#for the record: killing people is an expected thing in wuxia

[qilingxiong]

for all the threatening and light-to-intensive manhandling that di feisheng does, it's my firm headcanon that he's never actually followed through on genuinely torturing someone by his own hand. either because he didn't need to, but if not that, then because he didn't want to. it happened in jinyuanmeng, obviously, but i don't see that as something he would have carried out himself ("never again", he thinks of the child trapped in the di mansion, of how his own body keeps the score). and if he did, he wouldn't have taken pleasure in it.

fang duobing, on the other hand, is the protagonist whom we witness supervising forced interrogation in canon, and between that and the fact that he'll call di feisheng a 大魔头 to his face while having what i'm fairly sure is the higher onscreen kill count, i adore the subversion of the archetypes these characters seem to be on the surface.

[moviemunchies]

Imagine something like Iron Fist except a big budget movie and much higher quality--wait bump that, imagine what Iron Fist SHOULD have been, and you’ve got something very much like Shang-Chi and the Legend of the Ten Rings.

The Marvel Cinematic Universe does not have a great track record with Asian representation. There was the whole controversy with the Ancient One in Doctor Strange and the depiction of the Hand in the Netflix shows, it’s not been anything to brag about. So when Marvel announced they were making a big budget movie about Shang-Chi, and finally tying up that loose end about the Mandarin that Jon Favreau was building up to until Iron Man 3 killed that Plot with a sledgehammer.

And you know that’s kind of fair because I don’t know how someone would adapt the Mandarin to a live-action Iron Man film in a way that wouldn’t be offensive. I say that as someone who is not that into Iron Man comics so maybe I’m wrong, but it sounds like a pretty difficult thing to pull off. So how does one deal with it?

Why by putting him in a movie about an Asian superhero, of course!

In the comics Shang-Chi’s father is Fu Manchu and that presented a lot of problems in adapting to a wide audience: first, that Fu Manchu is an offensive Yellow Peril villain, and second (and probably more important to Disney, let’s be real) there are some issues with film rights with that character. The Mandarin is heavily based off of Fu Manchu anyway, so the MCU decided to conflate the characters. And actually make him not a Yellow Peril stereotype. And also make him a fantastic character.

Xu Wenwu was an ancient Chinese warlord who discovered the Ten Rings, armbands of unknown origins that grant their wearer eternal life and amazing powers. He built up an empire, and later a criminal empire, also called the Ten Rings, but was always after more. He learns about a hidden mystical village called Ta Lo and wants to find it to gain their cool martial arts and magic. He doesn’t even get to the door though, because the guardian Ying Li is able to beat him despite his Ten Rings. Wenwu keeps going back and ends up falling in love--he gives up the Ten Rings (the artifacts AND the organization) and marries her, and they have two children: Shang-Chi and Xialing. Except then Ying Li dies and so Xu Wenwu goes back to crime. He trains Shang-Chi to become an unbeatable killing machine when he’s a child, and when he’s a teenager sends him on a mission to assassinate an enemy of the Ten Rings.

Except Shang-Chi doesn't want that, and he runs away and years later he lives in San Francisco and works as a valet driver with his best friend Katy. It’s a basic life, but it has nothing to do with crime or killing people so he likes it. Except then the Ten Rings are after Shang-Chi, so he’s got to find his sister Xu Xialing and figure out what it is his evil father wants with them.

This, like the other MCU movies, is an action movie, but this is also a wuxia film. As a result it has some of, if not the best fight scenes out of any Marvel film. Definitely better fight choreography. 

Shang-Chi is a lovable protagonist--I think had the film come out like a decade ago they would have gone out of their way to try to make him a Cool Guy type of character who is nonchalant about everything and made his entire motivation a designated love interest. Not so here! He’s a bit of a dork that would really rather be chilling out with his best friend. But he’s willing to risk everything to save the people he cares about. He’s likable, he’s relatable, and he’s fun, but not in a way that feels as if he’s some kind of sarcastic quip factory always cracking jokes. He’s a guy trying to figure out who he really is who just happens to be a badass martial artist.

Xu Wenwu is actually kind of a fantastic villain? I remember seeing articles and headlines claiming that he was a really well-developed and complex villain, and I wasn’t sure what to expect going in. People said that about Hela, for instance, and while she’s fun to watch she’s not all that complex. Xu Wenwu actually is interesting though. I will admit that it’s a bit frustrating that there’s another fridging of a female character in his backstory, but I think his character arc still mostly works and elevates him to being more than just a Fu Manchu villain that he might have been had the original angle for the Mandarin been kept. Yeah, he’s terrible, but not so much that you don’t kind of sympathize with him. I have a weakness for stories about twisted familial relationships, so I really liked his character and his arc.

I found Shang-Chi’s best friend Katy is a fun character, but that doesn’t change that her role is almost entirely comic relief. That might bother some in the audience. However unlike some comic relief characters, she isn’t useless dead weight--she contributes to the action in several scenes. Notably she’s established fairly early on as a skilled driver, and this comes up more than once as something necessary for the Plot. And she goes through her own character arc like Shang does, albeit with less development (which makes sense because one of them is the title character and the other isn’t). What I am afraid of is that a future sequel might refuse to develop her further and just fall back on her comic relief role. Which is funny, but there’s more to her than that.

There’s also Xu Xialing, Shang-Chi’s sister, and this is where the movie’s going to have some problems for some viewers. She’s not a bad character at all; she’s a great character. But her backstory--being the daughter of Xu Wenwu but not being trained as a warrior because sexism, so she taught herself martial arts, started her own little business, and can easily keep up with Shang-Chi--probably makes her a more interesting character to a lot of people, and that’s something I can’t really argue with. Which means that once again there’s a badass capable and interesting female character playing second fiddle to the male lead. That’s more than a little frustrating. I didn’t mind so much because it’s not as if she’s sidelined--she’s still an important character to the narrative and has plenty of really cool on-screen moments. But I understand that many viewers will take issue with this, and this is a recurring problem Marvel has had. There is a promise that she will feature even more in a sequel, but it’s not like Marvel always keeps its promises in that regard, and no one should have to wait on another movie to get full enjoyment of the one they’re watching right now.

And yes, this is a martial arts movie, but it is also a Marvel movie and that means that it’s very special effects heavy. You probably knew that going in, but I recall while watching the movie thinking about how there were several scenes that were probably entirely green screen. And some of them had to be, those that showed fantastical creatures and environments. I imagine that if it wasn’t a big budget feature heavy on special effects it wouldn’t have been made as a movie instead of as a television show on a streaming service. If you were hoping that the martial arts trappings would make it feel less like a Marvel movie (which I kind of was), I can’t say that this film does that. If you do like Marvel movies there’s a few little hints about what’s to come by the time the movie’s done. 

Still, that doesn’t change that it’s a pretty good movie, with fantastic fight scenes, and a solid, likable cast of interesting characters who are fun to watch on screen. It’s still a Marvel movie, with all that entails, but it’s a solid entry in their cinematic universe that does something a little different--albeit not different enough to feel too foreign. I liked it. I had fun. I don't think it's a must-see unless you’re a Marvel fanatic or want to see their take on a wuxia film, but it’s a good time at the movies.

[hello-robin-goodfellow]

THE DIFERENT CYCLES OF NOSTALGIA FILTER

Most of the nostalgia towards the past is based on Nostalgia Filter. The good stuff is remembered and the bad stuff ignored, forgotten or not even taken in account. When it's about a time period Two Decades Behind people will be nostalgic for it because they experienced it themselves, but from the viewpoint of a child or a teenager, when they didn't have to worry about all the adult stuff that depresses them nowadays, because the grownups took care of all that: taxes, work, bills, tragic news events,... If the nostalgia is about a time period people didn't directly experience themselves the romanticism is even more rampant. People will base their rosy posy image of that time period on stuff they have seen and read in books, comic strips, cartoons, TV series, films, old photos and/or fond memories of older family members. Usually they aren't aware that many things they now take for granted didn't always exist back then or were still considered highly controversial.

The glories of Ancient Greece and Ancient Rome where the cradle of philosophy and science started, everyone is able to enlist in the army (well, if you weren't a woman or a slave, of course) and see the world while doing so. You can go and enjoy watching Olympic Games, a play in the theater or watch exciting gladiator battles in the arena, philosophers like Socrates, Plato, Aristotle and Virgil are respected as pillars of their societies, and people were opened to sex and LGBT as opposed to the close-minded Christians in later centuries. Not taken in account: class systems, people dying early of diseases we nowadays have proper treatment for, slavery, democracy only for rich upperclass males citizens, bloody battles, Roman military service had to be fulfilled several years! before you could retire and start a civilian life, women having no rights, not even allowed to watch sporting games, xenophobia was so prevalent that would make modern prejudices and bigotry look tame, scientific contributions were more based on superstitions and empirical and weren't always based on logic (see Plato's and Aristotle's works), pederasty was the only accepted form of homosexuality and it was punishable if a relationship did not fit in those criteria (also it was only tolerated in some city and states), Roman sexuality was still arguably patriarchal and not all sexual taboo was acceptable (ie. a wealthy man get away with his slaves while married women were expected to be faithful, oral sex was considered shameful).

The thousand years of Chinese dynasties up until Republic was the time where people dressed in beautiful colorful haifu with good etiquette and manners, scholars were appreciated, education was valued as opposed during the Cultural Revolution, the Tang Dynasty was the golden age of prosperity and where women has more rights than any other periods. Not taken in account: the Confucians were oppressive against the lower social classes, the caste system, education systems were corrupted with many scholars and students were promoted based on bribes rather than actual skills, women were still considered inferior in the Tang Dynasty, the royal court were so deadly and decadent that would make the place in wuxia media look tame, slavery, the rebellions and civil wars (ie. The Three Kingdoms, An Lushan Rebellion, Taiping Rebellion) that were very common that cost million of lives that went unheard of and resulted in many famine and diseases that led to cannibalism, footbinding was practiced since the Song Dynasty, xenophobia was prevalent including against their sister countries like Japan and Korea.

The Middle Ages are usually romanticized as a glorious past with chivalrous knights fighting for the honor of beautiful princesses, proving their worth in tournaments, stuffing themselves at royal buffets with the kind old king, and defending castles against malevolent invaders. Not taken in account: The Plague, wars, mercenaries and soldiers plundering farms and villages, filthy streets, people dying at a young age because of insufficient knowledge of diseases, the injustice of the feudal system, monarchs and the Catholic Church being oppressive towards people with other viewpoints, high illiteracy, people executed and tortured for audience's pleasure and often without anything resembling a fair trial, women considered being lesser in status than men, famine whenever harvests failed... Ironically, the part that was arguably good, the Byzantine Empire (with its extremely high literacy and such luxuries as running water) is usually overlooked or completely ignored.

The Renaissance and The Enlightenment are the time when society finally got out of the bleak, primitive and God fearing Dark Middle Ages and gained wisdom by discovering a lot of stuff. Kings and queens never looked more magnificent. Artists and sculptors painted the finest works and humanists, philosophers and Protestants learned humanity to think for themselves. You could enjoy a Shakespeare play, listen to baroque classical music or have a swashbuckling duel. Not taken in account: A lot of new thought and discoveries in the field of science were very slowly adapted into society. Mostly because a lot of royals, religious authorities and other government officials suppressed these "dangerous" new ideas. Compared to those "primitive" Middle Ages more people have been hanged or burned on the stake for their beliefs and/or on the assumption that they were witches during the 1500s, 1600s and 1700s than in the centuries before! The Reformation and Counter-Reformation divided Europe and caused many casualties. All the great books and art works created during this era were only enjoyed or experienced by the very rich. Wars still ravaged Europe, colonization exploited other continents, slavery became a real industry and absolutism made the monarchy and nobility so powerful and decadent that they didn't care about the lower classes. Duels weren't glorious at all, just a matter of killing off your opponent.

The Golden Age of Piracy is one big adventure where you could go on a boat trip with pirates and have fun attacking other ships, taking gold and bury or search for treasure on some Deserted Island. Men were real men with a Badass Beard and cool looking eye patches, hooks for hands and wooden legs. Not taken in account: scurvy, people forced to do what their captain told them, your ship being attacked by other ships and losing, keelhauling, loot just being spent instead of buried, anti-piracy laws could get you arrested and hanged, storms could destroy your ship, all the cool looking eye patches, hooks for hands and wooden legs were just practical solutions for grievous injuries suffered during fights, and the fact that most of the Caribbean economy was reliant on the slave trade. There were also plenty of brutal attacks on helpless villages, indigenous communities, plantations, civilian ships, and even colonial settlements. In addition to helping themselves to everything that wasn't tied down, pirates would also torture, murder, enslave, and/or rape men, women, and children indiscriminately just for their own sick pleasure.

America's Wild West is a fun era where you could roam the prairie on a horse, visit saloons and shoot outlaws and Indians. Not taken in account: slavery was not abolished until deep in the 19th century and still going on in many colonies or remote place in the American South, cowboys took care of cattle and didn't engage in gun fights, gun violence was just as illegal as it is nowadays and could get you arrested by local sheriffs, outlaws could actually remain on the loose for several years, Native Americans being massacred by white settlers and armies, black people having no basic human rights, The Ku Klux Klan was a respected organization...)

The mid-to-late 19th century and early 20th century were a classy time period where everybody was impeccably dressed and had good manners. You could take a coach ride or (later on) test the "horseless carriage", read some of the greatest novels in history, listen to the first records or even the great Caruso in person, admire the wonders of electricity and enjoy a world still untouched by modern industry. Life in the colonies was even more fun because you so many countries were still unexplored territory and the ideal place for adventure. Not taken in account: Victorian values were dominant, women couldn't vote, poor people couldn't vote, industrialization didn't have any health, safety or ethical rules to obey, child labor was rampant, workers had no rights, factories were very harmful to people's health and the environment, city rivers were open sewers, upper class had all the advantages upon the lower class, people could be sent to the poor house when they couldn't pay their debts, many novels were just pulp (think of it as the 19th century version of Internet) and music was strictly symphonic, the first automobiles were as dangerous as electricity, colonization was great for white Europeans but not as much for the oppressed native populations of Africa and Asia, animals were still hunted down as trophies, people who looked different were exploited in freak shows and circuses for spectators to Come to Gawk.

The Interbellum (1920s and 1930s): Between the two world wars, life was great. Everybody went to night clubs and/or revue theaters where they could enjoy great jazz music, girls and comedians. Movie theaters were a great place to be, because fantastic cinematic masterpieces were made. On the radio you could great music and serials, and newspapers published the best and most engaging comic strips ever printed. Not taken in account: From 1920 until 1933 alcohol was prohibited in the USA, so having an alcoholic drink was impossible without getting arrested or dying because of bad homemade brew. Crime was able to organize itself in a way that will probably never get untangled again. Many people got murdered in gangster violence. Jazz music was initially seen as "barbaric" just because it was made by blacks, and it had to be adapted to symphonic music to make it well-known. Hollywood in its early years was subject to more scandals than ever since, leading to a industry-wide censorship that lasted until the 1960s. The Great Depression between 1929 and 1940 caused major unemployment and poverty in many civilized countries, also forcing quite some people to start a life in crime. The "Dust Bowl" generated a desertification of the Midwest. Germany was particularly struck hard, because the country was still paying huge war debts to other countries, causing mass poverty and the ideal atmosphere for Nazism to gain voters. Many countries during this time period suffered under either Nazism, Fascism or Communism. From 1933 on Jewish, homosexual, Romani and left wing people were already persecuted in Nazi Germany, at the same time disagreeing in anything with Stalin meant a one-way ticket to Siberia. War was already brewing in Europe and the Far East, when Japan invaded China and South East Asia. Many countries were still colonies, which wasn't a great deal for the natives there. Afro-Americans were still second class citizens and the Ku Klux Klan was still quite powerful in many political circles.

The '40s and World War II, the time where the entire world was united against a common evil foe and soldiers could still fight a just cause. Everybody worked together to defeat the Nazis or Japanese, while enjoying great Hollywood films and jazz and big band records on the radio. Not taken in account: Not everyone was united against the Axis. Numerous people (even Lindbergh and Ford) didn't consider Nazism or Fascism anything bad or felt their country should stay neutral in the war. During the occupations many people on both sides were arrested, deported, and/or murdered. People couldn't trust anyone, because your neighbor might be a Nazi collaborator or a spy who would turn you in to the authorities. The Nazis banned American and English music and films in Europe, so you could get in big trouble if you tried. Also, you know, there was a big war on. Millions of young soldiers were drafted and died on the battlefield, cities were bombed and occupied by enemy armies, you could die any day, shortages were rife.

The '50s: The last truly great time period in history. Music, films, politicians were nice, clean and decent. There was a general optimistic feeling about the future, exemplified in sunny fashions, interiors and technology. The youth enjoyed some great rock 'n' roll on their transistor radios and the early TV shows show how happy and pleased everybody was. Not taken in account: the Cold War, the Red Scare, anti-communist witch hunts, the Korean War, the French Indochina War, many European countries tried violently oppressing the inevitable independence of their colonies, Afro-Americans were still second-rate citizens in the USA and had to fight for human rights, homosexuals were forced to keep their sexual identity silent in many countries, the traditional role of women as housewives was still encouraged in many Western countries, a lot of music in the hit parade was still the bland, square, formulaic and sappy crooner music popular since the 20s, adults were scared of early rock 'n' roll and actually did everything to suppress the youth from listening to it and becoming teenage delinquents, the TV shows and films of that decade were so escapist that they ignored every controversial element.

The '60s and The '70s, a great time when everybody was a beatnik or a hippie and enjoyed fantastic rock music, marijuana, LSD and free love. People chased bad guys with their own hands with cool funk and disco music playing in the background. The young demonstrated for more democratic rights and everything changed for the better. Not taken in account: the older generation looked down upon hippies, the Vietnam War cost many lives, The Cuba Missile Crisis nearly caused a nuclear war between the USA and USSR, Afro-Americans still had to fight for civil rights, just like today there were just as much idealistic but naïve demonstrators who merely wasted time smoking pot instead of actually doing something, drug casualties were just as rampant back then as they are today, people took the law on their hands because of the alarming crime rates, not helped by the extreme corruption of police forces, psychedelic rock, funk and disco are now confined to sit in the shadow of both rock-and-roll and modern pop music, to the point that for decades, these were considered as the most cheesy genres created by man, [[not all demonstrators were pacifistic in their approach and it's an open question whether everything actually changed for the better.

The '80s: Oh yes. A great decade for pop culture after the sordid '70s and before everything went to the gutter in the '90s: Everybody felt a bright future coming along, as demonstrated by good TV shows, groundbreaking technology, computers and videogames, colorful clothing, simple yet catchy pop music and finally a TV channel that showed your favorite bands 24/7. The Cold War came to an end, the Berlin Wall and Apartheid fell. Not taken in account: The early 1980s had many people fear the Cold War wasn't going to end well. The Latin American debt crisis. President Reagan wanted more nuclear missiles in Europe, envisioned the Star Wars defense system and the "Evil Empire" speech reflected the "Red Scare" at a time "the Bomb" was still making everybody nervous. The Cold War, Berlin Wall and Apartheid did fall, but only near the end of the decade. Unemployment and economic crisis were a huge problem in many Western countries in the early years of the decade and the high speculation led to a bubble which fatigued in 1987 and burst in 1989. AIDS caused many victims because governments were slow to inform the general public on this disease as most people at first dismissed as just a problem for blacks, gays and drug users. TV shows and movies were extremely escapist and PCs and video games were prohibitively expensive. MTV did bring music videos on TV, but the downside was that how a pop star looked and danced became more important than the music, which was now created by computers, becoming increasingly sappy and repetitive as samples became the norm, becoming a disadvantage for those who still wanted to use actual instruments, chords and tunes. Metal and rap were seen as crime-mongering and even "satanic" as a whole. Also drugs went artificial during this time, turning Florida into a Crapsaccharine World. The nuclear power plant explosion in Chernobyl caused another major fear among people about the dangers of nuclear power.

The '90s and The Aughts: Dude. The Cold War has ended, and though some pesky Arabs (and some nutcases in the West) will try to blow people up and some Central European countries will be at each other's throats, there is peace at last! Outsourcing has lifted the West from the heavy load of manual work for good and turn to technology, and anyways, isn't the Internet wonderful? Society and culture are now free to break all imposed boundaries: Music has become more authentic with the arrival of rap, hip-hop, grunge and pop-punk. TV and movies now address modern issues instead of being stuck in those stodgy 50s and 60s. Politicians at last agree on stuff and generally get along. Whatever. Not taken in account: While a couple of years in the late 1990s were quite peaceful, the years before were marked by the extremely chaotic rearrangement of the former Warsaw Pact nations and the decade after was dominated by the Iraq War and memories of 9/11. The "technological revolution" ultimately never became the boon it was supposed to be: Economically, the exodus of manufacturing jobs forced the middle class to live on debt, which would give way to an economic meltdown by the end of the 2000s while privacy would gradually become a major source of concern as personal data became readily accessible. During the 1990s, the Internet was very expensive and was the province of businessmen and geeks while during the following decade, online downloads and chatrooms became incendiary topics. Grunge and "gangsta rap" were better known at their peak for the demise of several of their stars than for the music while hip-hop and pop-punk would be regarded in retrospective as trashy as the bubblegum pop that dominated the late 90s. By increasingly appealing to the trendy set, TV and film became increasingly shallow. While ideological differences became a thing of the past, politics became more self-serving and conflicts became pettier. As a result, people began to feel a sense of disconnection, which eventually led to the rise of strongly ideological populist movements.

SOURCE:

https://tvtropes.org/pmwiki/pmwiki.php/Main/NostalgiaAintLikeItUsedToBe

EXTRA: IN THE DISTANT YEAR OF 2045.

The New '10s and New '20s : Remember that meme? Do you have a Harriet doll? I need her to complet my My Little Poney: Friendship is Magic and Equestria Girls collection. Do you want to exchange her for my Fluttershy doll? Oh, do you like Lady Gaga? Her music was so deep. “Oppan Gangnam style. Gangnam style. Op, op, op, op oppan Gangnam style. Gangnam style. Op, op, op, op oppan Gangnam style. Eh sexy lady. Op, op, op, op oppan Gangnam style. Ehh sexy lady, oh, oh. Eh, eh, eh, eh, eh, eh”. Oh, i love your funko pop of Baby Groot!  “ Gotta get that. Gotta get that. Gotta get that. Gotta get that that that. Boom boom boom (Gotta get that). Boom boom boom (Gotta get that). Boom boom boom (Gotta get that). Boom boom boom. (Gotta get that) Boom boom boom. That boom boom boom. That boom boom boom. Boom boom boom”. Avengers Assemble! 

Not taken in account: The Syrian refugee crisis. The burning of the Amazon jungle. Donald Trump as the american president. Jair Bolsonaro as the brazilian president. The Covid-19 Pandemic. Navy oil in the beachs of the brazilian north east. The Brazilian Cinematheque getting closed. Height of murders of LGBTQ in Brazil. Disney monopolizing the american TV an Movie Industry.

@theroguefeminist @ardenrosegarden @witches-ofcolor @mademoiselle-princesse @butterflyslinky @anghraine @notangryenough @musicalhell @rollingthunder06 @graf-edel-weiss @princesssarisa @culturalrebel @irreplaceable-ecstasyy @im-captain-basch @iphisquandary @jonpertwee

[loopy777]

Since you are asking Lok type questions decided to ask one. Ozai was a villain that had potential (Shishio's Mantra comes to mind) but overtime his depth came across as a flat piece of Cardboard with a tape recorder attached. Thanks The Search. Flash forward to LoK we have Unalaq that retreaded similar territory. This is where my question comes in. What would you have done with him, what motivations would you give, and what sort of relationship would you have given him to Korra and the cast?

I’ve been delaying answering this Ask because when I normally do these kinds of ‘rewrites,’ I try to hone in on what it seems like the story was trying to do, and see if I can reconfigure or streamline the ideas in play to create something clearer and more impactful. That’s a lot easier than what the original storytellers had to do- start from scratch and build something from the ground up. I’m essentially doing another draft of their work, with the benefit of having experienced their vision and knowing what worked for me and what didn’t.

But wow, it is hard to do that when nothing worked for me and I’m just left confused about what the original intention was, or if there was an intention at all.

OH HAI BOOK SPIRITS.

You bring up Ozai as a fairly flat character, and I agree, but I never expected more of him. (Whether the comics could or should have added something to the character is an open question, and not one I’ll get into here.) He is a symbol of the bad parts of the Fire Nation, cast in the form of the ‘evil warlord’ archetype that’s so prevalent in the Wuxia genre that AtLA draws from.

Similarly, the villains of LoK all represent something, but they add some complexity of character to things (although of course some were more successful than others). Amon is intolerance and weaponized blame, but coming from a terrible childhood that created a self-loathing he couldn’t grow past. Zaheer is anarchy and ideological extremism, but he has that intriguing affability that alone of all villains lets him sit down with the protagonist and make some good points in conversation. Kuvira is dictatorship and nationalism, coming from the lack of identity she developed as a result of being orphaned.

And then we have Unalaq and Book Spirits.

And I just don’t know what’s going on in that season.

There are several different subplots in play - the Water Tribe Civil War, Varrick’s takeover of Asami’s business, the rise of the dark spirits, Korra and Mako’s romance, whatever is going on with Tenzin’s family, and the little movie about Avatar Wan - but none of them work together. They don’t share themes. They don’t advance each other’s events. They mess with each other’s pacing. They separate the cast before a sustainable dynamic has been developed. It’s just a mess.

Varrick gets the closest to working, because at least I understand some of his motivations. He’s doing bad things to try to help his Tribe in the war with the Northern Tribe, which is sympathetic, while serving as a flawed mentor to Bolin. But then he’s also sabotaging efforts to get weapons to the Southern Tribe so that he can bankrupt and buy out Asami’s company, which directly contributed to his Tribe losing the war. It’s a mess, and the story never reconciles these two contradictory aspects of his character.

Varrick could have been fixed by either eliminating one of these subplots (either make him a patriot driven to doing bad things, or make him a greedy jerk who’s exploiting his Tribe’s troubles to steal Asami’s company), or making the contradiction the point of his character. His flaw could be his greed, and he fails to balance it with his patriotism, to the point where he defeats himself. I don’t think this is what the cartoon was trying to do, because there’s no payoff to this flaw in the story. Varrick never shows such greed in his later appearances, and there’s no point in Book Spirits anyone seems to even be aware that he sabotaged himself.

But then there’s Unalaq. And I- I just don’t know what’s going on with this guy.

He’s introduced as something like a religious fundamentalist. He’s down on celebrating a spiritual festival with a carnival. He offers teachings to Korra that contain secrets even Tenzin and the White Lotus don’t know. He’s friends spirits to the point where they’re acting as his informants. And his ultimate goal is to release Vaatu and bring about TEN THOUSAND YEARS OF DARKNESS. There’s a possible cautionary tale there about religious extremism and fundamentalism, that it turns people into misanthropes and forms a path to violence and oppression.

But, unfortunately, there’s more to Unalaq. His backstory includes manipulating his brother and enemies of their Tribe to destroy a sacred forest so that he could be made crown prince. He takes over the Southern Tribe for seemingly no reason, oppressing it just to further antagonize his brother, directly trying to kill his brother, and manipulating Korra into doing his dirty work- all eventually leading Korra to cut ties with him and become his enemy.

But Korra is the key to his whole plan to bring about TEN THOUSAND YEARS OF DARKNESS!

So, we have another self-sabotaging villain. Maybe that’s the point? But what is this story saying? That religious extremists are really just flawed hypocrites, despite their posturing? But the story continues on from there, and Unalaq actually succeeds in getting Korra to redeem the plot coupons that free Vaatu. So his flaws didn’t ultimately matter to the story. Korra isn’t even able to successfully rally any opposition to Unalaq, thanks to Varrick and her conflict with Mako. So, again, what’s the message? That religious extremists are really flawed jerks, but the people who oppose them are also flawed jerks, so it’s all a wash? But then Korra gets new magic powers that ultimately let her defeat Unalaq, so what does that add to the message?

I guess it’s saying that we’re all doomed to TEN THOUSAND YEARS OF DARKNESS by our flaws, but it’s okay because a Higher Power will just come along and fix things for us?

Yeah, I don’t think that’s the intended message of Book Spirits. :P

But we all know Book Spirits stunk. We all know it was rushed in development. The original plan was to just do the story of a Water Tribe Civil War, and then when additional writers were brought on to help meet production deadlines, the whole Spirit World subplot was added. The result is a mess that’s infamous in the fandom. LoK would recover in the next season, and we now laugh at Unalaq.

Well, I’m going over all that to explain why I’m not sure how to 'fix’ Unalaq. I can’t identify a goal for him, or for any of the characters.

So on a whim, I’m going to try to base him on my favorite (neglected) subplot in LoK as a whole, the lack of spirituality in the modern world.

It was established in the very first episode of Book Air that Republic City is flawed. The city that Aang built is riddled with organized crime. The people are all mean. Equalists are a growing movement, and they might possibly have a point about the power imbalance between Benders and Nonbenders. The leadership is all either corrupt or ineffective, and also mostly jerks. Tenzin says, “I have done my best to guide Republic City towards the dream my father had for it, but you are right. It has fallen out of balance since he passed.” Korra soon after promises the people, “Look, all I know is Avatar Aang meant for this city to be the center of peace and balance in the world, and I believe we can make his dream a reality.”

So I think Unalaq has the most potential as someone focused on the same goal as her, restoring balance and spirituality to a world that has gotten lost in its own modernization. I’d cut out his conflict with his brother Tonraq; in my version, Unalaq never manipulated his brother into getting exiled. Tonraq did that on his own. Unalaq’s oppression of the Southern Tribe doesn’t extend beyond imposing his own religious fundamentalism on them. Maybe he even tries to butter Tonraq up to get his brother on his side, and to keep Korra as a willing ally.

And, most importantly, I wouldn’t give Unalaq any hidden agenda. He’s not plotting to unleash TEN THOUSAND YEARS OF DARKNESS. He doesn’t even know about Vaatu when the story starts. He puts his plan of taking over the Southern Tribe into action simply because he learns of Korra’s mission, and is overjoyed that he finally has a powerful ally who sees the corruption in the modern world. Perhaps he previously considered Tenzin as a possible ally, but Tenzin was turned off by Unalaq’s extremism. (Which is the first warning sign for the audience. Tenzin thinks this guy is too down on modern society?!) We can keep the part where Korra cuts ties with Tenzin because of the revelations about her past, going along with Unalaq despite her misgivings.

So Korra learns super spiritualism from Unalaq for a while. He shows her how to destroy dark spirits. (Neither of them know what’s up with the dark spirits, just that it’s suddenly a problem.) They work together to decry modern corruption. They make the Southern Tribe go to church once a week under penalty of law. Perhaps they go up to Republic City to try asking the citizenry if they’ve considered letting the light of balance into their lives, check out these pamphlets, etc.

They discover that the Dark Spirits are a result of the modern world’s corruption. Just like Hei Bai was turned into a monster by his anger at his forest being burned down, and the Painted Lady was nearly destroyed by her lake being polluted, the Dark Spirits are nothing more than injured, crazed, dying spirits. The Southern Water Tribe is drilling for oil and disrupting the environment. Oceans are being polluted. Forests are being cut down. The big new cities are producing enough waste to poison the land around them. People don’t commune or talk to the spirits anymore; there’s a shortage of sages around the world. The spirits are being driven violently insane even as they’re being wiped out.

So Korra and Unalaq become environmental terrorists.

Perhaps we can fit in a conflict between Mako and Korra at this point. He’s not really into her new course, and they break up. Perhaps he drifts back towards Asami before the official breakup, leading to both girls kicking him to the curb. We definitely won’t do anything with Korra getting amnesia and maybe forgetting that they broke up. That was pointless and just created more problems for the subplot. As a bonus, this can be an excuse for Asami to maybe bond directly with Korra.

Mako angrily confronts Korra about her tactics, but he just winds up antagonizing her and accomplishing nothing. Asami, on the other hand, demonstrates a more deft touch, and reaches out to Korra in a way that works. Asami gets Korra to see the damage being done, and the ineffectiveness of the tactics. Asami is sympathetic to Korra’s cause and wants to help, but can’t if Korra just wants to wipe everything out.

And that’s the key. Korra and Unalaq are failing, partially because of their extreme tactics, but also because it’s just impossible to turn the clock back. They make no dent in Republic City’s lack of balance. Unalaq is horrified. Korra, too, but Unalaq is really crazed by this. He wonders if humanity is even worth saving. Korra backs away from that, partially because of Asami’s influence; of course humanity is worth saving, she’s seen the good in people, etc.

And during this conflict between them, they learn of Avatar Wan’s history, and the whole story of Raava and Vaatu.

And this is where Unalaq falls. In his extremism, he sees that Vaatu has the power to destroy everything and start it all fresh. So he sets out to free Vaatu, become a Dark Avatar, bring about TEN THOUSAND YEARS OF DARKNESS, yadda yadda. Unalaq falls from grace because of his uncompromising vision. Extremism has poisoned him.

Korra is nearly defeated by him, but as in the cartoon, it is Jinora who somehow provides a key to winning. In this case, though, Jinora is a not a Magic Fairy Princess who’s always been able to see spirits. She represents the best of the new generation and the modern era. Jinora is spiritual, even more so than Tenzin, but she’s also someone who loves Probending and getting into a little trouble in Republic City and terrible modern cooking. Jinora, perhaps along with Ikki and Meelo, are symbolic of the balance that can be achieved. So Korra defeats Unalaq, and does something with Spiritual Energies that create a new generation of spirits living in the modern cities. Korra also sets out to find compromises so that the lands are no longer being polluted so much, to help preserve the old spirits. And, to everyone’s surprise, Airbending is discovered to have spontaneously returned to the world, perhaps the start of new respect for balance and the elements, and a new calling that the people will answer…

Which will be explored in Book Change.

So, that’s my idea. It requires ditching the whole Water Tribe Civil War, and all the shenanigans with Varrick and Bolin. I’m honestly not sure if Varrick can be worked into this storyline. I love the character because he’s hugely entertaining, but none of what he did in Book Spirits is worth preserving. Perhaps he could be tied in to the corruption of the old spirits, that he’s using them as batteries like with Kuvira in Book Balance. His can be a symbolic defeat, that his loss and exile is a tangible sign of respecting the environment. As a symbolic victory, we can also show Asami rolling out some environmentally-friendly reforms with Korra’s help, further building up their friendship, and establishing a partnership.

(Varrick is later hired by Suyin, and later Kuvira, in a kind of Operation Paperclip deal. They’re fine with his awful sciences. But Varrick is slowly influenced into abandoning his ways, and by the end of Book Balance, goes to work for Asami.)

As I’ve previously posted, I’m not crazy about Tenzin’s family troubles, so I’d like to just cut that. Bumi and Kya can still show up, but I think Tenzin’s subplot should be questioning if, as Korra and Unalaq fight their crusade, he’s really living up to Aang’s ideals. He spends time with his family, until Korra arrives with news of Unalaq’s plan to unleash and bond with Vaatu. He tries to help, Jinora proves to be more help, the journey to the Spirit World to chase Unalaq happens, but they can’t stop him, and during the fight Jinora is seemingly destroyed, but really sent to the Fog of Lost Souls to be rescued by her father. And we still get our Zhao cameo. Booyah!

I have no idea what to do with Bolin in all this. But then, neither did the cartoon, so that’s fine. His subplot in Book Spirits was the most confused, and that’s really saying something. Maybe he goes into exile with Varrick, and they both pop up in Zaofu as established members of the leadership there? Perhaps Bolin and Opal are already a thing, and Opal being an Airbender leads him to reconcile with Korra and the others. I don’t know, Bolin’s character never did anything for me.

Eska and Desna can be Unalaq’s minions. They have misgivings when Korra breaks ties with him, but continue to try to help their father and maybe moderate his darker tendencies. They fail, and wind up having to help the good guys. There’s no romance with Bolin and Eska.

So, that’s my take. There’s a lot of rewriting here, in pursuit of finding some message. I just focused on character arcs, and I’m not sure what the final battle would look like. (Hopefully not an episode of Ultraman.) I’d still like Korra’s connection with her past lives to be destroyed, as I think that really works as a character moment and low point for her. I’m not sure how to accomplish it, because I prefer the power of the Avatar State to be the actual accumulated power and minds of the past lives, rather than Raava. I also eliminated everything to do with the Spirit Portals, because they never made sense to me, what with AtLA showing spirits going back and forth between the worlds without any trouble. Vaatu can just be unleashed in a more mundane way. Maybe Wan Shi Tong knows and tells Unalaq, getting that cameo back in. And I really have no idea what Bumi and Kya are doing here, besides hanging out with Tenzin. But we know I have difficulty with their subplot.

I’m not if this would actually be better, but it’s more streamlined, at least. And Unalaq becomes, I hope, someone who is understandable. We don’t sympathize with his methods, but can at least see where he started with a reasonable hope but went very, very wrong. And, as a bonus, we’ve avoided another case of childhood trauma causing someone to become evil!

Score!