Because fans should be critical, too

Retrospective

Reached a Dead End, Taking a Detour

For the past two weeks, I’ve been trying to figure out what to write about the next few episodes of Avatar: the Last Airbender on my playlist, and failing miserably. Have I reached the limits of what I can say about this show?

Yes and no. In fact, I want to take a conscientious break from the episode retrospectives for a while to do a one-off piece on something that continues to perplex me, and which I’ve found very little written up on. Just how is it that Avatar became so popular and so critically acclaimed in its heyday, and yet seemed to leave such an insignificant mark on the animation landscape as a whole? Inversely, what did its spiritual successors, namely Adventure Time, do so right that made them the most influential cartoons in the last decade that the show’s actual successor The Legend of Korra did not? Was there something intrinsically flawed about Avatar that prevented it from having a more lasting influence? How much is M. Night Shyamalan’s travesty of an adaptation really to blame for Avatar‘s lack of mainstream acceptance? Is Avatar simply the Elvis Presley to Adventure Time‘s Beatles, the Pixies to Adventure Time‘s Nirvana*? Were creators Michael Dante DiMartino and Bryan Konietzko too self-consciously revolutionary for their own good (an impression reinforced by numerous interviews in which the two postulate that Avatar was intended as an antidote to the sitcom model that dominated the television animation circles that worked in, from King of the Hill to Family Guy)? Or was Avatar always destined for cult status no matter what?

I have no idea. But I’d like to do a post exploring a few theories of my own. I’m letting you all know because: 1) I’ve already been shitty for not updating in the past couple of weeks; and 2) I’m sure some folks have theories of their own–or maybe even some disagreements–and would want to throw in their two cents.

This will be my focus for the next couple of weeks, and then the retrospectives will continue like normal. For now, though, what exactly is your take on what I’ve dubbed “the Avatar Problem?”

*It’s generally acknowledged by everyone, including Kurt Cobain, that Nirvana adapted the soft/loud dynamicity of the Pixies, substituting the absurdity, the humor, and “hipper-than-thou” attitude with a more basic, more accessible, and more emotional approach (though no less melodic). Between Avatar and Adventure Time, the same kind of trade-off occurs, but almost in reverse: the expansive world building fantasy aspect is retained, but instead of the strict adherence of Avatar to a specific worldview and art style (i.e. Asian- and anime-inspired), the rules, style, and worldview of Adventure Time are borderline random, yet the show is smart enough to make this a key source of its humor and excitement, and the writing, the characters and performances are strong enough to make it entertaining. 

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Retro: Korra: “And the Winner Is…”

B.A.S.S. Line:

No one.

Key Points:

  1. As The Legend of Korra continued its descent into dreary, perfunctory nonsense, “And the Winner Is…” used to be my one shining beacon of light. No matter how many times the series found new ways to surprise me with its incompetence, I’d always go, “At least we got ‘Winner,’ which is proof enough that, when Michael Dante DiMartino and Bryan Konietzko really concentrate their efforts, they can pull off a single fantastic episode.”
  2. That’s sadly no longer the case, and despite some flashes of brilliance here and there, “And the Winner Is…” is just another episode of Korra, plagued by the same shortcomings and lapses of judgment as any other episode. What I once misconstrued as clever storytelling was, upon close inspection, just sly manipulation designed to temporarily distract you from some blatant flaws. And for a while, it worked.
  3. The episode is a major turning point in the Book One storyline: after six episodes, Amon and the Equalists launch their first major attack during the Pro-Bending finals and officially declare war on Republic City and Benders all over the world. What started as a small radical movement has, with Amon’s leadership and with devastating technologically advanced weaponry, blossomed into a deadly terrorist organization bent on ridding the entire world of Bending.
  4. The attack is launched during the Pro-Bending finals between the Fire Ferrets (our heroes) and the Wolfbats (led by the smugly charming Tahno), which before hand, Amon had demanded to be cancelled. The City Council nearly capitulates to his demand, but thanks to the interference of Korra, and then Lin Bei Fong (who offers to provide extra security around the Pro-Bending arena), the games go as scheduled. Just as Amon wanted.
  5. For Tenzin, Tarrlok, and the rest of the Council, it’s a matter of keeping innocent lives out of potential harm’s way. For Korra and Lin, it’s a matter of pride and assertion: to give in to Amon’s demands is to basically surrender to his will. Neither can abide by that; not the Avatar, who needs to let the world know that she’s in charge now, Phasma; not Lin, who even snarks that the Council has no backbone and that she’s “expect this cut and run tactic from Tenzin.” (Tarrlok slyly makes her take full responsibility for what goes down in the arena, leaving his name in the clear.)
  6. It’s revealed here, of all places, that Tenzin and Lin used to have a romance together, but slowly drifted apart as they got older and their career paths diverged (to put it gingerly, Tenzin wanted to propagate more Airbenders, and Lin wanted to further her career as a police officer), leaving room for Pema to sweep in and lock that down. However, on this significant occasion, they agree to set their differences aside and protect the arena. (Whether it’s meaningful that their proximity to each other leads them to being distracted and being the first officers taken out by the Equalists, I’ll leave that up to you.)
  7. With all the entrances, exits, and skyways being patrolled by the Metalbending police, the Pro-Bending finals go as schedule. But there’s more trouble: Tahno and the Wolfbats are cheating, but none of their illegal moves are called by the referee. This eventually leads to one of the few successful twists in the episode, when the Fire Ferrets lose the match.
  8. But this was also anticipated by Amon, such that when the Equalist attack is in full swing, Amon rightfully calls them out as cheaters and bullies. (He missteps when using their unearned victory as an analogy for Bending oppression, but whatever.)
  9. After officially declaring the revolution a go, Amon and his cronies escape. Korra and Lin give a valiant effort to try and catch up with him, but with one thing and another, he gets away. The episode ends on a genuinely exciting cliffhanger, and its all Tenzin can do to keep from saying, “The shit just got real.”

High Points:

  1. As I said, while the episode ultimately flounders under close inspection, there are still flashes of brilliance present throughout. This is still Book One, after all, which means the direction of Joaquim Dos Santos and Ki Hyun Ryu goes a long way towards realizing even the stupidest ideas. Think of them as Ridley Scott on a bad day (see Alien: Covenant, or better yet don’t).
  2. Among the bright spots, the voice acting remains mostly top notch. Amon’s threats would be worthless spoken by anyone but Steve Blum; Rami Malek gets maybe a handful of lines as Tahno, deliciously cocky and flamboyant to start, and then suddenly sympathetic and fear-stricken when Amon takes his Bending away; voice-acting veteran Jeff “Johnny Bravo” Bennett has a grand time playing Pro-Bending commentator Shinobu, who hilariously continues his commentary even as an Equalist shoots him full of electricity; J.K. Simmons and Mindy Sterling have a good amount of chemistry as Tenzin and Lin respectively; and yes, even Dee Bradley Baker strikes a good balance as Tarrlok in this one (it’s still a shame they couldn’t get someone like, say, Armie Hammer to make Tarrlok’s upper crust smarm at least feel natural).
  3. The twist of the Fire Ferret’s defeat still works, especially since it follows a fake-out in which Korra miraculously stalls the Wolfbats’ victory by hanging off the edge of the ring and then tossing Mako back in to blast that smug grin from Tahno’s face. (His subsequent grimace always reminds me of Beavis of Beavis and Butthead, and whether that was intentional or not, it’s funny as Hell.)
  4. Following the defeat, there is the truly horrifying moment when the Equalists arise from within the Pro-Bending audience, revealing their true colors upon putting on their Equalists masks. Whether this remains chilling because of the slo-mo reveal coupled with the great doom-laced music cue, or because of the current political climate in which masked, violent, allegedly “anti-fascist” protesters have sprung into existence, I’m honestly not sure. But the moment is effective every single time. (As long as you don’t think about it too much. More on that later.)
  5. The whole sequence of the ensuing chaos in which the Equalists take out all of the police officers and take complete control of the arena is well executed. And seeing Tahno and the Wolfbats have their Bending taken away is quite effective as well.
  6. The centerpiece of the episode is the big action sequence at the end, in which Korra and Lin go after Amon on the glass dome roof of the Pro-Bending arena. The best, certainly most crowd-pleasing part is the moment when Korra, failing to Waterbend her way out of the arena, is saved by Lin and catapulted up to Amon’s zeppelin by Lin’s Metalbending cable. This is the very first time we ever see Lin in action, and it’s absolutely glorious. It’s also a rare moment of actual teamwork in the entirety of Korra.
  7. My personal favorite sequence is the fight between Korra and the Lieutenant (played by a woefully underused Lance Henriksen, perfectly matching Mr. Blum in the gravelly villain voice department). When was the last time you saw a character in the Avatar universe elbow someone in the face (let along apply direct physical hand-to-head combat on any kind)? I don’t know why, but it thrills me every time.
  8. Finally, correct me if I’m wrong, but this is the only time Pabu the [insert hybrid animal speculations here] was actually useful and relevant the entire season. And I’ll be damned if I didn’t find Bolin’s animal chatter with Pabu to be absolutely adorable.

Low Points:

  1. Pop-quiz: remember that brief moment when we see Asami and her father watching the finals from their luxury box (and Asami blows Mako a kiss, making Korra jealous)? Ever notice how you never see them again the entire episode? Not only do we not see their reaction to the Fire Ferrets’ defeat—which is weird, considering Hiroshi sponsored the team—we don’t even get their reaction to the Equalist take over, nor do we see them after the Equalists escape and the dust has settled. Why?
  2. I have two theories, neither of them positive. The first is plain old negligence: DiMartino and Konietzko (and Santos and Ryu) simply forgot about them in the midst of conceiving the more exciting stuff. Who can blame them? Six episodes in this twelve-episode mini-series, and neither Asami nor Hiroshi has developed beyond abstract ideas to the audience or plot devices for our main heroes. In that respect, it makes sense that the audience would forget them, but in-universe, Hiroshi is the richest person in Republic City. You’d think someone would remember the Satos; maybe the police officers would be especially concerned with their safety. If the Equalists were brazen enough to attack Shinobu the sports commentator, why wouldn’t they go after the noble man and his daughter?
  3. But this is where it gets suspicious: considering what we learn about Hiroshi in the very next episode—that he’s been helping the Equalists all along by supplying them with the advanced technology—it’s entirely possible that the Equalists knew to leave the Satos well alone, thus buying them time to “escape.” But if Hiroshi knew that Amon would attack the arena after the Wolfbats won, then he must have known that the game was rigged against the Fire Ferrets the entire time, leaving him unaffected by their loss. If they did include a reaction from Sato, even once, it might have given away the game too soon. Thus, the second theory is cheap manipulation: DiMartino and Konietzko intentionally kept our attention off of Hiroshi so that their twist—that he was an Equalist sympathizer all along—could have any impact.
  4. There’s a problem with this theory, though. Hiding Hiroshi’s intentions—and therefore his reactions—for the sake of the twist isn’t a terrible thing in and of itself. Instead, why not at least show us Asami’s reactions—especially since she’s basically unaware of and eventually opposed to her father’s motivations? Considering she’s the one who convinced her father to sponsor the Fire Ferrets in the first place, you’d think their defeat would have some impact on her worth noting; instead of cutting to Tenzin fruitlessly calling the referees on their lousy calls, why not show Asami disheartened and maybe even averting her father’s gaze (thus keeping Hiroshi’s own reactions obscured, killing two narrative birds with one shot)?
  5. But there’s a reason such a solution was probably never considered (or at least given time to be implemented): in DiMartino and Konietzko’s original pitch, Asami was supposed to be a villain herself. According to DiMartino, as told in The Art of The Legend of Korra: Book One: “Asami came a little later in the development process. Once we had the idea for a nonbender revolution, we knew we’d need a character who wasn’t a bender. At first, we had planned for Asami to be an Equalist spy who was using Mako to get close to Korra. But we ended up liking her so much that we thought it was better to keep her on the good guys’ side. The development process was so important for Korra, because it allowed us to play with various story and visual concepts before the full production started” (p. 22).
  6. Despite how Asami eventually turned out by the end of Book One, you can see remnants of the original idea executed in the first six episodes. By which I mean that her true colors, much like her father’s, aren’t shown until episode seven; before that, her intentions are so muddled and her personality is so vague that we could easily believe she was a spy the entire time, had DiMartino and Konietzko chosen to go that route. [Not helping matters in the slightest, the voice acting by Seychelle “Penis Hair” Gabriel is completely nondescript; for the longest time, I thought she was also voiced by Janet Varney, albeit with a higher, more feminine register than Korra’s (which would have made their forced pairing at the end of the series pretty funny).]
  7. So in a way, both theories have some merit. By neglecting to give either Asami or Hiroshi actual characterization and autonomy, DiMartino and Konietzko (and Santos and Ryu) were allowed to factor them into the story whenever it was convenient to the plot. Again, these plot twists (i.e. that Hiroshi was evil), aren’t terrible in themselves, but the foundation laid to reach them are so shoddy and disingenuous that the effect is completely nullified.
  8. This is symptomatic of the entire episode. The big reveal of the Equalists, for example, is frightening, but leaves some questions unanswered. Just how did the Equalists manage to transport all of those weapons into the arena if every single porthole and orifice was being checked and guarded by the police? With all those bombs rigged to explode after Amon made his grand exit, it’s entirely possible that the bombs, the weapons, and the equipment were all planted beforehand, but they must have been hidden pretty well for that to work. An explanation of just how the Equalists were able to pull this operation off would have been nice (and might have even made for a much more exciting episode).
  9. Having the Fire Ferrets lose the Pro-Bending finals, while surprising, also loses its impact because of how contrived it is. By contrived, I’m not referring to the Wolfbats having paid off the referee to let their illegal moves go unchallenged. That makes sense. What doesn’t make sense is how complicit the Pro-Bending fans and audience are with this behavior.
  10. I’m not much of a sports guy, but I’ve been to enough games to know that true sports fans are not just passive spectators: they know the rules of the game, what players can and can’t do, and are sometimes even quicker than the referees and commentators to pick up on foul play. And yet, here is a clearly rigged Pro-Bending match, and not a single boo is heard, not a single angry call is made. In fact, the only people who call the ref out on his shit are the sports commentator and Tenzin—the latter of whom just recently learned the rules of Pro-Bending in the first place! You’d think the Wolfbats’ victory by cheating would even incite a riot amongst the Pro-Bending viewers, which the police would then be forced to pacify. The Equalists could have even used the riot as a cover for their attack!
  11. Instead, the Equalists just take out each guard one-by-one, unopposed by the highly trained police force, and initially unnoticed by the Pro-Bending crowd. (It’s actually comical seeing the audience blissfully unfazed by the chaos ensuing around them, and I’m not sure whether I should chalk this up to negligence or budgetary constraints.)

Random Points:

  1. Early in the episode, Korra and her friends intrude on the emergency council meeting at City Hall, where they’ll vote on whether to give in to Amon’s demands or not. It’s taken for granted that Korra can just barge in on these meetings when she wants to because she’s the Avatar. Then again, maybe anyone barge in if they really want to (Lin does later). There’s no security around the entrance, and on top of that, the door isn’t even locked. Is this common procedure for the single most important decision makers in Republic City? The Equalists would be better off attacking City Hall if the council always leaves itself this vulnerable.
  2. On a more serious note, in light of recent events around the world, the poor handling of the whole Equalist plot is more disappointing than ever. Extremists groups of native and foreign origins have reared their ugly heads, destroying society and the lives of innocent people under the guise of equality and justice for all by attacking those universally perceived to be “privileged.” Ironically, if DiMartino and Konietzko had focused less on gloating about having a female of color* action hero and more on fine-tuning and presenting nuance in their tale of political unrest, they’d have been closer to the Zeitgeist than they’d previously imagined. Instead, a conflict that had enough mileage for at least two seasons was cut off after one, and not even given a satisfactory resolution. O Aaron Ehasz, where were you when we needed you!

* Yeesh, is that PC enough for you?

Conclusion:

Three-and-a-half more seasons of this shit?!

Two Weeks: Avatar: “The Waterbending Scroll” & “Jet” & “The Great Divide”


Announcement: New Retrospective Will be Up by Wednesday

Promises, promises. I’m honestly thinking of abandoning the idea of these self-imposed, frequently missed deadlines altogether. On second, I won’t do that, because how else will I learn to discipline myself?

In any case, I want the “Winter Solstice” retrospective up by Wednesday, followed by “And the Winner Is…” on Saturday. Then after that, the next Avatar reviews–which will encompass four episodes–will take two weeks to do a write-up on. (From now on, the general aim will be one week for one to two episodes, two weeks for three to four.)

So I haven’t given up, even if “And the Winner Is…” was, admittedly, a bit demoralizing. Suffice it to say, it’s no longer the shining beacon of competence within the ruins of Korra that I once felt it was. Aw well.


Announcement: Next Retrospective Delayed Until Next Saturday

My retrospective review for the “Winter Solstice” episodes of Avatar: the Last Airbender won’t be posted until next Saturday. By then I’ll have actually had the time and energy to work on it. This week has been crazy busy, culminating on Saturday with the wedding of a good friend of mine. It’s out of state, so I’ll be away for the entire weekend. Once I get back, I can resume my work here. I was hoping I could get this one done in the midst of all this, but it just wasn’t working out. I’d rather put it off and give it the proper due than try and rush this thing (especially for these episodes, two of the best in Book One and in the entire series).

Speaking of proper due, I haven’t been true to my word in responding to my commenters  on the days I established. I swear I read all of them, and they’ve all been insightful in one way or another. For instance, latenightscribe’s last few comments taught me all about head writer Aaron Ehasz’s ideas for the Book Four that never happened because of the production of the live-action trilogy (that also never happened) , and how “shipping” created rifts in the writers’ room. The behind-the-scenes drama of Avatar and Korra is becoming just as interesting–if not more so–as the series themselves. I may write something on this in a post separate from the retrospective when I have the time.

For now, sit tight and I’ll be back next week with the retrospective on the two-part “Winter Solstice.” All I’ll say about them now is that they reminded me just how wonderful Avatar really was. This retrospective would not be nearly as tolerable if I had to watch Avatar and especially Korra straight through on their own. Even a terrible episode of Avatar is more inspiring and forward-thinking than any episode of Korra past Book One, so I’ll gladly sit through Korra every other week if it’s means watching Avatar again.


Retro: Korra: “The Spirit of Competition”

B.A.S.S. Line:

Bolin likes Korra, but Korra likes Mako, but Mako’s with Asami, but Mako actually likes Korra, and nobody likes Bolin.

Key Points:

  1. As is well known by now, Messieurs DiMartino and Konietzko have a weakness for teenage romantic melodrama, love triangles, and all that jazz. They attempted to fit it into Avatar—there would be a love triangle between Aang, Katara, and a boy named Toph—but that idea was annexed after head writer Aaron Ehasz argued that Toph should be a girl. That brilliant move saved us a lot of grief and created one of the most memorable characters of that series.
  2. With Korra being written solely by DiMartino and Konietzko, and with no Ehasz around to turn Bolin into Boleen or Mako into Makorina, they were free to inject all the corny romantic nonsense they wanted in their twelve-episode mini-series.
  3. They certainly go all out. Instead of the traditional love triangle, we get a love square, between Korra, Mako, Bolin, and Asami. Korra has eyes for Mako, but he’s already in a relationship with Asami. He does like Korra a bit, though, but for the sake of the Fire Ferrets, he refuses to date a teammate. This doesn’t phase Bolin, who sees no problem with trying to get Korra’s attention. Unfortunately, he doesn’t know that she’s only into his brother.
  4. Korra gets some “healthy” advice from Tenzin’s wife Pema on how to properly confess your love to a man who happens to be in a relationship with someone else. Here’s the catch: you have to make sure that, through no fault of your own, the relationship in question isn’t actually working out. This is bad news for Korra, since Mako and Asami seem to like each other just fine (although Mako does make an off-hand comment that suggests he’s only in it for the money).
  5. When Mako rejects Korra’s advances, she gravitates towards Bolin, whose own affections border on desperation. They do seem to have a great time on their “date” together, and apparently have a lot in common. Mako knows better, though: she’s just using Bolin to make him jealous (which he disguises as concern for his brother’s feelings being hurt).
  6. All of this comes to a head when Mako somewhat timidly admits he has some affection for Korra, so she moves in for a kiss. Unfortunately, Bolin catches this and runs away crying like a little girl.
  7. All of this romantic mischief nearly costs them their chance to play in the Pro-Bending finals. Before, they were a pretty darn good team, not stepping on each others’ toes, and even doubling each others’ efforts to be an unstoppable force. Once Mako and Korra start going at each other’s throats, however, the team dynamic falls apart, and Bolin, unaware of the romantic tension, steps up and wins them the next match.
  8. Unfortunately, after the infamous kiss, no one’s heart is in the game. Mako even seems ready to give up and try again next year (which is a great attitude to have when your girlfriend’s largesse is the reason you made it this far in the first place). Mako and Bolin get knocked out of the ring, and Korra saves the day with a miraculous three-in-one knock-out. Looks like our heroes are going to be in the championship match after all.
  9. That means they’ll be up against Tahno and the Wolf-bats, the reigning champs for three years straight. Tahno is a pretty boy who comes complete with a set of fan girls and cronies whenever he hits the town. If he’s a parody of someone or some character, it’s lost on me. In any case, it’s a good thing the Fire Ferrets have resolved their romantic differences, because they’ll need to stay focused to beat Tahno, who wins his Pro-Bending match off-screen and in less than a minute.
  10. Asami remains oblivious to all of these romantic antics going on behind her back. She’ll find out soon enough.

High Points:

  1. The Pro-Bending sequences, as usual, are well-executed and pretty entertaining, even when the romantic antics begin to eat away at the team dynamic of the Fire Ferrets.
  2. It was nice to see Bolin, who usually doesn’t have anything substantial to do, step up and win the tie-breaker for the team, especially since he notices Korra and Mako just aren’t on their A-game that match.
  3. For as little screen time as he gets in the episodes (and the series as a whole), Tahno is an amusing character. Did you know he was voiced by Rami “Mr. Robot” Malek? I didn’t!
  4. Korra and Bolin’s date was short and sweet, even if it ultimately ends with Bolin being heartbroken. And while we’re on that subject, I’ll admit that Bolin’s crying fit, while mean-spirited, was pretty funny. Maybe not as funny as Charlie Kelly’s reaction when his beloved Waitress revealed she slept with Danny DeVito instead of him in It’s Always Sunny in Philadelphia, but still pretty funny.

Low Points:

  1. Funny as it is in its own right, in the context of the episode and the series as a whole, that moment is intolerably cruel. It may be the lowest point in the series, on par with the moment when Aang suddenly appears and gives Korra her Bending back, and for a similar reason: Korra is as undeserving of this act of mercy as Bolin is as undeserving of this act of cruelty.
  2. The comparison to the similar scene in It’s Always Sunny is no accident. Charlie wasn’t exactly innocent in that whole ordeal (which is why his tearful reaction is as heartbreaking as it is hilarious), whereas Bolin was completely innocent: he genuinely liked Korra and was totally committed to starting a relationship. Asami is also innocent in this reckless game, but for more nefarious reasons (which won’t be clear until episode seven.)
  3. Contrast this with Mako, who the episode implies only started dating Asami for her money. And Korra’s attraction to Mako never receives an explanation of any kind, unless DiMartino and Konietzko were fully committed to the “all girls like bad boys” train of logic.
  4. Also consider the scene where Korra discusses her romance problems with Jinora and Ikki (which should let you know the maturity level we’re dealing with here), and eventually Pema. While both younger girls dish out their own versions of “love conquers all” wishful thinking, and Pema relays her own anecdotal advice, at no point does anyone ever ask Korra why she’s so in love with Mako. Nor does anyone discuss the ethics of pursuing a man in a relationship. (Both of which I’d almost expect from Jinora, since she’s apparently the smart one.)
  5. Instead, we have Pema essentially give Korra license to confess her “love” to Mako, since it worked for her and Tenzin. Of course, for no other reason than dramatic effect, she doesn’t outright say who she stole Tenzin from (nor what her lot in life was before meeting Tenzin, but never mind), just so they can surprise us in the next episode when we find out that it was Lin Bei Fong.
  6. By the way, what was the point of casting someone as uniquely funny as Maria Bamford as Pema, who has absolutely nothing worthwhile to do in the entire series (let alone anything funny)? Granted, Bamford has been a Nickelodeon staple since the 90s (ex. CatDog), so it makes some sense. Then again, Bamford was funny in those shows. This is just a waste of talent. (Jill Talley, another very funny lady, was similarly short-changed in The Boondocks.)
  7. The worst part about all of this is just little Korra herself suffers as a consequence of her poor decisions. By all accounts, she’s the absolute worst offender and the main instigator in this romantic nonsense, from leading Bolin on with their “date” to antagonizing Mako with lines like, “…when you’re with [Asami], you’re thinking about me, aren’t you?” This is the behavior of a sociopath, not the protagonist of a children’s program.
  8. But Korra faces no repercussions for any of this. She does apologize to Bolin after their last Pro-Bending match, but his reaction is so nonchalant that she might as well have said nothing at all. More to the point, the time to apologize (to Bolin and Mako) was in the Pro-Bending ring, when their lack of team work damn near cost them the game. Then they could have set their differences aside and won together as a team again, which frankly would have been the much more positive message for children.
  9. Instead, Mako and Bolin are booted and Korra wins the match on her own, because she’s such a Strong Female Character™. I’m not opposed to this victory so much as I’m frustrated that it came with no character growth or introspection of any kind. Imagine if they’d given Korra a moment to examine how her attempt at a forced connection with one teammate at the expense of the other drove both men away from her, leaving her and her alone to fix the problem, and in her determination to face the music, would have found the inner strength and resources to knockout all three players at once!
  10. It wouldn’t take much extra work. Just one of those cool 360 camera shots (which they do twice in this very episodes) showing Korra all by herself facing the three other players and ending with a determined expression on her face (similar to Katara’s shining moment of maturity back in “The Desert”). But I suppose that’s a bit too simple and too sophisticated a solution for a couple of writers who allowed their fans’ obsession with character relationships to poison their own intuitions as storytellers.

Random Points:

  1. And frankly, I think that is really what this all comes down to: DiMartino and Konietzko, and their turbulent relationship with their own fandom. And a lot of that has to do with shipping, a topic I’ve tried my best to avoid, which is all but impossible when you’re dealing with Avatar and Korra.
  2. Long story short, back in the days of Avatar, you had fans wanted Katara and Zuko to be together instead of Katara and Aang, and you had fans who wanted the opposite. The feud apparently bled into the writers’ room, with DiMartino and Konietzko and others aiming for Katara and Aang, and Aaron Ehasz and others aiming for Katara and Zuko. The series’ finale made it clear which side won, but just in case it wasn’t clear, for the following comic convention, the crew made a special video mocking any bizarre character pairings, including Katara and Zuko.
  3. Does any of this really matter in the grand scheme of things? Not in the slightest, and DiMartino and Konietzko should have known better than to have taken so seriously what should have only been a fun topic of discussion among fans. Not only did they take it a little too seriously, but they allowed it to negatively influence their writing process.
  4. Not to sound like a conspiracy theorist, but I’m willing to bet that the forced pairing of Mako and Korra was an attempt to pander to those fans who wanted Katara and Zuko to be together, and—in its negative impact on the rest of the characters like Bolin and Asami—prove once and for all what a “toxic” influence the two have on each other.
  5. In any case, it didn’t work. No one liked the pairing, no one tolerated either character’s terrible behavior, and frankly, no one cared whether Korra got with Mako or Bolin or Asami or Bob or Carol or Ted or Alice. All anyone wanted was a good story well-told, and the forced and unnecessary romantic antics were nothing but a drain on everyone’s time and energy, be it the audience or the animators. Unfortunately, DiMartino and Konietzko were still flying high on the good will created by Avatar, so whatever they wanted, they got.
  6. And let’s be absolutely clear about something: Korra was supposed to be DiMartino and Konietzko’s bid to be taken seriously as filmmakers. After the fiasco with M. Night Shyamalan and The Last Airbender, Korra was their chance to prove that they could still provide the goods and be true players in the Hollywood game. Lord knows they got major support: from major acting talent like J.K. Simmons and Steve Blum, to the often brilliant animation from Studio Mir of South Korea, to the utmost enthusiasm from the Nickelodeon executives—to the point that they got the go-ahead for four seasons right  after Book One finished airing—DiMartino and Konietzko had everything going for them.
  7. And they blew it. All for a few low blows at the fandom that helped create their success. Such self-destruction tendencies would lead to lower ratings, and eventually to Korra being taken off the air entirely before the end of its run. And meanwhile, Shyamalan has recently managed to make something of a comeback with The Visit and Split, movies that managed to connect with audiences in a major way, thanks in large part to their sheer commitment to telling their story in the most effective and entertaining way possible. If only DiMartino and Konietzko had the same discipline.

Conclusion:

I can remember watching this episode back when it first aired, and afterwards feelings like it was a completely pointless episode in a series with only twelve-episodes. In hindsight, maybe for DiMartino and Konietzko, this episode and all the ilk spilled from it was the point, and the vastly more interesting Amon and Equalist plot was just a means to that end. Pretty sad really. Needless to say, it’s all downhill from here. At least we get one last gasp of brilliance before the series completely derails itself.

Next week: Avatar: “Winter Solstice, Part 1 & 2”


Retro: Avatar: “The Warriors of Kyoshi” & “The King of Omashu” & “Imprisoned”

B.A.S.S. Line:

In the span of three episodes, Aang and the gang travel to three different villages, have three different adventures, and meet at least three memorable characters. And Katara loses her mother’s necklace.

Key Points:

  1. Unlike other American animated children’s programs—most of which are just animated sitcoms for kids, or “kidcoms”—creators DiMartino and Konietzko envisioned Avatar as a true fantasy epic, using the episodic medium to tell a single, coherent narrative, complete with expansive worldbuilding and overarching character development.
  2. As a by-product of that ambition, Aang and the gang spend every episode travelling to a new location and meeting new characters (allies and villains alike) on their quest to help Aang master all the elements and defeat the Fire Nation. The benefits are obvious from a storytelling standpoint, but from an animated television production standpoint, this could be a nightmare: every episode demands new character designs, new locations and backgrounds, new props, new voice actors, etc.
  3. That Avatar holds together as well as it does is a testament to the dedication and hard work of DiMartino, Konietzko, and the rest of the Avatar crew, most of whom probably never dreamed that they’d be working on something so challenging and so rewarding of their passion and creativity, let alone something so different from the usual “kidcom” stuff. Nickelodeon deserves some praise for allowing the team enough creative freedom to develop a series so radically different from their standard fare (at the time, though, they were looking specifically for their own fantasy-adventure franchise to bank on the popularity of Harry Potter and the Lord of the Rings trilogy, but that’s another topic for another time).
  4. “The Warriors of Kyoshi,” “The King of Omashu,” and “Imprisoned” establish what would be the typical pattern of an episode of Avatar (at least until Book Two, when they started to get real weird with it), which goes as follows: Aang and the gang travel to a new location (perfect worldbuilding and art direction opportunities), where they meet either an ally or foe who’ll present them with a conflict to be resolved before the end of the episode—most likely with a last-act action sequence full of awesome Bending—before they leave to go somewhere else.
  5. In “Warriors of Kyoshi,” they go to Kyoshi Island—Aang wants to ride the elephant koi and impress Katara—where they’re ambushed by the island’s inhabitants, specifically the all-female Kyoshi Warriors. Only when Aang proves himself to be the Avatar do the island’s residents relax and welcome the gang with open arms.
  6. Aang loves the adoration of the islanders, and wants to stay for a while. Katara, however, wants to leave soon to keep Zuko off their trail. She also finds Aang’s behavior around the villagers to be vain and childish, which Aang interprets as jealousy. Meanwhile, Sokka—humiliated to have been defeated by “girls,” the Kyoshi Warriors—wants to learn some moves and techniques from the Warriors, if they’ll forgive his initial ignorance.
  7. The gang ends up overstaying their welcome, because Zuko does eventually appear, and he immediately proceeds to burn the village in order to get to Aang. Realizing that Katara was right and that he inadvertently put the villagers’ lives in danger, he and the gang fly away on Appa (but not before Aang stops the fire and saves the village by spraying it with water from the mouth of a giant, ferocious sea monster).
  8. In “The King of Omashu,” they travel to the city of Omashu, which has a crazy, intricate sliding mail system that our heroes ride like a roller coaster. They’re caught by security and brought before King Bumi, who’ll only let them go on the condition that Aang completes three challenges of his design. The point of the challenges is to teach the Avatar to always think outside the box, especially if he’s going to be defeating the Firelord. Did I mention that Bumi is an old, old friend of Aang’s from one-hundred years ago?
  9. Finally, “Imprisoned” takes our heroes to a coal mining village being ruled over by the Fire Nation, since they use coal to fuel their war ships. In this village, Earthbending is strictly forbidden (which is odd, because you’d think that would help them mine more coal, but never mind), and anyone who gets caught is shipped off to a prison built on the water far from land, guaranteed no Earthbending. However, with a little ingenuity from our heroes, the imprisoned Earthbenders revolt and free themselves, resolving to take back their village from the Fire Nation.
  10. Unlike the previous two episodes, this episode revolves around Katara and not Aang. She’s the one who befriends Haru, the Earthbending boy who gets imprisoned after he saves an ungrateful old man from being crushed by a collapsed coal mining tunnel. She’s the one who resolves to rescue Haru by also getting herself arrested for Earthbending, thereby getting taken to the same prison. She’s the one who attempts to inspire the down-trodden Earthbenders to stand proud and fight for their freedom (to no avail). She’s the one who refuses to leave the prison without helping these people reclaim not just their freedom, but their fighting spirit.
  11. And what does she get for all her troubles? In the midst of the prison chaos, she loses her mother’s necklace, the only possession she has by which to remember her deceased mother. To make matters worse, at the end of the episode, it’s found by Zuko! (In an alternative timeline, this would be definitive proof that he and Katara must be meant for each other, but let’s not even go there.)

High Points:

  1. With the exception of “Imprisoned” (the best of the three, and a mostly good harbinger of things to come), these episodes are light as a feather, goofy and meandering, almost completely devoid of seriousness and substance. Is that a bad thing? I certainly used to think so, but the way I see it now, the seemingly aimless nature of these episodes perfectly match the temperament of our main character, Aang. And once the stakes are raised by episode eight, and our hero becomes more focused and motivated, so do the episodes. Pretty clever, eh?
  2. Until then, “lightweight” doesn’t automatically equal “bad” (as it will with the infamous “Great Divide”), and watching Aang bask in all that attention from the village girls is pretty amusing (as is Katara’s obvious annoyance with him). Besides, he does learn his lesson after Zuko arrives and nearly burns the village down, so it wasn’t entirely pointless either (unlike a certain divisive episode that we’ll deal with when it comes).
  3. Speaking of unexpected character growth, Sokka shows us a much more mature side to him than we’d been led to believe he had. He gets his butt kicked by the Kyoshi Warriors and then asks their leader Suki to forgive him and to teach him to be a better warrior through their principles. This is a much more altruistic message than the kind of “girls are better, deal with it” impression you sometimes get with The Legend of Korra, where the male characters, with few exceptions, tend to be either incompetent or evil.
  4. You know what else you’ll find in these episodes that’s lacking in much of Korra? Respect for the elderly. One of the few pleasures of “King of Omashu” is watching King Bumi, who’s over a hundred years old, best Aang with every single one of his challenges. The moment when Aang chooses to challenge Bumi in a fight—and the old man tosses off his robes to reveal he’s in better fighting shape than all three of our heroes combined—is the funniest gag in the episode. Don’t mess with crazy King Bumi!
  5. In “Imprisoned,” the show makes a point of showing just how old most of the Earthbending prisoners are, and how much their will to fight has been crushed by both their imprisonment and their age. And yet Katara still believes in them, and pushes for them to fight back even before she, Sokka and Aang bring them the coal to actually fight back with. As weak as they may be, once Haru, one of their own, instigates the riot and is nearly killed, they immediately jump to his aid, and soon every single one of them is kicking ass.
  6. There are lots of great little touches like that in “Imprisoned,” including a fantastic guest appearance by George Takei as the posh and smarmy prison warden. The prison itself is a clever creation, showing us just how thorough the Fire Nation is with its plans for world domination.
  7. I also love the elaborate gag involving Katara’s fake Earthbending, which peaks when the Fire Nation guards think it’s actually Momo that’s Earthbending. Good ol’ Momo!

Low Points:

  1. Foaming Mouth Guy. Yeah, I know, he’s one of the most iconic and most memetic characters in all of Avatar, and that he was originally supposed to just faint, and that his seizure was an animated ad-lib by Korean animator Ki Hyun Ryu (who’d go on to co-direct Book One of Korra), and I know most of the fans love, love, love Foaming Mouth Guy. I don’t get it. Why is this non sequitur of a man having a seizure supposed to be funny? It’s not acknowledged by any of the characters nor does it even get a simple reaction shot (which can save even the stupidest gags). No, it just comes out of nowhere and goes nowhere just as fast. To make matters worse, it follows a much better, much funnier gag involving Aang and a stupid marble trick he tried to impress Katara with earlier. (Hmm…maybe that’s why the seizure man’s overreact is funny.)
  2. Speaking of iconic characters that everyone loves but I don’t, the Cabbage Man (“My cabbages!”) is…kinda silly, but at least he’s not offensive like the Foaming Mouth Guy. I don’t understand his deal here, though. Is he a cabbage salesman? Before entering Omashu, the guy gets his cabbages thrown off a cliff because they’re rotten, but then he goes inside Omashu and has more cabbages? Did he buy them in Omashu? What?
  3. Also, remember how it said the meandering quality of the episodes cleverly matched that of Aang’s attitude at the moment? Yeah, it’s clever, but not much else. The episodes can still drag if they meander too much. Not “Warriors of Kyoshi,” that episode is pretty solid. “The King of Omashu,” though? Damn near filler. The premise, which is way too silly for its own good, would probably be fine in a lesser children’s show, but in Avatar you start to think, “Wasn’t this show about a kid whose entire race of people got slaughtered during a hundred-year war?”
  4. Don’t even get me started on the animation of “King of Omashu.” Seriously, what was DR Movie’s deal with Avatar? The show is no more and no less complicated than your average “real” anime. (I just saw their name credited in One Punch Man, so clearly they’re no slouch in the drawing department.) Did they initially just write off Avatar as another silly American project?
  5. Then there’s Katara’s utter determination to save the incarcerated Earthbenders, complete with a passionate, impromptu speech, which is NOT a low point in and of itself—what borders on cringe is redeemed when the speech appears to fall on deaf ears—but I want to bring it up because it sets an unfortunate precedence for Katara’s character as someone who is pathologically, neurotically, unquestionably good. It can get annoying, and the show is usually self-aware enough to call her out on her overbearing behavior. When it’s not, you get horrid episodes like “The Painted Lady,” of which “Imprisoned” is an unwittingly forebearer. (Then again, if I’m going to curse every early episode for a worse later addition it inspired, I might as well curse all of Avatar for giving way to Korra, and that just won’t do, will it?)

Random Point:

  1. While we’re on the subject of Katara’s speech, do you remember the running joke in “King of Omashu” where every horrible pun and joke was followed by the sound of some random guy coughing? If you listen closely at the end of Katara’s speech—after which she expects the Earthbenders to rise up and fight—I swear you’ll hear the exact same random guy coughing. Now that’s clever!

Conclusion:

It took six episodes, but Avatar is finally starting to gain momentum: the concepts and the world are starting to make some sense, and we’ve gotten to really know and like our main characters. It’s the next two episodes, though, that will really kick the show into gear and transform Avatar into the amazing and engaging series we all know and love. Stay tuned!

Next week: Korra: “The Spirit of Competition”


Retro: Korra: “The Revelation” and “The Voice in the Night”

B.A.S.S. Line:

Korra learns that the leader of the Equalist movement can take away people’s Bending. She does her best to cope with her fear by ignoring it.

Key Points:

  1. In Avatar, Aang was the reluctant hero who needed to accept his responsibility as Avatar in order to defeat the Firelord and save the world. Korra, being the anti-thesis of Aang, relished her Avatar status since she was a child and finds every opportunity to use (and abuse) her incredible power. What kind of villain could pose a threat to someone like Korra? Someone who could take that power away.
  2. Enter Amon, the leader of the Equalist movement. He preaches the evils of Bending, and how every single catastrophe in history has been instigated by Benders. After seeing his family be slaughtered by corrupt Firebenders, he vowed to rid the world of Bending and bring peace and equality. And the Spirits have given him the ultimate gift for the task: the power to take away a person’s Bending forever (just as Aang did to Firelord Ozai).
  3. But isn’t that a power only the Avatar possesses? Not so, as Amon promptly demonstrates in front of a huge crowd of Equalists (and Korra and Mako). He strips the most dangerous mob boss of his Firebending, rendering him helpless. Amon means business.
  4. This revelation of Amon’s power is a game changer, not just in the fight against the Equalists, but for Korra, for whom the prospect of losing her Bending is the ultimate nightmare, literally and figuratively. This may just be the first time that she has even experienced genuine fear in her entire life.
  5. Little wonder that she handles this new emotion pretty poorly. Aside from the traumatic nightmares, she does everything to hide her true feelings from everyone, especially Tarrlok, the smarmy counsel member who wants her to head his new task force to stop Amon. She rejects the offer, much to Tenzin’s surprise, opting instead to “focus on her Airbending.”
  6. This Tarrlok, however, doesn’t take “no” for an answer, and does everything he can to suade Korra, including lavish gifts, each more expensive than the last. When that doesn’t work, he holds a party in her honor and, with the help of the press, virtually bullies Korra into joining the task force anyway.
  7. As Tarrlok is quick to observe, Korra’s fear can easily be overridden by her pride. It’s her pride that tricks her into accepting the task force position, but also to call Amon over the radio and challenge him to a one-on-one match at midnight on Avatar Aang Memorial Island (the island with the giant statue of Aang). Stupid is an understatement; even Tarrlok tries to talk her out of it.
  8. And Amon does show up—eventually, and not at all alone—but not to take away Korra’s Bending. Smart man that he is, he knows she’d only be a martyr if he defeated her then and there, and is waiting for the perfect moment to destroy her. Having come this close to having her Bending taken away, Korra finally allows herself to cry in Tenzin’s arms and admit her fear.
  9. She’s had a rough few days. On top of this Amon stuff, Korra now has a rival for Mako’s affection. Her name is Asami, and she’s the daughter of Hirashi Sato, Republic City’s richest resident and inventor of the automobile—called the “Satomobile” in the Avatar universe, which doesn’t explain where they got the Latin root for “mobile” from—AND the new official sponsor for the Fire Ferrets. To make matters worse, Asami and Mako have already had a few dates and seem highly compatible. Did I mention that Asami is very pretty?
  10. It’s worth mentioning that, before all the Mako hate started pouring in, he and Bolin’s back story as street rats orphaned by Firebenders did make him, however briefly, into a somewhat sympathetic and trustworthy character.
  11. Oh, and we also meet Pabu the red panda, who’d I actually forgotten all about until just now. Much like Naga is the new Appa, Pabu is the new Momo. Both new animals are equally memorable.

High Points:

  1. It takes a little bit of time before the third episode really takes off, but once it does—from the Chi-Blocker chase and fight sequence and beyond—these two episodes are amazing! The fight sequences are visceral and fun; the character interactions are almost always intriguing and actually move the story forward; the art direction, especially for the night scenes in the city, is gorgeous; and the suspense actually keeps you on the edge of your seat wondering what’s going to happen next. Even as I watch these episodes for probably the fourth time in my life, they still work magnificently.
  2. I think what makes all the difference between these episodes and the first two is the establishment of an actual conflict, which gives everything that happens from now on some gravitas and meaning. The battle with Amon and the Equalist movement is much, much bigger than Korra’s initial problems with Airbending, but now it makes those problem more pressing of an issue: if Korra can’t master this last element, does she really stand a chance against a man who take all her Bending away?
  3. Amon, what a villain! What a terrifying presence, even before we learn of his Energybending ability! What a pitch perfect performance by anime-dub veteran Steve Blum, who channels charisma and menace into every line! What a riveting show when he demonstrates his De-Bending technique (from lightning to fire to nothing)! And at this point, what a perfect opposition to Korra! You get the sense that this girl’s impulsive aggression is no match at all for Amon’s calculated cool. (No wonder DiMartino and Konietzko had to cop-out in the end: without a deus ex machina, this guy would have definitely defeated Korra fair-and-square, meaning they’d actually have to *GASP* develop her character!)
  4. All jokes aside, the towering presence of Amon puts Korra’s inflated ego and machismo in check, and you finally start to feel some sympathy for the girl. All she knows and all she’s good (arguably) at is being the Avatar, and now her entire being is threatened by Amon and his anti-Bending, anti-Avatar ideology. Her fear is completely justified, which is why every scene in which that fear is at the center works really well.
  5. Check out the scene where Amon interrupts the normal radio broadcast to deliver his message to Republic City. A simple shot-reverse-shot of Korra staring at the radio which tighten into close-ups of each, yet combined with Blum’s great delivery and Korra’s silent yet visible terror, it becomes a paralyzing moment of unbearable, almost Hitchcockian tension. It may be my favorite scene of the two episodes.
  6. Another favorite is Korra’s close encounter with Amon on Avatar Aang Memorial Island. Once again, Blum’s performance is the centerpiece, complimented by more great silent animation of Korra and subtle, moody lighting. The follow-up scene of Korra crying into Tenzin’s arms is effective, too, and for once Janet Varney finds the perfect note in which to portray Korra sympathetically.
  7. There are a few action sequences, the best of which is the first encounter with Chi-Blockers who have kidnapped Bolin and some other gang members. Great use of CG environments in that one, which allows the “camera” to circle and track the action at key moment, making for some kinetic shots. Same goes for the scene where Korra, Tarrlok and his task force infiltrate an Equalist training facility. Good job, Messieurs Ryu and Dos Santos!
  8. As new characters go, both Asami and Tarrlok are pretty interesting. Asami’s personality, as far as I can go, is deliberately left vague so that the show can throw a twist our way, revealing her true intentions. We already don’t trust her since she started moving in on Korra’s guy, so I’d say it works in the show’s favor.
  9. Tarrlok is such a smart guy, and an expert manipulator, that you already know not to trust a single word he says, even when he makes good on them. His task force with Korra on board is a success, but is he doing it for glory or justice? Both seem about right, and is there anything wrong with that?
    10. Finally, special mention goes to Lin Bei Fong. She gets a single line in which she gets to put down Korra again, and absolutely nails it!

Low Points:

  1. I said I liked Tarrlok, didn’t I? Well, I don’t really like his voice actor. Which is borderline heresy, because if you know anything about Dee Bradley Baker, you’d know he’s one of the most prolific and versatile voice actors in the business, particularly in the field of animal noises. (Appa? Momo? Pabu? Nagu? Daffy Duck in Space Jam? All him!) Tarrlok, though?
  2. And it’s not even that his performance is bad per se. It just sounds a little too cartoonish and theatrical next to the relatively natural and less obvious performances of Varney, Blum, J.K. Simmons, Mindy Sterling, and others. I’ve always theorized that Baker was a replacement for another actor who dropped out at the last minute. Imagine Tarrlok’s lines being read by someone like, say, Oliver Platt, and you’ll understand how Baker oversteps the line between sleaze ball and “sleaze ball.”
  3. On the complete opposite side of the spectrum, P.J. Byrne is excellent as Bolin, even if the character is a little too silly for his own good. How does Bolin wind up getting involved with the gang that gets kidnapped by the Equalists? By putting on a street-side mini-circus featuring Pabu the whatever-I-don’t hybrid animal to raise money for the entry fee into the Pro-Bending championships. Come to think of it, this particular incident isn’t that bad, but as the series progresses, it doesn’t get any better for Bolin.

Random Points:

  1. I want to talk a little bit about that scene where Tarrlok’s task force infiltrates the Equalist training facility, because it illustrates some of the more trouble aspects of Book One’s message.
  2. The main conflict of Book One is between Benders and a certain faction of Non-Benders who believe that Benders have a disproportionate amount of power in society, and they use that power to oppress Non-Benders. The most extreme of this faction are the Equalists, the terrorist organization led by Amon and designed to take down all Benders and rid them of their ability to Bend, including the Avatar.
  3. It’s been observed many times by much more intelligent folks than myself that this isn’t exactly a black-and-white issue. While the Equalists are clearly the “bad guys” and Korra and the other Benders are the “good guys,” it’s definitely true that in the grand scheme of things, Benders do have a physical advantage over Non-Benders, an advantage which can and has been abused in the series itself (even by Korra, no less). It makes perfect sense that a group would come along to “equalize” the playing field in an attempt to bring “peace” to the world, even if by violent means.
  4. Extremists or not, the Equalists have a point, even if the show itself attempt to dissuade you otherwise. In the task force attack scene, we see a group of Equalists training themselves both in self-defense and in the art of Chi-Blocking, two skills that would come in handy with rouge Benders. Putting aside the Equalist agenda, are these not skills that any sane Non-Bender living in a world of Benders would want to have in case of emergency?
  5. And why is Chi-Blocking a skill limited to the Equalists? Along with Lightning-Bending(?), Chi-Blocking is one of those rare techniques we’d only seen used by one or two people in Avatar. In Korra, though, Lightning-Bending has been normalized to a degree that those capable of doing it can work in power plants to provide electricity for the city. Why isn’t Chi-Blocking also normalized? Apparently, everyone on the police force is a Bender, but wouldn’t that be a solid, pacifying skill to have at one’s disposable when dealing with out-of-control Benders? (Instead of, you know, fighting Bending with Bending, which the first episode demonstrated could cause more damage than it’s worth?)
  6. And not a single one of those Equalists arrested gets even a brief moment of humanity or sympathy to their plight. More to the point, am I the only one who thinks it’s odd that each one of those Equalists we see training in the facility are all wearing their Equalist masks while they’re training? As far as they’re concerned, this is a safe-space where they’re all in solidarity against the oppression of Benders, so why keep the masks (especially with banners of Amon plastered all over the walls? The easy answer: so the audience will know that they’re the “bad guys,” and thus will feel few qualms about seeing these folks ruthlessly frozen with Waterbending or assaulted with Earthbending. I doubt even the members of Antifa wear their masks all the time.
  7. In this day and age, when we’re seeing pretty close parallels to the Equalist movement being played out in real life, it’s a bit troubling to see how carelessly the conflict is handled in Book One of Korra. Generally speaking, Benders are the “privilege” class of the Avatar universe (at least, according to the series itself), and for writers as transparently left-leaning as DiMartino and especially Konietzko, their muddled handling of the politic crisis in their own fantasy universe either reflects a poor understanding of real world politics, or an even worse understanding of their own political agenda. It’s difficult to say, especially since their agenda seems to shift with every season until finally Korra and Asami close the series as symbols of LGBT representation, with absolutely no warning or development of any kind.

Conclusion:

Well that got a lot more political than I ever intended (Lord knows it won’t be the last time when dealing with DiMartino and Konietzko). But I don’t watch Korra or Avatar for the politics, I watch them for the storytelling, and on those terms, “The Revelation” and “The Voice in the Night” are pretty damn good. Since there aren’t that many episodes of Korra you can definitively say that about, you’d better enjoy them while you can. I have a feeling the next episode is going to be a tad more divisive.

Next week: Avatar: “The Warriors of Kyoshi” & “The King of Omashu” & “Imprisoned”