Me watching Sersi's relationships with Dane and Ikaris:

Me watching Phastos and his husband, and Makkari and Druig:

(based on your previous ask) do you mind if I ask how you feel about lok? is there a general consensus if it's good or bad? youre really insightful and just wanted to know if there were any major issues you had with it

yeah sure, i’ll do my best. if you want a quick answer to your question, here is a link to some of my other korra posts where i say pretty much the same thing as i do here, just in fewer words. cause this post will be mostly an unhappy summary of my experience watching the show. this post will contain spoilers, and disclaimer, i am a really biased, disappointed asshole, so i’ll just admit that now. 

short answer: i liked the concept of lok more than the product we got. a lot of that is because you had a physically buff brown wlw protagonist written mostly by cishet white men and, as you can imagine, it wasn’t handled great. when i think of lok now i tend to fluctuate between bittersweet nostalgia and quiet, simmering rage.

if you don’t care about the show summary, skip at the middle paragraph break down to my tldr.

so for those who don’t know, LOK was really my first “big” fandom on tumblr. when it was announced, a bunch of ATLA purists were already hating on it because 1) brown woman, 2) it was unrealistic to go from ATLA’s technology to streampunk in 70 years, and 3) it wasn’t ATLA, basically. it was my first big interest that i got to participate in as it was airing, and i was really excited about it. i defended it, i wrote meta, i liveblogged, i wrote tons of fic and spammed theories/wants before the damn show even had a release date. all that is to say, i was Invested, and i believed in it before i even saw it. people called me a bnf, i’m not sure if that’s true, but i did gain a lot my followers in my first few years on tumblr by posting korra stuff. a lot of them – hello – i think are still around today (i’m not certain how all the video games hasn’t scared them off yet)

i should say at this point that my opinion of LOK the show has been really wrapped up in the ugly stain left by the fanbase. korra the character has been the subject of tons of racist, misogynistic criticism since the moment we saw her back; when she showed up on screen as a proud young woman who fought with authority and stood up for herself, that was the nail in the coffin for her reputation. i agreed that she had a bit of growing up to do, because ATLA/LOK have always been stories about coming of age and maturing, but i disagreed strongly with this notion that she deserved to be “humbled,” which is what a lot of fans were looking for.

the overall consensus on if it’s “good” depends on who you ask. most people agree that ATLA is better overall: it was better plotted because it benefited from more writers in the room and more episodes to flesh out the world. opinions on LOK specifically range based a lot on their opinions of the K/orra/sami pairing, if they were involved in or what side they were on in any of the fandom wank, and also just complete random chance.

i’ll go more in depth into my ‘history’ with the show below, but i just wanted to mention that all the while the show was airing, korra was being hit with waves of criticism by so-called fans for basically being a confident brown woman who were calling for her to learn her place, respect her elders, etc. another common theme was fandom’s brilliant fucking idea that asami, a light-skinned feminine non-bending woman who was more polite and reserved than korra, would’ve made a better avatar. because you know why. (korra was often described as brutal, rough, unsophisticated, next to pretty, perfect asami. and asami is a fine character, to be clear, but that’s what she was – fine. nothing really stands out about her, which is a fault of the writing, because she had a lot of potential too.) so anyway all of this did sour my mood toward engaging with other fans outside my friend circle.

–

it was around maybe the middle of book 1 that i realized the writing for the show was simpler than what i was expecting – not that it was childish, which it was (because it was written for children, i understood that), but i felt like the plot meandered and the twists came out of nowhere. it felt like they were making it up as they were going, and it opened threads it didn’t answer. one of the biggest threads was the equalist revolution, which was a very sensitive topic that got jettisoned when the leader was revealed to be a fraud, and that devalued the entire movement in an instant. really disappointing, because i was looking forward to seeing that addressed. for a lot of people, this was a dealbreaker, and they started walking. i stuck with it, but loosely.

book 2 aired, focusing on the spiritual world and some really cool history. it still suffered a lot from awkward b-plots and loose threads it didn’t know how to tackle. korra lost her memory and then regained it 2 episodes later with no consequences, mako flip-flopped between korra and asami because bryke don’t know how to write teenage romances without making it a love triangle, and at some point bolin kissed a girl against her will and they didnt acknowledge that at all? i honestly don’t remember. anyway at the end of book 2, even though korra saves the day and prevents the world from descending into darkness for ten thousand years, due to events beyond her control, korra loses the spiritual connection that ties her to all of the previous avatars – aang, roku, kyoshi, wan, everyone. and people hit the fucking ceiling. “korra’s not a real avatar if she lost her connection to the old ones! that’s the entire point of the cycle! this show is bullshit, it’s not canon anymore!” (the entire point that finale demonstrated that korra’s power alone was enough to save the world and she didn’t need anyone else. but people found that ~unrealistic~ i guess). as you can imagine, being a fan of LOK is starting to get a little tiring by now.

books 3-4 is where the korra haters got to love the show again, because they were both straight-up torture porn. after everything she did saving the world, this is the arc where korra got beat down, tortured, dragged into the dirt, swallowed and spat back out. book 3 is a lot of people’s favorites because it was the first book that felt fully plotted out before it was put on air, which is why i enjoyed it too. but for me it was difficult to see a girl, whose identity revolved around being the avatar after being raised and sheltered to think it was all she was good for, effectively abandon her life and even her name by the beginning of book 4 because the events of book 3 were that traumatizing for her. somehow this was character development. we were encouraged to stick with it because we hoped korra would find herself again. and she did, sorta.

but it makes me furious that people who had quit in books 1-2 came back during 3 because they heard these books were better – aka book 3, the book that featured korra the least, and books 3-4 in which korra got her ass handed to her in some of the hardest fights vs some of the cruelest villains of the series. (nevermind that the book 3 villains suffer from the anime villain curse: they quickly went from “cool character design” to “wait, how does this rando group of villains show up with powers literally no one in the universe has ever heard before?” – questions no one ever answers)

anyway book 4 is a mish-mash of… i’m not sure. i’ve rewatched all the books but i don’t know if i’ll ever touch this one again. the culturally appropriating airbender wannabe, zaheer (a complete rando who somehow masters airbending enough to fly, which was a huge middle finger to airbending masters aang and tenzin for no reason) a guy who literally tortured korra one season before and put her in a wheelchair, is the one who the writers send korra to for her spiritual awakening that lets her save the day. not tenzin or jinora, her spiritual teachers with whom she has positive, healthy relationships – they send her back to her abuser who terrifies and degrades her a bit more before deciding to help. this was a pattern: the writers made both korra and asami face their abusers (in asami’s case, her father) for catharsis instead of gaining peace over their trauma another, healthier way because…. i’m not sure why. there is no reason why. and then there’s the guilt tripping nonsense of asami feeling as if she had to forgive her father, who tried to kill her, because he said he was sorry and sacrificed himself for her in the finale. it’s angst galore, if you like that kind of thing, which i normally do, except this is less angst and more just the writers trying to hammer in torture porn, grimdark, and poor attempts at morally gray nonsense into their finale season.

anyway at the end of her journey, korra, our buff brown woc, learns that she had to suffer to learn how to be compassionate and relate to her enemy. i’m not exaggerating, she literally says that. which is lovely.

–

tldr: i wasted a lot of emotional time and energy into this show and was extremely disappointed when some of the ending’s notes were “you had to suffer to become a better person” and “forgive your abusers/villains because aren’t we all the same in the end?”

but also on a strictly narrative level, LOK also bit off way more than it could chew both emotionally and thematically. it had an amazing premise, but it was not committed to

utilizing the steampunk genre to its best potential in the bending world (after the creativity in the rest of the worldbuilding, the LOK series finale was literally fighting a giant robot – seriously?)

giving its hero the respect and character arc she deserved. and i don’t say that because i think korra had no growing up to do in b1, she did, but she didn’t deserve for it to happen like that.

so basically i realized that a lot of the writers that made ATLA great weren’t brought back for LOK, and it showed. i realized that the LOK writers, when they listened to fans, were listening to the fans that whined the loudest, or (more likely, since they plan seasons years before we see them) they thought from the beginning that it was a good idea for korra to go through years’ worth of pain just to be spat out a humbler, “better” person

the reason i told you all that about me defending LOK in the beginning is because i need you to understand that i believed in LOK longer than i probably should’ve. i wanted it to be everything i was expecting in a diverse children’s show with an unorthodox female protaganist. but just because they had a brown wlw heroine doesn’t mean that they deserved to be praised for it when they treated her like garbage.

and korra and asami walk into a beam of light together in the last second of the show and i’m supposed to applaud the writers for their bravery or something

www(.)slate(.)com/articles/arts/culturebox/2017/02/how_sensitivity_readers_from_minority_groups_are_changing_the_book_publishing(.)html This seriously worries me. Tumblr mentality spilling over real life

... yey.

okay, no rewind. first thing, I’m sad to say but tumblr mentality has spilled over irl a long time ago and at this point the only thing we can do is hoping this historical moment passes a long time ago (it had already spilled over the moment I had to read actual articles about people actually asking to remove Ovid from a ***classic literature*** curricula because there are rape scenes in the metamorphoses). whatever.

now about this, the problem is: I do think that if someone writes about X character that belongs to a minority they should do their research before touching the topic if they care to write a good book (if they don’t then it’s another problem entirely but let’s just assume they do), but it has to be a thing you do before you actually write that shit. I absolutely don’t agree with write what you know only because otherwise we wouldn’t be publishing a damned thing and honestly some people also write so that they don’t have to always rehash what they know, but if you’re doing a socially sensitive theme you have to try and do it right - if I decide I write a book with a trans character I can’t do it before I talk to a sizable amount of trans people and I don’t read more than a bit on the subject, same as if I decide to write a book set during idk the vietnam war where the protagonist is a ptsd vietnam veteran I can’t do it if I haven’t read a ton of lit/history books about the vietnam war and talked with a few psychologists or psych students or read something about ptsd. but that’s a thing that’s your duty as the author, if you want to do a serious book about a serious thing. if you just want to dick around it’s another problem entirely but let’s just say that I want to do that, it’s on me to do it, not on my **sensitivity readers**, and anyway a sensitivity reader (which once upon a time should have been called editor but never mind) shouldn’t have that much power, ie: once I read a tumblr post which basically said ‘white writers couldn’t ever write poc characters because they possibly can’t understand [now what POC meant in that sense is an entire other question that was left unanswered of course, bc poc doesn’t mean just black but nvm] but they have a moral obligation to because poc writers aren’t as popular/are hired less than white writers, and even at their best they will never get it right and they’ll fuck the poc characters up but who cares, they have to do it and take the criticism so they realize how it feels to be discriminated’.

now, I personally would never hear any advice from THAT above person if they were my sensitivity reader, because the concept that if I’m white then I can’t possibly get it right means that they already decided my work is going to suck ass even if it’s a masterpiece, and then... fuck that? I mean, I have no moral obligation to write anything I don’t want and with that attitude you basically make sure that someone is never gonna try to branch out. and where were the sensitivity readers when fifty shades came out, and all the subsequent YA porn books where it looks like your ideal man should be a stalker? we just don’t know, but no one cares to have sensitivity readers on ***that*** shit because guess what, it sells.

like, the problem shouldn’t be that you as a writer might offend someone with your writing because that can be because you’re actually offensive or because you’re nabokov and you wrote lolita and people who don’t get the point of it think it’s offensive and that it should be burned. you can’t start writing shit thinking of whether you’re going to offend someone or not with it because otherwise you’ll never get anywhere and you couldn’t touch one single sensitive topic (and on this, I’d appreciate sensitivity readers when it comes to atheist characters but NEVER MIND THAT XDDD /joking). what people should do is encourage potential writers who want to write socially sensitive stuff to talk to other people first and research their topic if it requires it.

What I mean is, let’s do a practical example: let’s take the basic lady chatterley plot (woman has a husband that neglects her both sexually and as a person and finds happiness with another guy who lives just under the husband’s nose). the original lady chatterly is already socially sensible because it has class issues and whatnot, but if you just want to write your torrid romance novel about the white suburban mom falling in love with the new white hot neighbor while her white husband doesn’t notice her existence and they have all the a+ sex in the world you’re perfectly entitled to and like, just get yourself an editor that will tell you if your porn sucks or not. there, this one’s easy.

but, let’s say that you want to have the white suburban mom being a victim of domestic violence instead of having the husband being just neglectful then you should research something about domestic violence and the effect it has on people. it has already become way more socially sensible, because you can’t just shrug it away and the sex she’ll have with her new guy won’t be the same as the sex she used to have with her husband, or alternatively, if the husband’s neglectful only you can have a difference between quick missionary and hot steamy long fucks with the new guy, if he’s abusive and he abuses her sexually you have to have nonconsensual vs consensual which is already a whole new heap of problems.

or, let’s flip it around: the domestic violence victim is a man, the wife is the one abusing him, he falls in love with the new female neighbor next door. this implies that you have to look into female on male domestic violence and research how frequently men aren’t taken seriously especially if the perpetrator is a woman, so you have the above plus this.

or, the victim is a man, the perpetrator is a woman, he falls in love with the male neighbor next door. in this case you have to make sure you know how to write a guy who has to get out of an abusive relationship and have a sexuality crisis if he didn’t know he was also into dudes.

or, all three are male, or all three are women: you have to look into statistics to see how male on male or female on female abuse works, on top of all of the above, on top of you have to know how to write an abuse victim. and, if there’s children involved? you have to deal with that too and you have to make sure the abuser isn’t a complete stereotype or some kind of boogeyman because that kind of story is effective if the perpetrator is someone who doesn’t look out of a twilight fanfic *cough*. if you make any of those characters trans then you have to look into it, too, if you make any of them not white or not your ethnicity you might wanna look into that too, and so on. and if you wanna throw in the lady chatterley class thing then you have to also think about what it means if some of the characters are rich, if others are poor, if they’re all middle class, if they’re all poor, all rich and so on.

what I mean is that the same plot, with some changes, can require zero research beyond what metaphors to not use while writing porn (example one) to a whole fucking lot of research and it’s on you to find people to discuss it with before and then to possibly proofread it before you send it to any publisher so you at least are sure you have a thing in your hands that doesn’t suck or has glaring inaccuracies. at that point your sensitivity reader should be able to give it a look and maybe give you advice which you should be able to reject if you don’t think it sound - for example, let’s say I write the above book in its most socially sensitive approach. like, dunno, let’s say the abuser is a cishet white man, the protagonist is a white ftm trans person who also can’t/won’t transition because of their abusive husband and the neighbor is, dunno, a black cishet woman. this would require a shitload of research should I try to write it. but then let’s say I do it and then I decide to write it from the pov of the abusive husband. which is a legitimate literary choice and I’m taking it with the entire intent of making him an abusive asshole without trying to justify his actions and to pull a less skilled humbert humbert in the world (because I’m not nabokov and no one is, but one could and should be able to write villains as a POV if they want to) and that I made sure to depict him as The Worst. if my sensitivity reader says that it’s offensive that I would write it from that guy’s POV in the first place and nothing else matters, it wouldn’t matter if I wrote the best book of the last ten years, it would still be deemed offensive. and that is a thing that shouldn’t fly - meaning, that if this is just a background check to make sure you don’t do bad representation (which you should have already done yourself anyway) it could have its usefulness, if it becomes a way to say that you can’t write what you want or problematic characters/villains shouldn’t be a POV choice even if you show them to be terrible then we’re straight into censorship land and that... shouldn’t be a thing.

tldr, you didn’t even ask for this entire rant but tbh I’m worried about that possible outcome (especially since that article mentioned roth which on this website is already hated as the champion of the white old man protagonist who wants to bang his students by people who don’t understand shit about either roth or writing in general) more than about checks on whether a thing is offensive or not, which anyway seems to me like is thoroughly ignored if the book sells (see: every other stalker seen as an ideal dude in YAs post-50 shades *sigh*).