when Fire Lord Azulon passed away. We see that Ozai and Zuko's mom did have a little pact to, uh, save, she kind of saved Zuko's life by doing something not very nice to [Bryan and Mike chuckle.] Fire Lord Azulon. Now, uh... |
| Bryan | [Interjects; refers to the scene dissolving from Azula withholding the truth about Suki from Sokka, to Ozai telling the truth about Ursa to Zuko, both of them using their leverage to stall for time.] That's a nice little cross-dissolve there to show how similar father and daughter are. |
| Mike | Yeah, I like that parallel. Visual parallel. |
| Bryan | [Refers to the color palette in the scene changing to turquoise hues as Ozai swiftly bends a bolt of lightning at Zuko.] So, I thought the color sh-shift coming up here worked really well. MOI Animation did a really nice job. [Mike affirms; refers to the cut from the extreme closeup shot of Ozai with his eyes closed to the darkened shadow on the sun moving to expose the light underneath, the scene cutting back to Ozai who opens his eye.] So, we see that he's feeling the eclipse coming, or ending. |
| Mike | [Refers to Zuko guiding the bent lightning through his body, as he is sent back several feet.] Boom. And... |
| Bryan | [Interjects; refers to Zuko using Iroh's lightning redirection technique in practice for the first time.] Uncle, another callback... |
| Mike | [In the background.] Another one. |
| Bryan | ... to season two, [Mike affirms.] Uncle taught Zuko how to do this. [Refers to Zuko redirecting the lightning into a spot just ahead of Ozai's podium.] So, Zuko just blows up the stage in front of Ozai. [Refers to Zuko being gone from the bunker as Ozai picks himself up from the ground; in a mock dramatic tone.] And he's gone. |
| A brief pause in commentary until Azula, having freed herself from Team Avatar's bindings with her bending, gives them a series of confusing directions to where Ozai supposedly is, involving going down a hallway and a secret stairway. | |
| Bryan | [Laughs.] I was wondering, how were they gonna find the secret stairway... |
| Mike | [Interjects; laughs.] If it's secret? |
| Bryan | ... [Laughs.] if it's secret. And what hall? There's, like, four halls. I guess she really doesn't want them to find... [Mike affirms.] |
| Another brief pause in commentary until Sokka and Toph convince Aang to abandon the search for Ozai, and instead regroup with the invasion force. | |
| Bryan | So, yeah, any fans who were reading the premise of the show, and then they're like, [In a curious tone.] "is he really going to face the Fire Lord in episode eleven?" [Laughs.] |
| Mike | Nope. |
| Bryan | They probably figured it out that it wasn't gonna work. [Mike gives an affirming murmur; refers to the invasion force wearing their eclipse glasses after the total eclipse has ended.] And, uh, we did not test out if these glasses are sufficient protection for [Mike chuckles.] looking at an eclipse, so kids, please don't do that, listen to your science teachers. |
| Mike | [Brief pause; refers to the Fire Nation war balloons and airships rising into the air.] And now comes the big, big reveal. [Refers to the mechanist despairing over his inventions being co-opted by the Fire Nation.] Yeah, see, now he feels bad. [Bryan laughs.] He's, like, he's like, "why did I make those things?" [Laughs; refers to the 3D modeled airships.] So, these have a cool-these are the-the-these giant airships are 3D CG models, um... the... |
| Bryan | [Interjects.] Aldina Dias and I designed them. She did a fantastic job. |
| Mike | [Refers to Steve Ziolkowski.] And a guy named Steve Z. built them. What's his last name? |
| Bryan | Well, [Mike laughs.] you'd think with my last name, I would know. I would take the [Laughs.] time... |
| Mike | [Interjects.] He goes by Steve Z. |
| Bryan | Yeah, I can't pronounce his [Mike laughs.] last... can't remember. |
| Mike | But... |
| Bryan | [Interjects.] It's like Ziolwowski, you know, it's one of those, it's like my name. |
| Mike | [Refers to the figureheads on the bows of the airships.] Oh, that's cool, what-on, so, on the front of those airships, there's, like, a big kinda face, right? |
| Bryan | Oh, looks like a big, uh, uh, sorta Chinese lion/dragon head. |
| Mike | Cool. |
| Bryan | Yeah, I'm really, really happy with them. Uh, Aldina did a cool-she did a bunch of concepts for the silhouette, and she had one where the middle was sorta scooped out. [Refers to the upturned pointed prow of the airships.] And, uh, we wanted it to have similar, uh, bow like-like the Fire Nation ships, so it has that same horn. Just a recognizable silhouette. Sort of like the komodo rhinos that they ride. [Refers to the sequence of Aang and Katara trying to take down the balloons airships, only to get forced back by the numerous firebenders on the ships' exterior catwalks.] Some great storyboarding by Lauren Montgomery. [Brief pause; laughs.] I like-I like that little sequence, it's like our mini... mini, mini Star Wars. You know, it's like... |
| Mike | [In the background.] Oh, yeah. |
| Bryan | ... tiny little... splinter of what [Laughs.] Star Wars does, with just crazy laser blasts everywhere, and flying in and out of it. [Brief pause; refers to Zuko arriving at Iroh's prison, with the structure damaged and pockmarked, the guards either knocked unconscious or cowering in fear, and Iroh gone, his cell bars blown open.] Again, uh, now we see what Uncle was working towards, and he... |
| Mike | [In the background.] Why... |
| Bryan | ... did some crazy qigong, and just bent the metal. |
| Mike | ... why he was getting all buff in episode four. He knew, he knew something was coming. [Brief pause.] He's got other plans, that we don't know about right now. |
| Bryan | [Brief pause; refers to the low-pitched conveyor belt sound as the airships pass over the invasion force.] Ben Wynn did some cool sound design for these airships. |
| A brief pause in commentary until, after everyone realizes the airships will destroy the submarines, the invasion force's only method of escape besides Appa, Hakoda tells the youngest members of the invasion force to escape on the bison, while the rest of them stay behind and surrender. | |
| Bryan | So, this is when we see all's not well, the plan didn't really work. They're barely just gonna scrape by. |
| Mike | Yeah, we kind of, just for the series and stuff, we kinda needed the kids to be alone again. [Laughs.] Like, we couldn't have-couldn't be tracking, like, Hakoda and all these-all these other characters. So, um... |
| Bryan | [Interjects.] It's also you want there to be a price for, [Mike affirms.] for their failure. |
| Mike | Totally. So, we wanted the k-the kids to get away, and all the-all the adults get captured. |
| Bryan | It's just-it's cool, too, because then it puts the, uh, puts all the pressure back on the kids, [Mike affirms.] for, you know, really seeing this journey through. [Refers to the large clump of seaweed that the swampbenders poke out of.] Always looks like a really nice plate of spaghetti to me, [Mike chuckles.] like spinach, pasta, hamburger. |
| Mike | [Interjects.] Well, it is-it is seaweed, so. |
| Bryan | We are getting close to lunch, huh. [Mike chuckles.] |
| Another brief pause in commentary until Teo says goodbye to his father as he goes with Aang and the rest of the kids. | |
| Mike | It's a very emotional goodbye. But there wa-so, we wanted, you know, we didn't want these poor little kids to be in jail, [Bryan chuckles.] like The-The Duke and stuff, and... but then once they, [Laughs.] once they get away to the Western Air Temple, they kinda feel like they're just-just hanging out, [Laughs.] like, they don't have anything to do really. |
| Bryan | It's almost vacation, summer vacation. |
| Mike | Yeah. |
| Bryan | [Brief pause.] Well, you know, there's the whole spinoff we're pitching. What those guys were doing. |
| Mike | Oh, the-the-The Duke and Haru Chronicles? |
| Bryan | Yeah. |
| Mike | Yeah, yeah, it's gonna be good. |
| Bryan | [In the tone of a dramatic narrator.] Duke, Haru, Teo. In the halls of the temple. [Mike laughs.] They-they basically start up a street luging... |
| Mike | [Interjects.] Oh, sweet. |
| Bryan | ... uh, yeah, tournament. |
| Mike | Oh... |
| Bryan | [Refers to the long take of Appa pulling out from the bottom of the frame and flying into the horizon, closely focusing in on the expressions of Sokka and Katara before they shrink into the distance.] I like that, that shot came out really... |
| Mike | [Interjects.] Yeah, animation and everything just came out beautifully on that. |
| Bryan | Usually when we try crazy animated pullouts like that, like from someone's eye all the way to Appa, usually [Laughs.] doesn't work. But that one came out good. [Mike affirms.] |
| A brief pause in commentary until Appa shrinks into the distance of the puffy white and dark blue clouds dominating the shot. | |
| Bryan | These clouds look pretty cool. |
| Mike | Yeah. [Refers to Zuko following Team Avatar on a war balloon.] I love this moment at the end where we see that Zuko's... just following them. |
| Bryan | He's like, "does my hair look good? Is it, [Mike laughs.] is it... flowing right?" |
| Mike | It's blowing in the wind [Bryan affirms.] so beautifully. |
| Bryan | "Is it, yeah, is it parted in the right place?" So, great job, everybody, that one was well worth the wait for us. |
| Mike | But was it worth it for the fans? We do not know yet. Hopefully-I think-I think that-that would be a-a fan favorite is my prediction. |
| Bryan | Well, I don't know what they want. [Mike laughs.] I just make it. [Laughs.] |
| Mike | We just make-mainly we make what we would want to watch. And then hopefully other people would [Bryan laughs.] like to watch it, too. It's worked out so far, so. |
| Bryan | If it was just me, it would be all street luge. |
| Mike | [Laughs.] Well, good luck with that spinoff series. |
| Bryan | [In the tone of a dramatic narrator.] The Last Street Luger. |
| Mike | Can I be a-a consultant on it? |
| Bryan | [In the tone of a dramatic narrator.] You-you shall. |
| Mike | Thank you. |
| Commentary ends. |