#Couched on specifically like. Older media and fandom culture examples

[pythonmelon]

If you get too obsessed with making your own character cool or badass or witty or sympathetic or a sexyman or ANYTHING that appeals to fans, you've lost. It feels too manufactured. Too fake. You can't go on in-text about a character's unimaginable cool guy powers or backstory sincerely without it sucking all the fun out cause it just tells you what to think. Just present the story, man. Don't be so self conscious about your writing that you force in a bunch of extra stuff to show how something is. Let the fandom design the completely needless alternate cool forms. Let them decide what is and isn't cool. If you have to entirely manufacture interpretations of your characters, you've lost.

[casadekeith]

I've had these thoughts going for a while, and I finally decided to put them to paper. Or, digital paper. You know. Typing. Voltron shipping is difficult to discuss for a lot of reasons (fear of harassment, doxxing, death threats, you name it). But I'm going to talk about something that's been on my mind a lot.

Something that gets my skin crawling is when people supplement ATLA names for things in VLD, aka "space Sokka" or "alien Ty Lee". It's something that legitimately bothers me as a creator, that folks will only forever see this staff for creating one successful IP. I don't do it often with TV, where it's more prevalent in children's shows (Butch Hartman, anyone?), and I try to do it less often with film (though directors do tend to have their own aesthetic and narrative style that carry from film to film). 

One thing I will say that is the same though? The ship wars. The ship wars from ATLA and Korra are not actually all that different from the ship wars in Voltron, and I'll discuss my experiences with both.

Oh, you. You thought this would be like a fake essay meme? Nah.

To start with, let's get some actual facts out of the way.

Joaquim dos Santos was a storyboardist for ATLA's season 2, and director on season 3. Lauren Montgomery also came on as a storyboardist during season 3. For the Legend of Korra, its sequel series, Joaquim returned as a director and Lauren returned as storyboardist and supervising producer.

Legend of Korra was animated as a collaborative part between Nickelodeon animation; Studio Mir, a studio in Korea; and Studio Pierrot, a studio in Japan (fun note: Korra is Studio Pierrot's only outsourced animation credit! Otherwise they seem to function strictly for Japanese animation and have done some of my favorite works).

Joaquim, Lauren, and Studio Mir (and some staff, Ki Hyun Ryu for example) stepped up and wanted to do an updated Voltron adaptation/remake. They've been successfully partnered with DreamWorks and Netflix starting production in 2014 to its successful 6th season to date (summer 2018, for potential future readers).

"What does all this have to do with ship wars?"

Well... Kind of everything, to be perfectly honest.

My experience with ATLA came a little late. When it started airing in 2005, I was already in my second semester of college. I was just-turned-17, a theatre major (for my scholarship), having to take at least 32 credits to keep my grant, and working part time while also being an art student. (Advice: Don't do that to yourself. Make better, healthier choices than I did.) So I didn't get much free time to sit and watch tv. I think of that first season, I saw maybe 5 episodes. I did manage to catch the first episode when it aired, and enjoyed it! I didn't catch much of season 2 at all ("Secret Tunnel" was the only episode that I can remember of that season I caught). By the time season 3 was airing, I'd already left college and had made the first of many cross-country moves by myself. And while I didn't have cable TV where I was, I had the internet. And I had a lot of friends who lived and breathed ATLA, and subsequently its shipping culture.

I wasn't new to shipping then (come talk to me about how riled I get with the Magic Knight Rayearth anime or Sailor Moon sometime), but the level of passion in the ATLA shipping culture threw me back a bit. LiveJournal and AIM chatrooms were the place to be at that time, and I saw so much hate thrown back and forth between two specific ships: Aang/Katara and Zuko/Katara. I saw arguments, I saw some mild hate campaigns, I saw harrassment, I saw pedophilia accusations toward Aang/Katara shippers, I saw accusations that fans were "baited" for Zuko/Katara by the production staff.

This type of thing kept me from ever watching ATLA until several years later on my own when a lot of it died down. And looking at it from an older, more critical eye? It was clear to me from episode one that Aang/Katara was going to be the ship if romance were to happen. I honestly to this day don't give much care for any ships in ALTA (except Sokka/Suki those sweet summer kids), but by film language alone, I could tell. "How, Jack? How could you tell from episode one?" Because it's a very common thing in both film and television (and now video games as it progresses more into a serious storytelling medium) to have a soft lingering shot of a character's face from another's POV.

Namely, these two specific shots:

Katara being the first person Aang sees when he's rescued from the ice and wakes up. That shot alone pretty much told me "oh if there's romance, it'll be these two". I'm begging you, go back and watch some of your favorite long-series romance and pick out when this happens to any canon couple. It's very common! Film studies, it's fun, and I highly encourage folks to get into it.

So what does this have to do with VLD?

Besides some of the same staff, a lot of people have gone into VLD expecting it to be another ATLA or Korra. They came in with expectations, some that are just not being met anymore. Not much has actually changed since ATLA ship wars: I still see harassment, death threats, accusations of pedophilia. The only thing that has changed is our means of communication and how shippers put it to use, and the climate of the internet itself.

While folks on the internet have always rallied for social change, in recent years it's become more and more prevalent. The only way to safely consume a media is to make sure it has no problematic elements whatsoever, otherwise you're a hypocrite. The only safe way to be a fan of a celebrity is to make sure they've never said anything that can be construed as problematic, or you're a hypocrite who stands for the very things they believe is an issue. Nowadays, with the rise of internet being weighed down with the struggles of real life people all over the world, actions certain governments are taking that make everything seem bleak, a lot of younger folks feel the need to couch their fandom experience in purity politics. If they aren't consuming the purest media, then they're as bad as oppressors (nevermind which oppressors, or what their own personal life experience is or isn't).

What I'm saying is: the reactions, harassment, threats, the salt channels, and overall arguments of shipping for VLD are the same as they were for ATLA. The difference is how it's presented. With ATLA, it was fan entitlement through and through, interpreting some scenes to mean something, then upset when it doesn't pan out the way they had predicted. With VLD, it's still the same fan entitlement and unhappy shouting when the show doesn't follow expectations, but now with the pretense of morality.

One other factor that's changed over the years is the public connection between studio staff and fans. Before, it was maybe possible to see or speak with staff at a convention or press meeting, but you would otherwise send fanmail to the studio. Nowadays, everyone's plugged right into most social media networks together with no one to filter harassment before it gets to the staff's eyes. With that ability, the rise of attendance in large conventions, and the animation industry having more information available about its process and upcoming seasons, fan entitlement has only grown and a lot of the more vocal fans feel the series is theirs rather than a story someone is sharing with them in a visual medium.  

The reasons behind ship wars 10 years ago are the same as they are now, just dressed up in a new outfit in an attempt to be more legitimate than "I don't like that ship".

What I'm getting at ultimately is this: your ship hate isn't new, dressing it up as morality isn't profound, and literally nothing excuses harassment or death threats sent to other fans or production staff. Thanks for coming to my ted talk from an older fandom person's perspective.

*Disclaimer: In no way am I saying someone is or isn’t allowed to ship a thing. Ship it! Ship what you want! Just don’t be an asshole about it to other people, y’know?