I do not see Neil Gaiman getting chased around and called a plagiarist like I was this summer when I wrote three words which also appear in the Hunger Games! (And before that, as it turns out, in The Emperor’s New Groove. Llamas, sue the Hunger Games!)
I am very tired of seeing women insulted for things every dude in the world is allowed to do. It is not literary critique. It is violent misogyny."
We can’t keep raising generations of kids of color on the notion that there’s only room for them to be bad guys or doomed sidekicks or another generation of white kids thinking they’re closer to God because of how they look. We can’t keep promoting hetero/cis-normative sexist and racist ideas in our literature. That is the default setting. If you aren’t consciously working against it, you are working for it. Neutrality is not an option, and the luxury of thinking it is has to go."
- Daniel José Older, “12 Fundamentals Of Writing ‘The Other’ (And The Self)” (via larmoyante)
Ursula K. Le Guin, The Ones Who Walk Away from Omelas (via unwritten-heaven)
its true its true being sad and in pain is the most banal most TEDIOUS way to exist and if you think in a million years that being happy is not interesting or fun then im so sorry for you
the utter bore of evil is ignore so often becuase “tragedy makes a great story” but does it really? im so sick and tired of this mentality and the fact that i always want a happy ending is seen as childish
the real interesting stories are the ones where people are given a chance to be happy, to become great, to stop bad things from happening, to be saved. it doesnt have to be easy for them. but i reject the idea that suffering is beautiful.
So, I just got word that Bryan Konietzko stated that non-benders are, in fact, oppressed in Republic City. These are, apparently, his own words:
it’s a very large world out there, what made you think they were getting along in the first place? it was republic city, with benders as the ruling class, with the power, but they’re still the minority; it’s like china where there’s a minority in power
For the rest of his answer, you can go here.
Now, I’m thinking—as both a writer and a concerned citizen—how the FUCK Konietzko and DiMartino can verbally acknowledge this and yet:
- Make the Equalists entirely irredeemable
- Have the protagonist, a powerful bender with social and political influence, put all her power into “invalidating” (yes, her words, not mine) their movement without a peaceful alternative to replace them
- Call themselves “progressive”, despite the aforementioned points
What’s even more confusing is that the sub-plot for the Equalists is over. It’s not coming back. Konietzko even said that the members are probably “meeting in a library somewhere”, but that’s it. The people who fought so hard against this power imbalance are suddenly relegated to passing commentary on Republic City’s evolution over the last six months. In the meanwhile, Korra and her crew continue to enjoy the privileges that they were born with, whether it is inherent, prodigal bending talent or socioeconomic advantages.
With all that said, why did they bother bringing focus to the Equalist plotline, anyway? What was the purpose of highlighting a social justice issue only to have the very narrative fight against it by making the protestors appear faceless or simply insane with bitterness? What was the purpose of making parallels with real life events between the oppressors and the oppressed, but have the oppressors appear more sympathetic than the oppressed? Tarrlok, a corrupt politician and a powerful water/bloodbender who actively oppressed non-benders throughout the majority of Book 1, garners more sympathy from the audience than Hiroshi Sato who lost his wife to firebenders.
At this point, it is rather clear that the protagonists (or the “good guys”) are actually the oppressors after all. To add insult to injury, the antagonists (or the “bad guys”) are actually the oppressed.
How are Korra, Mako, Bolin, Asami, Tenzin, Lin, or any of the characters part of such a disgusting parallel supposed to be “good”? How does the narrative make us want to like them, to feel sorry for them, to root for them? Better yet, why? How irresponsible were they when they wrote the Equalist plotline? Was it really neglect at this point when Konetzko has admitted that there is oppression against non-benders in Republic City?
I won’t get into that too much, of course. This is all food for thought. I have my own theories as to why such a thing could be written the way it was.
Just remember to consume media carefully. It doesn’t live in a vaccuum. It can have real consequences. Poisonous shit like what I discussed is being fed to children. What consequences may arise from this?
someone just asked “if the benders and nonbenders were getting along before legend of korra, what made them not get along now”
bryan says: it’s a very large world out there, what made you think they were getting along in the first place? it was republic city, with benders as the ruling class, with the power, but they’re still the minority; it’s like china where there’s a minority in power [something else about China] the melting pot situation where you have people from all over the world, all kinds of benders and nonbenders, moving to the same place made people realize that it’s not about fire vs. water or earth vs. air… but some nonbenders felt that they were doing all the hard dirty work and [missed the rest]
presented without comment
Whoa whoa whoa, wait a second. Did he just say that non-bender oppression exists and it actually WORSE than we thought it was? Wow, what an amazing revelation that would have been when the equalists were aCTUALLY RELEVENT! And they thought it would be a good idea to just have our protagonists fight for the status quo without a, “Wow, thems common non-benders sure have it bad. We should probably do something about that.”
Ok I accidently found myself in a tag and its got me heated.
Lok compared to atla is just horrible.
Lok by itself is a bad show.
I personally dislike bryke because I feel as if they do more harm than good in making this show.
I feel as if bryke thinks they are being “progressive” yet they make no attempt to actually push the boundaries of the staquo.
Yes korra being brown and being a girl as the main character is a BIG DEAL.
but thats where the progress ends.
She is pigeon holed in her role and takes up a caracatured personality (oh! Mako truu ruvv!!! and I will never be a spiritual person BREAK EVERYTHING).
its exausting. Yea one could say the writers don’t owe the fans anything. But it is the writers responsibility on how they influence our society via childrens programs. They hold a tremendous amount of power just on the fact that nick publishes them. ill be damned if they choose to neglect it in favor of making bullshit.
And its super frustratin because we FINALLY have a WoC to be able to look up to (for the newest gen. In mainstream media) but she is so poorly written and her actual presence pushed aside so much that it no longer her show (ie. Shows name is ‘Legend of Korra’) and her exsitence becomes almost pointless.
It is just hard to swallow the bullshit bryke keeps feeding us for “good writing”. yea ok they say they are dropping the romance (even tho odds are makorra is endgame) they are hiring new writers. I see they are taking steps to develop, but based on their noteriety I doubt they will take it further than they doing already.
So much wasted potential.
The politics, the theme of opression, revolution etc etc could have at least been explained or something and all we got was typical bullshit of sports action and romance it makes me fucking sick.
I want to cry. I really do at least the bryke-stans can do is fucking aknowlege that bryke has a major responsibility with our culture as Americans; minorities, majorities, people of color and all that jazz.
No fucking pressure or anything.
- bulletin boards… ALL OF THEM, COVERED IN OUTDATED ANNOUNCEMENTS AND UGLY FURNITURE FOR SALE AND THOSE ‘PULL OFF’ POSTER THINGS WITH LIKE, ONE SCRAGGLY ONE LEFT
- bike racks
- not enough parking spots, and really expensive parking stickers/passes
- that one building that isn’t handicap accessible so theres no elevator and hella stairs, and you have a class on the third floor
- the overly-inquisitive cafeteria worker, who actually wants to know about your day and your plans, a good counterbalance to the cafeteria worker who hates their fucking job so much you can hear them bitching about everything as they wipe down tables or whatever
- keycard access to dorm buildings. seriously. if they don’t have to swipe to get into the dorms, they’re not at college.
- unnecessary emails. so many. emails from departments you’ve never heard of for events that don’t involve you, “news” emails that you delete without opening, and all the important ones you need to read filter right into your spam folder
- peak internet hours, when everyone is on, and it slows to a crawl
- that one broken washer that floods and never seems to get fixed and that everyone just avoids using
- that club that always seems to be fundraising or selling things or soliciting whatever or signing people up and they’re always at a table by the cafeteria or inside the student center and they’re always like five people at the table and they have the ugliest posterboard advertising whatever they do
- a building that hasn’t been updated or fixed or anything since the 1960s. asbestos tiles, awkwardly sized classrooms, wtf color bathroom tiles (seriously, like mint green and salmon, wtf), if it was a thing in the 50s/60s this building has it and also slightly uneven stairs and stupidly heavy front doors
theres more, i’m sure, but this is what i can think of
- that one person on the dorm floor that talks to EVERYONE and has a weird idea of boundaries
- teenagers’ utter failure to wash dishes aka the communal kitchen in the building fills up with dirty dishes in the sink
- people who make the most amount of noise as possible at a certain time of night, yelling or banging on walls or generally being crazy
- that one dude who has arguments with his parents/girlfriend/whatever over the phone all the time and you can hear him clearly even though he’s in his room with the door closed
- conversely, that one person that always has their door open
- the insane mishmash of conversations in the cafeteria: stupid conversations about dumb shit like internet memes and fandom and things you watched on cartoon network when you were 10, conversations about relationships/drama/all that stuff, and serious conversations about philosophy or business or the merits of such and such a thing discussed in class
- terrible terrible terrible slabs of processed meat labeled as “steak” or “turkey” but which are better classified as “probably not really steak” and “possibly turkey”
- RAs. People always seem to forget that dorms have RAs in college AUs.
- Theme Houses — dude, Les Amis would totally all live in a theme house together
- beds that are impossible to get into without a running jump or a stool of some sort
- That one (non-cafeteria) food place on campus that EVERYONE goes to and it’s pretty much always loud and hot and full of people
- That one cafeteria station that’s your fallback if everything else looks gross because at least this one is trustworthy (aka the deli station)
Also, yeah, I’m always super confused when characters from different dorm buildings just waltz into each other’s buildings. You need a keycard to get into different dorm buildings and you can only get into yours.
- that crew in the lounge who play cards against humanity until obscene hours of the morning
- the confused delivery person who you didn’t order but neither did no one else
- the one person who is always forced to order the delivery and interact with the delivery people even if they’re not paying for it
- the room of dudes who adore scarface and generally make you kind of uncomfortable
- that professor you never realized was into punk rock
- that professor who pays for pizza
- at least one building on campus with an elevator you’re absolutely sure is a deathtrap but you occasionally have to take because you have to get to the seventh floor and there’s no time
- if cars are allowed on/near the campus, drivers do not give a shit about the pedestrian right of way
- similarly, pedestrians do not give a shit about the fact that cars are large and heavy and can kill them, because they have a class they’re already late for
- bulletin boards are everywhere, but only suckers restrict themselves to them—well-traversed halls and stairwells will be papered with fliers, along with ragged corners left from others being ripped down and miles of scotch tape left behind over the weeks and months
- every class has that one chair that no one wants to sit in, because it’s one careless shift away from breaking and dumping your ass on the floor
- buses are incredibly useful, and incredibly important, and the worse the weather is the more crowded and unbearable they will be. if it’s raining or snowing, be advised that every bus will be packed impossibly full of damp, sweaty students
- you will inevitably end up spending all of your time in someone else’s dorm room, even if there are 15 of you
- the cafeteria, towards the end of the week, will serve “meat”. Not pork or chicken or beef, but “meat”.
- if you’re like me, there will be a catering company using your dorms/campus for weddings and events and you won’t even know they exist until two years later when you start working for them
- how do you miss three weddings a month, across multiple parts of the dorms? i don’t know.
- drunken half-naked people doing the walk of shame at 5 am will cease to be interesting very quickly
- friends throwing snowballs at your windows to lure you outside will not
My 5-year-old insists that Bilbo Baggins is a girl.
The first time she made this claim, I protested. Part of the fun of reading to your kids, after all, is in sharing the stories you loved as a child. And in the story I knew, Bilbo was a boy. A boy hobbit. (Whatever that entails.)
But my daughter was determined. She liked the story pretty well so far, but Bilbo was definitely a girl. So would I please start reading the book the right way? I hesitated. I imagined Tolkien spinning in his grave. I imagined mean letters from his testy estate. I imagined the story getting as lost in gender distinctions as dwarves in the Mirkwood.
Then I thought: What the hell, it’s just a pronoun. My daughter wants Bilbo to be a girl, so a girl she will be. And you know what? The switch was easy. Bilbo, it turns out, makes a terrific heroine. She’s tough, resourceful, humble, funny, and uses her wits to make off with a spectacular piece of jewelry. Perhaps most importantly, she never makes an issue of her gender—and neither does anyone else."
- Chimamanda Ngozi Adichie (via shimbiryahow)
on a textual level, a female character can dress however she wants and shouldn’t be slut-shamed and hated for what she prefers to wear.
on a metatextual level, she might still have been designed with an intention to provide fanservice.
this means that criticising a design, as opposed to a character, is neither misogyny nor slut-shaming. being displeased about the way a character has been designed is not synonymous with hating her.
have i made myself clear?
i’ve raged on frozen pretty hard and i’m still really angry about the movie but i really want to make it clear that i don’t think my opinions about it should change yours. my love for the fairy tale of the snow queen and the WAY it was changed for frozen is what backs up most of why i don’t like this movie. i don’t have any problems with changes from the source material, in fact i honestly like that sort of stuff to happen with movies!! it brings interesting takes to stories you love. but for me this is something along the same lines as the oz and great and powerful movie; the oz series is one that focuses on mainly women and their journeys and their struggles and while it is interesting to think about the oz tale in the point of view of the wizard it still just seems to null the female viewpoint of the movie. and while frozen DID make the movie about sisters — which i love!!! it still plays things VERY safe, and a lot of plot points that was the movie trying to challenge the regular disney tropes still end up being void; the prince ana falls in love with at first sight ending up not being what she thought he was doesn’t matter because she STILL has another guy to fall back on, the sister story doesn’t really change things for me because it STILL erases so many amazing female characters and replaces them with male figures to help guide ana along. and i’m not okay with that.
Same, but add on the fact that the fandom turns into a giant pile of racist dickbags at the very thought of people wanting brown people to star in the movie instead turning me as far away from the movie as I can get and it’s my thoughts entirely.
I appreciate that Bryke wanted to make Korra’s journey distinct from Aang’s. One of the ways they did this was by having Korra stay in one place (compared to Aang’s worldly travels). Seems good, in theory. But I think the writers failed to realize how difficult it is writing consistent background…
I literally wonder where is Katara? why isn’t she doing something about this? every episode.
What happened to Katara seriously?
I also wonder why Katara was not involved in Korra’s upbringing and why she didn’t speak out about Korra’s sheltered childhood. I cannot imagine Katara would be okay with letting Korra grow up without friends.
I dunno, maybe the writers are setting us up to believe that when Katara lost Aang, she also lost a lot of passion and fire.
given her mysterious absence from Yakone’s trial, I’d say even earlier-when she got married? When she had kids?
That’s a great point. You’d think with her experience blood bending, Katara would be at Yakone’s trial to make sure justice is done. But maybe she wasn’t there because it would stir up terrible memories for her.
What exactly IS Katara’s job after the war? Does she take up a quiet stationary role in the Southern Water Tribe, like water bending teacher? Does she continue to travel the world with Aang as they all try to rebuild a peaceful world? Does she become a famous political writer? Does she become a vigilante? Does Hadoken move in with her when he becomes too elderly to live alone?
I think one of the biggest plot holes in LoK revolves around their representation of Katara and Kataang—-like why would Katara willingly allow Tenzin and Tonraq to lie to Korra and blame Aang for her imprisonment on the compound?
I loved Kataang during A:TLA—I loved the slow build and all their hugs and the great friendship they had. But honestly everything post A:TLA has been a huge letdown for me in terms of Kataang—the comics just seemed to go out of their way to shove Kataang down our throats in the most annoying way (what with all the ‘Sweetie’ this and the googoo eyes and marriage talk that—-c’mon they were still under 16!! Slow down goodness!!) and it just seemed ooc.
LoK Kataang is even more ooc for Aang and Katara—-I mean Aang as a negelctful parent? And Katara just letting him pull that type of favoritism crap?! I can’t see that happening, especially when she dealt with a strained relationship with her own father due to his absence and ‘need to save the world’. What’s more is they seem to have relegated Katara to the role of "the Avatar’s Wife/Widow and Baby-Maker"—not that Katara wouldn’t enjoy being a mother, I have no doubt that she loved being a mother because she was always a natural motherly figure and she has a very nurturing attitude. But that’s not all she is! And I can’t picture Katara—strong-willed, compassionate, stubborn, bossy, nosy, take no shit from no one, tempermental, greatest waterbender/healer in the world, social justice warrior, self-righteous Katara becoming the meek housewife who just lets her husband make all the decisions—hell no! Katara is a do-er, when she sees an injustice she’s the first to try to fix it. She wouldn’t have just stayed at home while Aang was out saving the world. She would have been an active participant in world affairs, raising her children, and rebuilding her tribe (the tribe that she as the last true SWT waterbender saved from the brink of extinction). She would have called Aang out early on his favoritism towards Tenzin and she would have called Tenzin and Tonraq out on their bs idea to keep Korra locked away. And what always irked me—she would have most certainly been at Yakone’s trial—because she was a skilled waterbender who had been exposed to bloodbending and knew how to break a bloodbending grip (and supposedly could bloodbend without a full moon). And what’s more, I can’t see Aang wanting Katara to be some meek housewife—he valued her opinion and her skill as a bender and her strong values when it came to justice—he would’ve made sure to seek her council and have her near by for support, both physically and mentally and for her perspective. Also, I get it! Aang died and Katara is sad—-but dammit stop only showing her sad!!! She would still be the happy, strong-willed Katara we knew—she isn’t lost without Aang and it’s been over a decade for christs’ sake! Can we see her being happy and enjoying the family she does have!?
TL;DR One of my biggest problems with LoK is the way it has derailed Kataang and Katara and Aang’s personalities/characters.
A person wakes up from a coma after five years. Write about how they deal with everything that has changed.
Given that the whole cycle of Avatars was actually representative of eastern religion and added a neat symbolic aspect to the show, yea, it would’ve nice to see more of it.
And it’s not like the previous Avatar knowledge was always good, that was what made it compelling. Kyoshi and Roku had very different approaches and Aang had his own approach, but Aang still heard them out and considered them (ya know, except for in The Promise when he out-of-character-ish broke off his connection with Roku for some reason, perhaps a foreshadowing of Book 2 of LoK).
Korra’s character — and apparently the theme of her story — is to deliberately ignore and cleanly break off from the wisdom of the past, from one’s ancestry and heritage. And that’s weird, and clashes with what the Avatar series was about. ALL of the main characters of Avatar — up to and including LoK — have had that struggle of heritage vs new self, and the answer was never “fuck the past entirely” until now. It was always about balance, about respecting and acknowledging your heritage because that was part of who you were, while also adapting to your own life and time.
Book 2 tried to tackle this and I think it did…and interesting job, but ultimately I can’t help but feel like the way everything went down was a little jumping the shark-esque and they hit a soft reset button because, hey, whaddya know, maintaining a long narrative and lore and world is actually HARD, or something. I guess I just thought that Avatar’s own creators were up for the task since they started an entire sequel series and made such a point in the intro of the past lives bit. =P