#which is smth lin has commented on - the fact that they can focus more on the musicality

[thewhizzyhead]

okay I'm like really gonna need the musical animatic renaissance artists to get into lmm and eisa davis' new warriors concept album like I'm really gonna fucking need an animatic of derailed please

[disasterganes]

do you mind going further on the "bryke is trash" point? i may have liked a:tla and thought a:tlok had issues, but i feel like i'm missing info or haven't thought about certain things critically enough.

i will definitely do my best -- full disclosure it’s been years since i’ve come into Close Contact™ w/ k*rra, so feel free to take with a grain of salt. it’s just my opinion, and it’s a heightened opinion because i was B I G into the fandom & show when it was dropping. i had a friend group formed through atla / k*rra before it launched, it was a real cornerstone of my online life so of course i took its bad writing way more personally than a more casual fan. i also can’t watch a show as a show? i’ve done too much work (undergrad & graduate) in writing & narrative studies, so i can Only See Story -- when it falls apart, i can’t get past it. 

behind the scenes, atla likely triumphed because it was a team effort, and a bit of a first effort. not that these people hadn’t written before -- but part of what k*rra suffers from is the “how do we level up” problem that is typically answered (esp by white male writers) with make it darker. atla shone because it didn’t need to darken its tone in order to convey a more serious story -- it had room to breathe and a gentler humor that never really felt malicious in the way lok would feel malicious at times. atla was content to be what it was -- lok was always trying to be grittier than it had to be, given how well atla conveyed its difficult themes with a lighter hand. 

anyway! two parts: shitty writing, & racism. 

abandoning its premise 

my biggest pet peeve is when a show sets up something -- and doesn’t deliver. it’s why i noped out literally s1. (and, of course, kept up quietly from the sidelines bc once i start something i’m physically incapable of letting it go. but emotionally i was gone.) in its first two episodes, lok had incredible worldbuilding. it was beautiful! well drawn! interesting! organic to the world atla built! there were problems introduced that were new and different from atla. atla read a lot like a sprawling, classic hero’s quest. falter, then triumph. lok was more intricate. in its first two episodes, it posed a question: how do you navigate heroism in a world where heroism has been redefined? how do you balance staying true to yourself and allowing yourself to grow, under the scrutiny of the “celebrity” of avatardom? and how do you perform as an avatar, the person meant to keep the balance of the spirit world, when the mortal world is out of balance? this could have been four series’ worth of content. there was enough rich, complex worldbuilding in the first episode to sustain four seasons of a show. 

and then they just -- forgot about it. it was set dressing, and every half a season they artificially upped the stakes. nothing was organic to the world or the story. it was all some -- contrived plot. the conflict between benders and nonbenders could have been really interesting and then it was just -- black and white. here and gone. k*rra’s too brash and bratty to understand! and nonbenders don’t matter anyway! let’s forget about this plot and skip to some !! uh !! political upheaval! and then like! assassins and genocide or smth!! haha yeah big fights! 

it was so shallow, and that’s not how the show started. in the first seven episodes, i thought i’d called the overarching. i thought the show would spend however much time it had (initially, bryke said they were only doing two seasons to “focus on a tight story” and, like a fool, i believed that this wasn’t just a cash grab :/) setting up this story: k*rra will unlock her full potential when she realizes that it’s not just the spirit world that needs an avatar, but the mortal world as well. 

that’s it! that’s all you need! it’s a similar premise to atla but it expands atla. i distinctly remember the quote from one of those s1 episodes, where a nonbender says, “but you’re our avatar too.” that’s it. that’s the show. you have a show!! you have equalists, you have a bender-centric world, you have progress at the expense of those that can’t fit this new world’s design -- and then the equalists are all fake and we’re going to just brute force a solution and move onto the next crisis. 

... what ?? what put the nail in the coffin for me was when the gang or crew whatever the fuck they were (spoiler alert: they were nothing, none of them liked or cared about each other) were being aided by a homeless community or w/e and b*lin jokes about a “wise and noble hobo.” this orphan. who grew up homeless. and has built himself up from nothing with his only family left. is not utilized by the writers to comment on the epidemic of poverty, homelessness, and very thinly veiled racism / ableism (another spoiler alert: don’t expect white dudes to write a coherent metaphor for a real world issue). this was the opportunity for actual depth and even darkness -- below the glittering world of republic city is a serious problem that “”””defeating the fire lord”””” won’t solve. this is a mature and complex story, and it was never ever explored. in fact, in s2 that rich dude asks b*lin if he’s “ever seen the arena at night.” and b*lin says no. the, uh, the arena he lived in bc he was homeless and crushed under the wheel of this new society. 

what ,, the fuck ,, bryke. 

it’s the problem where a writer is constantly trying to outdo themselves -- and they sacrifice the story they could have had. the actually mature one. it’s a problem of thinking fight scenes and a villain Bigger and Badder than the last constitutes grittiness or maturity or w/e. (spoiler alert again: it doesn’t.) 

torturing k*rra 

atla was a story about raising a*ng up. lok was a story abt breaking k*rra down. 

shitty writing is one thing. racist writing is another. from the fucking moment she’s on screen, k*rra is told that she’s too much -- she’s too confident, she’s too loud, she’s too stubborn. and maybe she’s confident, loud, and stubborn, but the narrative does nothing but punish her for this. 

a*ng is a flawed character. a*ng runs away from his responsibility and, subsequently, the fire nation takes over the entirety of the known world. do i blame a*ng for this? absolutely not. and neither does the narrative -- not in a way that counts. people in the story do, but does the narrative beat him bloody? no. the narrative gives him friends. the narrative gives him room to make mistakes and then apologize for them. the narrative lets him learn without making his failures into something that he is literally tortured over. he struggles, but in his worst and most dire situations -- his friends are there. when he dies, it’s not shown in all of its gory details, and in a beautiful, quiet scene, k*tara heals him with spirit water. they stay by his side, and a*ng is given love, care, and support. 

k*rra is constantly, viscerally tortured on screen. k*rra is blamed, threatened, abandoned, poisoned, and temporarily disabled. k*rra is treated like a punching bag in direct response to her supposed “flaws.” we know this to be true because she “learns” from these moments of being violated, abused, and tortured -- the narrative tells us that she had to go through hell, on her own, in order to “learn humility.” 

why did k*rra, a brown girl, need to learn humility? when did she ever come across as someone who couldn’t learn, given the kind of time and space that a*ng had? why were her lessons literally beaten into her, while a*ng’s were simply a process of trial and error, with his friends at his side every single step of the way? 

people will always argue that it’s not so bad, that it’s not necessary to be as gentle with k*rra. but tell that to young brown girls watching this incredible, smart, kind, strong brown heroine get physically and mentally assaulted and broken down in order to properly “serve and save the world.” that shit? that shit’s traumatizing. k*rra is treated like garbage by m*ka, by as*mi, and by the entire world -- she is killed and tortured and isolated, and she is still expected to be grateful for what little she’s given by the end of the series. 

i hate that k*rrasami is praised so highly. because it uses the lesbian card (which i carry as a member) to reinforce some really disgusting colorism and, quite frankly, shitty ass writing. bryke can’t write without a team. end of story. 

that shit!! does NOT fly with me !!!