Review/Rant: Fanboy and Chum Chum

Dumb and dumber: The tale of a bad Nicktoon.

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The Lowdown:

Show: Fanboy and Chum Chum

Network/Years aired: Nickelodeon, 2009-2014

AniB’s thoughts: Ugh. Ugh. Ugh. Let me preface my thoughts by saying that Fanboy and Chum Chum brings some levity to the reviews here, which have been loaded initially with some of the best shows both East and West have to offer (including fellow Nicktoons Avatar: The Last Airbender and successor piece The Legend of Korra), and it was about time to show off an example of what not to do in a show. Enter the highly forgettable entry that is the subject of this review column, and prepare yourself, because it ain’t pretty.

I really do make an effort to be as unbiased and objective as possible with every show that’s reviewed. Unfortunately, even with that fair ideal in place and a grading system that can also be described as such, Fanboy and Chum Chum is a mess of a show in almost every possible aspect. Where do I even start? Bad CGI, bad script-writing, bad music, and horrible characterization makes for an explosion of awfulness that in some ways, can only be explained as a byproduct of the era in which this show was hatched. 2009 was admittedly smack dab in the middle of the worst mini-era of animation in at least the past 30 years, and while Nickelodeon was struggling as a network like everyone else, it did itself no favors with its pick of shows, and of that inglorious bunch (which included “gems” like The Mighty B! and T.U.F.F. Puppy), Fanboy and Chum Chum might unequivocally be the worst. What makes this assertion even more accurate is that Nick execs had a choice of  shows to greenlight from pilots; they picked this heaping pile of garbage up instead of another little show you might have heard of- Adventure Time– that went on to became a massive success on rival Cartoon Network en route to becoming the very representation of a new wave of Western animation in the 2010’s. But enough about a show I’d rather talk about- we’re here for the choice Nick made instead.

This show really does one thing well: showcasing to aspiring show-runners mistakes they should avoid making, and this unfortunate reality has a two-fold crisis in Fanboy and Chum Chum: The animation style, and the inability to write anything resembling cohesiveness. Shows have distinct animated styles, but different character designs also have natural proclivities to what they’d look best in. Gravity Falls, for instance works perfectly in 2-D; while Star Wars: The Clone Wars was very good in 3-D (and is an example of versatility in styles.) Fanboy and Chum Chum has the unfortunate distinction of having 2-D designs cast in a 3-D world. The end result is incredibly unnatural, jarring character models (which you can see clearly in the picture for this piece) which would have been at home in the 2-D style exaggerated character designs like these have been in forever, but for some reason, from the word go (which included the pilot), the creators decided 3-D was a good idea. (It wasn’t.) Add in janky colors that are almost too bright, and the low-budget CGI production that is also evident, and it’s a disaster of equal proportions. While this aspect alone sapped a great deal of any promise from the show, it still might have had a chance if the writing was there…except it wasn’t.

Character writing 101 was left on the doorstep of Fanboy and Chum Chum. As anyone worth their salt as a critic, an animation fan, or a purveyor of entertainment in general will tell you, characters are the hook into your narrative. They flow with the story you’re trying to tell, and as a baseline, the main cast should have some dynamism and your main protagonists need to be easily likeable.  This show failed miserably at this most basic of tasks- the titular characters are two of the most annoying tone-deaf, brain dead individuals ever conceived in an animated show, regardless of target audience, and it is so bad that anyone who actually continues to wade into the sludge of this show’s depths will only find themselves rooting for Kyle- the middle guy in the article picture- a wizard (don’t ask) who is incessantly pestered by our supposed “heroes” in such a way that I at least found myself rooting for his schemes to destroy the little bastards. The main goal of Fanboy and Chum Chum as individuals is- get this- to get a special kind of Slurpee they particularly love, to goof off and (un?)intentionally annoy people, begging the question what the actual gripping concept of having these two wack jobs dressed up as knock-off superheroes in the first place was, or even more generally, what was goal of the show? To be honest, I’d write a better script for this abomination in two seconds: A Codename: Kids Next Door hybrid meets Teen Titans, cast in tasteful 2-D, give our main men actual brains (which they remove in the show we actually got, to “comedic effect” at times), and overhaul the entire cast, colors, music and everything else- wait, scratch that. I just said to scrap this show essentially- which should have happened in the first place! Anyways, here’s the gory details in all their graded glory:

 


Animation Quality: 3-D CGI, and not very high budget at that. A quote I read somewhere online a while back summed it up best: “This is what Ren and Stimpy would look like if it was in 3-D.” It’s fairly stark for a show released in 2009 that ran into 2014, and the character designs don’t really do it any favors. On the plus side, the color palette is bright. That’s about it though. 1/5 points.

 
Characterization: The major problem with this show is its titular characters. For the viewer, they are incredibly annoying “protagonists” and they seem to revel in their awkward stupidity. As I highlighted in my thoughts, when your show has unlikable main characters by any stretch, you’ve got serious problems.

Fanboy and Chum Chum are the two leads. While separate characters, they essentially are two sides of the same coin, meaning “not very bright, impulsive as hell, and likely to get diabetes at some point.” Fanboy’s the skinny one in mostly green, and Chum Chum’s the fat, short guy in orange. (Apparently, wearing underwear on the outside of your clothes emulates heroes’ spandex, but it’s not very becoming here.) They engage in random acts of..randomness (think involving a giant wad of chewed gum FB and CC are hiding in their school desks (which is disgusting, not funny, especially when they talk to it like a young child), which then, upon bringing it back to their hideout/home in the town’s water tower, it turns into a sentient monster who’s equally as thick as his new friends.) What?

 

The supporting cast is very weak and stereotypical; Kyle’s probably the best of the bunch (largely because he’s aware of just how stupid FB and CC are.), but unfortunately, he’s the punching bag- a inferior Squidward clone. As mentioned, the character designs simply look ugly in 3-D. They would have worked much better in 2-D, as most atypical designs do. 0.25/5 points.

 
Story quality: Episodic. Terribly contrived plots- I don’t think I was very amused at any point watching, and frankly, the show didn’t do anything spectacular to really warrant praise. The lack of character development, the consistently annoying premises, and the unfortunate truth that I wound up rooting for the “antagonist” in just about every episode sums it up. There’s a lot more nasty things that could be said, but simply, the episodes are dull exercises in futility. 0/5 points.

 
Themes: The power of friendship? Seriously, the show doesn’t even try to wedge something of nutritive value in. Thematically, the show’s a waste of time when your main characters are more interested in obsessions over sentient pieces of gum (for one strange example), a conspicuous lack of attention or basic listening to other people, and the fact that they don’t even try to work the superhero angle in. (They would be the lamest superheroes ever, but it’d be a start…) 0/5 points.

 
Don’t insult the viewer: This show is catering to kids, and not in a good way. It’s a brain dead show with generally unfunny attempts at humor, an unlikable set of main characters, basic CGI, and a slew of other problems. It also has an awful music track, simply adding to the misery of what was an unpleasant experience. 1/5 points.

 

 

Total Score: 2.25/25 (9%). Fanboy and Chum Chum is a truly awful cartoon with little sense of pacing, character, story, or really anything of worth. Its most significant achievement was somehow surviving for 5 years on Nickelodeon (how it did is still a mystery to yours truly). It’s not vulgar, but it lacks any intelligent writing and nothing particularly stands out. It is, in a word, awful. Avoid this at all costs- there are far better pieces of animation to consume.


Like this review? Actually enjoy this show? Or here to parrot the same convictions? Leave a comment!

What’s In a Character: Stan Pines

He’s obviously not what he seems.

Once again, a character piece appears! This time, we’ll be looking at the summer guardian of Dipper and Mabel Pines, con-man extraordinaire and boss of the Mystery Shack, Stan Pines. When watching Gravity Falls, this character in particular stuck out as unique for a number of reasons: He was an older character in a show marketed to a younger audience that received extraordinary character development; evolved beyond the typical two-bit huckster that most other shows might have kept him as, and he was funny as hell. In a show that is really well crafted in every sense of the word, Stan managed to be a big part of that success- the other main character that kept the show rolling along with the Pines twins themselves- and a perfect balancer that proved to be tremendously important. (Oh, and this piece has massive spoilers. If you haven’t taken a trip into the woods yet, I’d suggest either reading my review, or better yet, watching this show. Like now.)

Tying in with my thoughts from the Gravity Falls review, it is almost impossible to guess how interesting Dipper and Mabel’s “Grunkle” Stan would be from the first episode, or how key he would be in the events that unfolded in the show. Aside from the title cards, which notably names Stan along with the twins as main characters, he is quickly shown off as a greedy proprietor of a tourist trap- the Mystery Shack; irresponsible at best with children (his own niece and nephew are put to work as essentially unpaid employees), and a cheapskate to boot- charging exorbitant fees for homemade works of “mystery” such as the “Jackalope” and “Sascrotch,” a fact that is played up all too often between gullible customers and the fact that the town of Gravity Falls, in fact, has real mysteries and phenomena.  Instead, the show goes for the slow drip of information when it comes to Stan, starting with that same first episode (Tourist Trapped), throwing in the intriguing, but mysteriously out of place moment where he quickly punches a code on a inauspicious vending machine, revealing a secret passage…

The irony of Stan’s stage name, “Mr. Mystery,” is that it doubles as a description for who he actually is. Underneath his smiling visage to tourists lay a man with a weighty past, a present that was actually spent selflessly in pursuit of a very specific goal, and most surprisingly, a family man with a heart of gold…unless you mess with them. (Then you’re getting a brass knuckle to the face.) Without trying to summarize too much, here’s the reasons why Stan Pines deserves a character piece to call his own.

He’s old fashioned

Huh? This is a real reason, AniB? Yes, but it’s probably not in the way you think. Stan is his own man. He wear his underclothes around the house without a care in the world, loves his old TV and comfy armchair, and drives a car straight out of the 1960’s like he’s a racecar driver. He also clearly doesn’t care what other people think of him, as long as he gets some attention (and maybe makes a buck.) But really, this section is just a primer.

The real reason… insane character development

The season 2 episode Not What He Seems is universally acclaimed by fans and even critics as one of the show’s best episodes (in a sea of good ones), not the least of which had to do with Stan’s role. (In fact, it has everything to do with him.) As it turns out, he’d been undertaking a dangerous, risky project in the hopes of bringing his brother- Stanford “Ford” Pines, the author of the journals- back home. The Mystery Shack is revealed to be a front in order for Stan to gather the money and the time he needed for equipment to fix the massive underground inter-dimensional portal in the basement of the building; a secret that is revealed initially in Season 1’s finale (Gideon Rises) but comes to a head in this episode, where in the face of a doomsday scenario (a 30 year old portal rending space and time itself), the Pines twins and trusted handyman Soos Ramirez make the discovery. Prior to the last 5 minutes of the episode, Stan had been slowly bonding with the twins over the summer- a prime example of Gravity Falls’ careful development. Starting with a mostly disasterous fishing trip in episode 2 of the show (Legend of the Gobblewonker), he had among other things, gotten over a fear of heights (and ladders) with Mabel (Fight Fighters), helped Dipper prove to Wendy that her then-boyfriend Robbie used a mind-control CD (Boyz Crazy), did his best to protect and help the twins defeat Gideon and save the Mystery Shack (Gideon Rises), participated in a mini-golf outing-turned war (The Golf War) as the getaway car of sorts, and in the episode at hand, shot fireworks off the roof with his niece and nephew mere minutes before government agents apprehended him. While this compilation is not every example, Stan had indeed gone from the absentminded shyster from when the twins first arrived in Gravity Falls, to a loving uncle who they knew as a person…but not in terms of history.

Mabel, do you really think I’m a bad guy?

If you want to really talk about Stan, two words sum it up: Complicated relationships. His past was tumultuous; growing up in the fictional town of Glass Shard Beach, New Jersey, he had a twin brother in Ford, but little else: He wasn’t a genius like his brother, had a reputation as a slacker, and his only ambition seemed to be to sail the world with said brother. After an incident that cost Ford his dream college, Stan (fairly or unfairly) was blamed for everything and thrown out of his childhood home. (While all this can be seen in A Tale of Two Stans, it’s important for context here.) Suddenly, an element you almost never see in a show on a channel generally reserved for a younger audience came into play: An older character with estrangement issues. A rift had grown between he and his brother, and it was physically symbolized by the eventual, short lived reunion that resulted in Ford’s  disappearance into the portal. In that sense, the journals Stan sought to gather, and the portal itself collectively represented Ford- and the deep, deep gap that had developed between the original Pines twins, literally stretching space and time (30 long years). When Ford came back through the portal and gave Stan a square one on the jaw, it was deserved- they had a lot of issues and it was obvious upon thinking about their relationship for this piece and in general, it was absolutely necessary that something dramatic would be the only way to resolve such a gap. It also was a tension that was not lost on the older viewers of Gravity Falls; and that resolution both for the brothers, and Stan’s way of making up for secrets was in the finale: Weirdmageddon.

You’re a real wiseguy, but you made one fatal mistake- Ya messed with my family!

Weirdmageddon is as it sounds- the mad apocalypse of Bill Cipher, the deviously evil mind demon, and while a great deal of events happen here, it is Stan’s role in the final act of this arc (and the show) that proves to be both satisfying and an answer to all the questions created to this point. Up to the point in which Stan volunteers to have his memories erased in order to facilitate the defeat of Bill, Ford and the twins had been playing hero(or attempting to). Since the figurative rift of his relationship with Ford had widened since A Tale of Two Stans,  it was only fitting when the literal rift of space-time was opened in Dipper and Mabel vs. The Future that Stan’s resolution would come. In this case, selfless sacrifice to defeat an indescribable evil was the choice- and it brought out the best of the character in spite of his flaws- his sense of humor, ability to “punch things,” his love for family, and of course, the fact that all Stan ever wanted to do was redeem himself in the eyes of the world- or at least the people he cared about. Some fans gripe about the idea that Stan regained his memories too quickly (or they didn’t want it to happen at all), but reflecting on it, it would have been a poor levity of the balance that Gravity Falls struck as a show between funny and lighthearted; serious and dark. The choice to do so also allowed a complete arc between Stan and Ford- the latter recognized his hubris to an extent and finally appreciated the things his brother had been trying to do, and the former proved to Dipper and Mabel who he was, definitively once and for all, and connected again with Ford. Ultimately, without memory restoration, Stan’s first goal in life wouldn’t have become a reality- a chance to sail the world with Ford on the Stan O’War II. Whether it was punching zombies, making “Stan-cakes,” or seeing the twins off at the end of the show, “Grunkle” and “brother” are really the best descriptors for Stan- a real man with faults and strengths and a fun character all too often absent for his character type in animation.


Like what you see? Comment about it! Oh, and one more thing:

Her aim is getting better! (Get it? If you don’t…well, you will…eventually.)

Review: Cowboy Bebop

The space western anime that opened a whole new world.

The Lowdown:

Show: Cowboy Bebop

Studio(Network)/years aired: Sunrise (Cartoon Network), 1998-1999

AniB’s thoughts: When I first started watching anime far more intensely (both for my own enjoyment, and ultimately, to become an expert with it), Cowboy Bebop was high on the list of priorities. As it turns out, it is another one of the shows considered highly influential in growing the medium’s popularity in the West, alongside another familiar show I already reviewed that also features a black, spiky haired protagonist. But I’m guessing plenty of people might have already known that. What’s more interesting is the why of Cowboy Bebop; the fact that it’s a sort of noir space steampunk western with the freewheeling soul of jazz imbued in its very core (the episodes themselves are referred to as sessions); the emptiness that each individual character on the crew of the titular ship seeks to fill; and despite all the seriousness, a playful sense of humor and comedy still emerges from the wild adventures of Spike Spiegel and company. For myself, I reveled in the slice of life moments that really showed off the true depth of Bebop’s crew: the aformentioned Spike’s brushes with disaster and death, with everything from red-eye drug dealers, to Mad Pierrot, a horrifying assassin with terrifying origins; Faye’s stubborn attitude and pension for gambling belying a deep connection to home for her; Ed’s escapades with everything from hijacking the Bebop to playing intergalactic chess with the wizened old creator of the hyperspace gate systems in the show (and who could forget the mushrooms episode?), and Jet’s moonlighting of his days as a cop, reminding us all that he and Spike are truly the unlikeliest of friends, considering their backstories…

Of course, everyone who has watched this show seems to have an opinion on the show’s ending (SPOILERS)- the intentionally ambiguous outcome of Spike and Vicious’ final showdown; an ending that is essentially left to the viewer to decide what happens to the show’s main character after his Pyrrhic victory.  Spike essentially is the final character to have his outcome decided, and the ambiguity really does fit in this scenario. His love interest, Julia, who was his main focus and dream though the entire show, is finally reunited with him, only to be taken away once again in his battle against the Red Dragon Syndicate, and it’s curious, if not natural to wonder if death was indeed a better option for him at this point, as the crew of the Bebop– who essentially had become the galaxy’s oddest family, had split apart over story resolutions and natural endings to character arcs. Personally, I believed Spike died in the aftermath of the battle, but there is room for the other outcome; that given his chance to finally resolve the murkiness of his past, Spike might seize a sort of rebirth. But Cowboy Bebop ended right where it meant to.

Speaking of Spike, the character was the launching pad for Steve Blum’s voice acting career, as Cowboy Bebop’s dub is considered to be excellent to this day, and even preferable for many anime fans who would normally stick to subs. It is an excellent gateway show for those looking to find their way into Eastern animation (in other words, Japanese anime), but even on its own, it’s one of the finest anime out there in terms of the themes it explores, the unique cast and character arcs, and the settings that it takes place in across what is clearly a re-imagining of our solar system. (Oh, and you’ll also wind up listening for hours to Tank!– the catchy theme song that really embodies the show quite well.) As for the more gritty details, I’ll delve into that now.


Animation Quality: Traditional 2-D anime, hand-drawn towards the end of an era. The scenes are full of detail, the characters pop, the environments are varied, and the action sequences are satisfying. From an anime, you can’t really ask for much more, and the animation serves to enhance the story. 5 points.
Characterization: Cowboy Bebop is absolutely terrific in the development of its characters. Seemingly unrelated at first, the ragtag crew of the Bebop are drawn together by their different pasts and similar goals to find that what they seek. To that end, the majority of the series focuses on the bounties they share, but the final 3 episodes show that the bounty hunting was always a secondary pursuit to the aims the characters really had.

Spike is a terrific protagonist- cool and calm (not to mention, remarkably lazy) demeanor hiding a dark and troubled past with an entity only known as “the Syndicate.” He is a highly skilled martial artist; his preferred weapon is a pistol which he demonstrates remarkably good markmanship with through the series. (If that wasn’t enough, Spike also is a proficient pilot and has his own space fighter.) While often distant in his interactions with the crew, he has a quiet fondness for them, particularly Faye, which is often masked by their constant bickering.

Faye is truly a lost soul in a different time and place from where she originated. She hides her insecurities with a lot of gambling and lip, rarely if every showing her more vulnerable self to Spike and Jet in particular. Faye is a remarkably good space pilot and dogfighter who actually joins the crew officially 4 episodes in, largely because her craft ran out of gas. (She’s also got a good body- but that’s anime 101 with many a female character, isn’t it?)

Jet Black has his past as a cop; he is a man with genuinely strong morals and convictions, and the best friend of Spike. How he came to have a mechanical arm is a major spoiler, but it does involve his past in the ISSP (the police on Ganymede, the moon he came from) and a broken heart… Tough, reliable and respected, Jet is the captain of the Bebop and a tough fighter in his own right as a ex-cop turned bounty hunter.

Ed is an eccentric hacker and genius from Earth who is known as “Radical Edward,” but is actually a young girl who seeks to find her father. With a somewhat strange way of speaking, Ed loves adventure and is naively fearless (not to mention, extremely funny.) She also strikes up a relationship with the Bebop’s dog- Ein, to the point where she’s also the official caretaker of him.

Finally, I will mention Vicious, the archrival and enemy of Spike who plays a key role in the story, specifically in Spike’s character arc. It took a little long for two of the main characters to appear, but it works in terms of story progression quite well. There are also plenty of one off characters with interesting personalities and thought-provoking origins (boy with the harmonica anyone?) 5/5 points.
Story quality: Bebop at first seems to be episodic, and it is on many levels, each session encompassing a different adventure for the crew. But ultimately it is a overarching story with continuity, complete with fantastic character arcs for all the main cast. Mostly serious, with a good sense of humor, it keeps you wanting to know how it will all end. The story pacing is fantastic (26 episodes), especially for an anime. 5/5 points.
Themes:  The major theme of the entire show is finding your place in life; resolving an overwhelming sense of loneliness, and as a result, giving life meaning. Other themes tie in to assist the central tenet of that them,  which included friendship and camaraderie, a sense of family, and a good deal of violence and struggle that fit the show’s motif. The show’s not really for anyone under 15, but that’s not just due to the themes, but also the story (which really requires a very thoughtful watch.) 4.25/5 points.
Don’t insult the viewer: Bebop is a show which set the tone for many animes that came after it and primed Western audiences for the medium; it was intelligent with thoughtful, smart writing, and never made me cringe in any particular way. The show’s jazzy themes and creative tracks were also an absolute joy to listen to; they often see the atmosphere in a convincing way that synergized with the action on the screen.  5/5 points.
Total Score: 24.25/25 (97%). The trendsetter for many animes, Cowboy Bebop is a masterpiece of character development, snappy pacing, tremendous action, and one of the catchiest openings anyone can remember. It is a masterpiece that few shows either in the West or East can hope to touch. See you, space cowboy…


Like what you see? Have a comment? Just happen to love the show? Leave a comment!

What’s In a Character: Zuko

The former crown prince of the Fire Nation is a very unique character.

Hello dear readers! Today’s piece about Zuko is the first in a series about certain characters I’ve thought were worth writing more at length about. Reviews are a fantastic format to write further at length about shows, but they do not do as much justice to complex, well developed characters; in many cases, shows feature extensive casts and unless you want to read reviews longer than the Great Wall of China, I can only really highlight the major members of a show.

Zuko in many ways is the most interesting character in one of the best Western shows in animated history, and almost certainly a top 5 deutragonist. As I noted in my Avatar: The Last Airbender review (read it if you haven’t!) he serves as a foil to Aang throughout his journey in the show; his path is inextricably intertwined with the Avatar’s, which manifests itself in unpredictable ways. As Zuko travels along his eventual path to becoming one of Aang’s most trusted allies and eventually taking up the mantle of Fire Lord himself, there is some extraordinary character development and intriguing decisions made in a journey that is truly all Zuko’s alone. Voiced by the excellent Dante Basco, the only right thing to do is ‘honor’ the head of the Fire Nation at length! (One final note: This review is about Zuko during Avatar: The Last Airbender. It’s not going to make reference to his much older self in The Legend of Korra, which essentially amounted to a cameo.)

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When Avatar: The Last Airbender began its run back in 2005, Zuko’s first appearance suggested he might be the typical villain you’d expect from a Nicktoon based on the network’s past performance and the unrealized brilliance that ATLA was yet to become. He was hunting the Avatar; Aang appeared conveniently from an iceberg, and perhaps the first thought one could have about Zuko was that he was a young Captain Ahab; doomed to sail the seas in pursuit of his white whale. Fortunately, that conclusion was both premature and rather short-lived. Once it quickly became clear in the first half dozen episodes of the show that it was a world-building, story driven narrative- a sharp departure from the Nickelodeon formula up to that time, and far more in line with anime counterparts from the East, Zuko’s character immediately became far more interesting. Traveling with his Uncle Iroh, the only person in the world (aside from his mother) who could truly claim that he loved him, the season 1 Zuko’s obsession with finding the Avatar formed a rivalry with the arrogant Admiral Zhao, a man who foolishly believed he could capture the moon spirit and destroy it, all in the name of personal hubris. The true purpose of Zhao’s role in the story though was to show what would happen to Zuko if he continued down that path of blindness; dragged into the Spirit World of that universe, Zhao was forever trapped, driven to insanity by his ambition (which is revealed fully in a cameo in the second season of The Legend of Korra.) It took Zuko taking off with Aang’s body into a frozen wilderness, nearly dying in the process, and personally seeing Zhao literally dragged into what can be construed as the depths of hell to start realizing that his task- his “mission,” which was to regain his “honor” by capturing the Avatar, was a convenient way for his father- the tyrannical Fire Lord Ozai- to dispose of him whilst simultaneously advancing his plans for world domination.

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The beginning of the second season saw these fear confirmed, as his sadistic sister and crown princess of the Fire Nation- Azula- appeared. Fleeing with Iroh upon being labeled “prisoners,” it would be Zuko’s journey through the Earth Kingdom that would start to truly teach him what “honor” meant. Living off the land did not suit the young man used to royalty and (relatively) comfortable living, and ultimately he would be confronted by his own past. Zuko Alone is one of the best standalone episodes in the series, specifically showcasing the struggles Zuko had between his identity as Fire Nation prince and fugitive young man trying to forge his way forward. Another element that resolves itself for him in this season is the ‘Blue Spirit’ alias originally introduced in the first season. Essentially serving as a vigilante double, it was another expression of the young prince not necessarily being honest with himself, or the totality of his person. (After setting the Avatar’s flying bison Appa free from a Dai Li prison, he symbolically sets this Robin-hood esque personality free as well by dumping the mask in Lake Laogai.) This was reflected also by his rage-fueled firebending, which seemed much weaker than that of his uncle, Iroh- the former great Fire Nation general; or Azula, whose prodigious skills were hallmarked by rare blue-colored flames and a mastery of lightning generation. As Iroh would explain to his young nephew about the balance of the elements, so too Zuko would have to find such balance within…but it would not be quite yet. After finding a quasi-peaceful existence in Ba Sing Se, the capital of the Earth Kingdom, the gut-wrenching Season 2 finale saw Zuko make a decision to team up with Azula out of indecision in his heart that fueled the almost extinguished- but not quite- thirst of capturing the Avatar that had been full bore in Boy In the Iceberg. Not to be understated here was the capture of his beloved Uncle Iroh, who he had reunited with and had helped run a tea buisness with in the city. This betrayal, along with that of Katara, whom he’d finally connected with, loomed heavily on the young prince’s mind.

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Going back to the initial introductory thoughts of this piece and my Avatar: The Last Airbender review, Zuko’s path had continued to mirror Aang’s up to this point. While the young Avatar had suffered a critical injury in the battle of Ba Sing Se’s catacombs, Zuko had achieved redemption…or had he? Starting with Azula’s lie that he, Zuko, had “killed the Avatar,” doubt crept in from the word “go” on what his decisions had led him to. Season 1’s finale had him nearly die trying to do what was lied about in the wake of Season 2’s finale; and it was precisely the empty feeling of his “honor” upon being received back into the fold at home that Zuko’s journey would finally start turning on a true path of internal discovery. After rediscovering his family roots to his maternal grandfather- Avatar Roku, and feeling deep shame and guilt for Iroh’s capture, Zuko finally started to move on his own. Making his decision on the Day of Black Sun, the midseason finale, Zuko defied his father- the tyrannical Fire Lord Ozai, voiced by the always amazing Mark Hamill, and very symbolically flew off in a Fire Nation balloon, ready to forge a new path for himself- and unwittingly enough,his nation. After being received with less than enthusiastic responses from Team Avatar about his conversion (particularly Katara), he then proceeds for the next number of episodes to bond with his newfound allies in this newly formed life he chose to follow. His previously weak firebending would be replaced by an experience shared with Aang himself; the Dancing Dragon style, which was passed on from “the original firebenders, the dragons.” Zuko’s renewed bending signaled a shift in his motivations and determination; and on the other side, Aang would now be his pupil in firebending, as the young Avatar’s fear of the element had dissipated.

Zuko would also take part in the daring rescue at the Boiling Rock prison facility, where he found a valuable friend in Sokka while rescuing his father Hakoda, and love interest, Suki- a fierce warrior in her own right. It would be at the Boiling Rock where the shift in personalities between brother and sister would become evident- as Zuko continued to be more at peace, forging the path of destiny, Princess Azula, who had been the picture of unnaturally composed in her 2nd season tour de force finally began to snap mentally, ordering the arrest of her two best friends and most trusted “henchpeople” up to that point- Mai and Ty Lee. As the heroes escaped, her descent into madness began; a story point that would resolve itself in the climatic final battle between the two. But first I must mention that our man of the hour makes up with Katara in The Southern Raiders,  a rather selfless act by the prince to help settle a personal vendetta of Katara’s own. That leads us to the part you’ve probably all been waiting for: The final Agni Kai.

Just watch the video above. No amount of exposition or description can really adequately describe the buildup to this moment. Understand this though: far from just being one of the best battles in the entire series, everything is set up to contrast Zuko’s journey against Azula’s destructive rampage. Warm orange flames meet cold blue ones. Zuko’s not alone like he was in season 2- this time, he sticks with Katara. Most importantly, his calm, confident demeanor stands out sharply against the obvious psychosis of the unhinged Azula here. Ultimately, Katara wins the fight and saves him after his selfless decision to protect her, but compare this version of the prince to the one from the start of the show. That’s character development. (Oh, and his foil? Aang mastered all the elements, beat the Fire Lord and saved the world. Not a bad redemption for a coward and an outcast.)


Like this analysis? Have an opinion? Chime in. Oh, and one more thing:

You knew it was coming. HONOR! HONOR! HONOR!


All rights to the Nostalgia Critic and Viacom for the contents of these videos.

Review: Gravity Falls

An ambitious mystery show that broke from the Disney mold is sure to be remembered as a classic.

The Lowdown:

Show: Gravity Falls

Network and years aired: Disney Channel/XD, 2012-2016

AniB’s thoughts: I suspect the people who wind up reading this review will have one of a few reactions: a) This show was incredible- I only wished it reached a larger audience; b) “Yeah, I heard about it at some point, but haven’t really watched it,” or c) What the heck is Gravity Falls? Well, I’ll do my best to accommodate all these points of view, because while Gravity Falls reached notoriety among its viewers and fans, by virtue of being a Disney .XD show in its 2nd and final season, it most likely did not reach the entire audience it could have. That isn’t to say that it’s an obscure show- because it’s not- but more so because it was a show that deserved more exposure than it got, especially considering its brilliant, final 6 months airing the remainder of its new episodes, which wrapped up with the conclusion of the Weirdmageddon arc nearly a year ago on February 15th, 2016. This show, without a doubt, is probably the best Western animated show of the decade, and it came from a director- Alex Hirsch- who was writing it in his debut as a show-runner. Blending dynamic, interesting and funny characters, a very fresh take on the “summer vacation trope,” quite a bit of inspiration from The X-Files and The Simpsons, and a unique blend of episodic and overarching storytelling styles, all wrapped in a neat 40 episode packages, you get Gravity Falls. And honestly, that description doesn’t really do it justice.

“But AniB,” you might ask, “best Western show of the decade? Are you sure?” Absolutely. Of course there’s stiff competition for that particular title in my head, and while I’ll mention the following shows, this isn’t their review: Adventure Time is probably the best representative show of the decade, debuting in 2010 and still going strong, but not the best overall; some will claim Steven Universe, but that series is not completed yet and lacks certain facets the very best shows have (but its emotional storytelling? Brilliant.) What of Rick and Morty, the Adult Swim phenomenon? Overrated by a vocal crowd. You can love your shows and your memes, but don’t confuse them with overall quality. And while I do enjoy The Legend of Korra (of which I already wrote a review about), Gravity Falls is a tier above it- but to be fair, they are hard to compare shows simply because in terms of style and substance they are very different. What makes Gravity Falls unique is that it’s not only all the aspects I’ve already described, but at the heart of the show lies one of the best sibling relationships ever seen on a TV screen- that of Dipper and Mabel Pines. It’s not a forced sort of relationship, where one sibling is pushy and the other is meek, or the trap where writers create tension between the two for the sake of having it, but it’s wonderfully organic; two different kids who are undeniably close at the end of the day- and mostly, “human” is the best word. As it turns out, the twins were inspired by Hirsch and his sister; a personal connection to a show, combined with a vision to end it on one’s own terms as a creator usually yields great results.

Gravity Falls is for me a personal favorite that I happened to come upon halfway through its run, but even divorced from that affection as a critic, it’s a show that was clearly designed to entertain anyone– as it targets both an older and younger audience adeptly. The logic that “the secret to writing a show that’s entertaining for kids is to write for adults” holds true here; the twins’ “Grunkle” Stan is a con-man with a complicated past; there are references to everything from Mad Max to the boy band craze of the early 2000’s; crazy creatures straight out of mythology appear in unorthodox ways, and the satire and symbolism in the show is not only obvious, but hilariously well done. And the show has its darker elements too- led by the major antagonist of the show, the fast-talking mind demon with truly outsized ambitions- the chaotic Bill Cipher. Whatever the case, Gravity Falls has something for everyone as a show, and as the show’s finale notes, “see you next summer…” because you almost certainly will be back. Take a trip in the woods if you haven’t, and you might just find a gem.


Animation Quality: Traditional 2-D animation, painstakingly done with care. Simplistic style of characters is very worn and familiar in feeling, reminiscent of The Simpsons (one of the show’s inspirations) and earlier cartoons. Background sets are varied, highly detailed and well thought out, hiding Easter eggs in the episodes. (The show runners actually hid keys in every episode to solve ciphers embedded in the credits of the show; this was a truly impressive detail and tied in the mystery element of the show on a whole new level for fans.) For this style of show,  the attention to detail, the animation style, and the way it builds the universe- it’s all very highly appealing. 5/5 points.

Characterization: Featuring a rich, diverse and dynamic cast, Gravity Falls lays claim to some of the most funny, likable and heartfelt characters from any show. With excellent development, the main cast is very endearing in distinct ways.

Dipper Pines, the main (c0-)protagonist and one of two twins, is an intelligent 12 year old boy who becomes engrossed in the mysteries of the titular town and grows to learn a lot about his abilities and shortcomings as a person. Dipper, as you might expect, has strengths and weaknesses that contrast with his sister; while he has a nose for mystery, discovery, reading and the like, he is physically weak (though improves through the course of the show), quite introverted in certain social situations, and often seems all too eager to grow up, forgetting sometimes to enjoy his childhood (and each day, for that matter.) He also cares extremely deeply for his family; he has innate courage that comes out when most needed.

Mabel, his sister, is a ham, preferring to keep a bright outlook on life while quietly fearing the prospect of growing up (in contrast to her brother). She is all things “fun and random,” preferring social activities with her friends in Gravity Falls (Grenda and Candy), such as listening to pop music and having slumber parties. Most distinctive about her is her one-of a kind sweater collection, which she constantly knits off screen. (She wears upwards of 100 distinct sweaters over the course of the series- can you count them all?) As I highlighted in my thoughts,  the two twins share a sincere, sweet bond that is one of the best portrayals of siblings in any show.

Their great-uncle, or “Grunkle” Stan, is one of the most well-rounded older characters developed in animation. Billed initially as a shyster of a tourist trap (The Mystery Shack), Stan’s motivations and character turn out to be far deeper than simply turning a profit. (MAJOR SPOILERS, turn away if you must): Stan’s real motives are to fix a 30-year old rift gate (that rends time and space) in order to rescue his long lost brother, who in turn he must also mend his relationship with. Despite his questionable habits and disposition that most would see as “grouchy” and “cheap” from afar, he’s got a heart of gold for family (and brass knuckles for anyone who messes with them!).

As for Stan’s employees, Soos, the Mystery Shack’s handyman, is fleshed out as a sweet, naive man-child, with plenty of warmth and a helpful hand, despite serving as comic relief most times, and Wendy, the Shack’s other employee is the most believably cool teenager in a long time on an animated show. The only daughter in a family full of sons that are lumberjacks, she’s a classic sort of “cool” without really forcing it.

A quick mention here to Bill Cipher, the “dream demon” and triangular-shaped  main antagonist, who in turn is a brilliant portrayal of a chaotically evil villain, containing a blend of dark humor and truly threatening qualities. I’ll also mention Gideon, the strange Southern-accented faux psychic who serves as the 1st season’s main threat. The rest of the cast is also intriguing and generally very funny, including the mysterious author of the journals. 5/5 points.

Story quality: The show has an impressive story arc, but also is episodic, with most episodes able to stand on their own. The finale lived up to massive hype, completing everything in most satisfying fashion. Even the supposedly “filler” episodes advance the plot, whether through subtle clues or through focused character development, so there’s no real filler in the traditional description. There’s impressive detail to hidden codes, genuinely funny moments abound, and very clever satire exists throughout the series. More serious scenes are treated with painstaking detail and add balance to the lighter parts of Gravity Falls. 5/5 points.

Themes: Definitely focuses on mystery and the wonders of unexplained phenomena. However, the show also focuses on friendship, growing up, familial bonds and brother/sisterhood. Uses certain symbolism related to secret societies and the like to set the tone in a very savvy form of satire- the more you mess with this stuff, the worse things become! (It’s also a subtle criticism of  messing with such groups and supernatural forces). Indeed, all these ideas come to a head in the satisfying final arc. 4.5/5 points.

Don’t insult the viewer: Gravity Falls is an incredibly smart show, balancing the kid audience on one hand and the older audience on the other with great characters, storytelling, and very smooth animation. The level of painstaking detail and the great score add to the show’s charm as well. And how can I not mention the incredibly catchy theme song? (And it even has a special variation…) 5/5 points.

Total Score: 24.5/25 (98%). The first show run by creator Alex Hirsch turned into arguably the greatest animated show of the 2010’s and one of the better animated shows of all time. With a blend of memorable characters, superb writing and animation that brought out the best of the medium and a widely universal appeal, Gravity Falls showed the power of Western animation at its finest.


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Review: Dragon Ball Z

The most famous series of Goku and friends is an essential in the anime canon.

The Lowdown:

Show: Dragonball Z

Network (Studio) and years intially aired: Toei Animation, (Japan 1989-1996), USA- Cartoon Network 1998-2003)

AniB’s thoughts: Ah, the show that really brought anime into its own in the West; that gave Toei Animation a much bigger name, and that anybody who ever claimed to love the genre has laid eyes upon: Dragon Ball Z. I’d have to imagine that for many a reader, you lived through plenty of late nights on Cartoon Network’s Toonami block (before it was Adult Swim) at the turn of the millennium absorbing in the adventures of the one anime character even the most casual of TV watchers might know- Goku- in all their action-packed, blood and sweat filled, 4 hours of yelling filled glory. If you haven’t seen the series, it’s the 25- year old predecessor to the currently airing Dragonball Super, but was not the original iteration of the Dragon Ball franchise- that honor belongs to the same-named show that aired originally in Japan from 1986-1989, which among other things, shows Goku in his formative years and the introduction of franchise standbys such as Bulma, Master Roshi, Krillin, and Piccolo. But, as this review focuses on Z, I’ll save the details of the original series for another day.

Dragonball Z was an archetype show for anime that came after it for many reasons. However, it too was likely inspired by another of Toei’s works from the 1980’s- Hokuto no Ken, or in English, Fist of the North Star, which set templates for fantastical post-apocalyptic worlds and much more importantly, the idea of the superpowered shonen badass who has the capacity to be the strongest, faced by ever increasing challenges, higher stakes and powerful foes. Dragon Ball Z took that concept and ran; every danger was a planet-busting monster with little in the way of redemptive qualities (sans Vegeta, whose character development turns out to be the best of anyone in the show), which ultimately concludes with the pink blob destroyer of worlds, Majin Buu. But aside from the fight sequences, there were other reasons Dragon Ball became beloved: The FUNimation dub is fantastic to this day (and even better with updated Kai animation and lack of filler); we came to love the characters of the DBZ universe, which beyond Goku included people growing up with his eldest son Gohan; Piccolo’s transformation into one of the good guys, Future Trunks appearing in his debut to slay the rebuilt Mecha-Frieza and his father to bits, and of course, Vegeta, whose undying thirst to be the greatest warrior in the universe had an unexpected transformation in his character, giving us the greatest of rivalries. Even Frieza and Cell had their fans (though Buu’s only confirmed one was Mr. Satan, the self-proclaimed “hero of the world.”) And who could forget the dub opening of “Rock the Dragon?” (Mind you, the original Japanese opening has its own charm as well.)

Whatever the reasons, DBZ transformed into a cultural phenomenon the way few shows and fewer anime do. There are plenty of fine shows out there, but few ever make it quite as big as DBZ did. It’s not the greatest anime ever created, but it very well may be one of the most influential, and cultural affluence aside, is a pretty good show, aside from copious filler in parts and fights that literally stretch on for hours (though it’s part of the show’s experience.) So, without further ado, here’s the breakdown of Dragon Ball Z!


Animation Quality: Classic hand drawn Japanese anime from the 80’s. It was excellent for its time, and was brought up to date in Kai, but the original still has a nostalgic charm (which admittedly looks dated, but that’s an aside). The animation is especially brought out in action sequences; example include the famous struggle on Planet Namek between Goku and Frieza; the climatic fight at the Cell Games, and of course, the iconic beam struggles popularized by this show. (There’s a bonus point here, as Kai’s essentially a better remake with superior animation, so take that into account): 4.5/5 points.

Characterization: Dragon Ball Z boasts a surprisingly large cast of characters, many new, but also many holdovers from predecessor Dragon Ball. Despite the size, it focuses on a few main characters, namely Goku, and as the series progresses, Vegeta.

Goku (better known as Son Goku in Japan) is the main protagonist of the entire Dragon Ball franchise. Known for his insatiable appetite for both training and food, Goku transforms from a simple minded nice guy into one of the fiercest, toughest warriors in the universe- (spoilers- not really!) a Super Saiyan when drawn into battle, where he is veritably a combat genius. Gaining various powerups and powerful new abilities at each step along his journey, Goku’s will and drive to become the strongest for his own sake (and to protect those he cares about) helps him to overcome all the obstacles in his path, however insurmountable they may seem.

Vegeta is the self-proclaimed “Prince of All Saiyans”- the last of the former royal bloodline of the destroyed Saiyan homeworld. Originally coming to Earth with fellow companion Nappa in an attempt to find the Dragon Balls (for those who really have never seen this show, the titular items summon a wish-granting dragon, Shenron), Vegeta has a change of heart after an epic battle with Goku, starting on an intertwined destiny with his new rival while serving as a personality foil and anti-hero. Boastful, tougher than nails, and arrogant to boot, Vegeta’s pride knows no bounds, and while it makes him very strong, it is also his fatal weakness.

Aside from these two, Goku’s son Gohan plays a major role as well. Introduced as a young child at the start of the series, he is a quiet, shy boy with genius intellect and initially no fighting prowess. However, a confrontation with the first villain of the series reveals Gohan’s incredible hidden power and potential, something that first Piccolo and then Goku train tirelessly with Gohan to draw out. Their efforts do eventually pay off…and Gohan’s character arc is very good.

Trunks (both Future and regular) are Vegeta’s son. Initially appearing as anonymous Saiyan through time travel with a sword and the ability to go Super Saiyan, it is revealed through the course of the following arcs that he is in fact, Bulma and Vegeta’s baby. (During the Majin Buu saga, the present timeline Trunks, a young boy, appears as a major part of  the cast, along with Goku’s second son, Goten.)

Piccolo also deserves a mention in this column. Initially still Goku’s great enemy from the 23rd World Tournament in Dragon Ball, Piccolo quickly becomes an anti-hero out of necessity, and upon taking up the mantle of surrogate parent and trainer of Gohan, purges the evil out of his heart. He too receives several powerups through the series (though not to the same level as the Saiyans), along with a great deal of wisdom and a distinction as the Earth’s strongest non-Saiyan fighter.

Finally, there’s Krillin. Goku’s first training partner with Master Roshi, Krillin’s devotion to his friends and great spirit help keep him in titanic struggles despite being utterly outclassed by all the major DBZ villains as a human. Quick with a joke, he invented the Destructo Disk technique and later, gets another certain character to somehow fall for him. (The others might be much better fighters, but it can’t be denied Krillin’s a ladies man!)

A quick final mention goes to the major villains of the series, topped by Frieza, the insufferably pompous, polite and sadistic galactic overlord; Cell, a genetic abomination created by the evil Dr. Gero in an attempt to create the perfect fighting android, and Majin Buu, a destructive force with not much in the way of words, but plenty in terms of livability and combat prowess. Inevitably, the major problem with a cast the size of DBZ, not everybody gets enough screentime. 4/5 points.

 
Story quality: Dragon Ball Z is a canonical show with a progressive story, the typical format of most anime. The story focuses on four (five if you count Androids/Cell separately) main arcs, though they tend to be very long in the original due to the presence of filler. Overall, the narrative is gripping and strong, if simplistic; the writing is generally on point, and the action sequences are satisfying in that 1980’s/1990’s way. It is an action show with some actual weight in universe, and because the characters create such a strong attachment, the story itself becomes more compelling.  4/5 points.

 
Themes: Family, saving the universe/world, fighting for justice, pushing your limits, a never can die attitude, self sacrifice… and a whole lot of fighting, hence violence. It goes without saying DBZ’s pretty intense. It’s good to actually have some strong elements of thematic relevance in a show of this style, and the things it does focus on tend to be done pretty well. 3.75/5 points

 
Don’t insult the viewer: The Frieza battle comes to mind as being an endurance test. Otherwise, the show doesn’t assume its viewers are too young, even though you probably were when you first watched this. Epic 90’s rock score in the American version really sets the tone in intense ways as well. 4.75/5 points.

 
Total Score: 21/25 (84%). While Dragon Ball Z has its flaws, its cultural impact is undeniable (although discounted in the grading analysis). It was a great show then, as it is now, and set precedents for many popular anime that followed it. The characters are also iconic, well known beyond Japan, especially Goku, Vegeta, and Frieza (who was THE villain when he appeared back in the day). It is a classic in many hearts, and these ratings mostly reflect that.


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Review: The Legend of Korra

The successor series to Avatar: The Last Airbender is a unique show in its own right.

The Lowdown:

Show: The Legend of Korra

Network and years aired: Nickelodeon, 2012-2014

AniB’s thoughts: I did not know initially what to expect from the sequel series of Avatar: The Last Airbender, aside from the fact that it had a very high bar to reach, perhaps unfairly so. It is my opinion that while Korra did not quite reach the same heights as its predecessor, it was a unique show in its own right, and executed some very interesting, cool ideas all on its own (The mini-arc from Season 2 with Wan, anybody?). That’s well and good, but I also need to acknowledge the elephant in the room for any fans in the room (and that there’s MAJOR SPOILERS for newcomers, so skip ahead to the grading section if need be), that being the romance and shipping in this show, because it’s obvious if I’m writing a Legend of Korra review, you’ll want to hear my thoughts on the show’s endgame. My opinion has been the same from the first time I watched the finale: It sucked.

Let me clarify my statement further: My issue with the endgame between Korra and Asami Sato has everything to do with the writing of the show. As a critic, I cared very little about the warring factions of Korra fans over shipping, and much more about the same elements I’m always analyzing in a show- and the issue here lay in both character and story development. Simply put, “Korrasami” is a crappy bit of writing that left Mako without a truly definitive conclusion (which I believe was the original endgame, but changed at some point) and did not have nearly enough of a buildup or real foreshadowing, which led me to  think either of the following three conclusions: that a) The writers (Bryan Konietzko and Michael Dante DiMartino) decided to give a big middle finger to Nickelodeon, considering the network had treated what had easily been its best rated, most popular show during its run quite badly, to the point that a late season 4 episode had its budget slashed, and was forced to be a clip-show; b) The chorus of shippers who wanted this specific conclusion was so loud and vocal the writers unfortunately caved in to please/placate such fans, or c) a combination of both. For anyone arguing that “Korrasami” was a long awaited thing, let me illustrate a couple points: First, The Legend of Korra was meant to initially be a 1-season show. At some point, this endgame was devised, and I believe it was quite late (again, my speculation), but it was not the original intentions of the writers, if Season 1’s finale was anything to go by. Next, a pen pal relationship and a wink and a blush between two women hardly constitutes that they’re about to be romantically involved. It can just as easily denote a strong friendship- a unique bond between women that is both empathetic and understanding. From my perspective, this would have been a far more logical conclusion to make from a character development standpoint, except for the nagging belief that the vocal segment of the fandom who wanted the endgame we got would get their wishes, development be damned! Finally, the last issue lies with the character of Asami Sato herself. While a major character in the first and second seasons, her role (mostly) dwindled in the final two seasons, aside from bankrolling a fancy blimp, giving the occasional baddie a shock from her electric glove, and being a real estate developer. Asami, therefore, did not have enough weight as a character to really justify the specific ending we received! That in turn also leads back to my conclusion that everything involving “Korrasami” was a late decision based on the factors I laid out, but as they say, the rest is history. The franchise is now saddled with that decision come hell or high water, and frankly, it’s probably best they run with it now that it’s been made. I still think it was a bad choice from a writing perspective, and I’ll leave it at that. Now…some people probably want to hear about everything outside the final 2 minutes of a 4 season series, so we’ll get into that now!


Animation Quality: Highly detailed 2-D animation with heavy influences in anime. Korra took cues from its predecessor (Avatar: The Last Airbender) and polished them even further, resulting in stunning action sequences and a compelling re-entry into a transitional version of the Avatar world. There are many gorgeous moments worth mentioning, but a special shoutout goes to the season 3 finale, which the animation was perfectly choreographed with the music and storytelling.  5/5 points.

Characterization: The characters are well developed for the most part; the Avatar’s (Korra) journey through the four seasons provides an overarching plot that is generally cohesive and intended as a foil to the original Avatar, Aang in terms of progression. (What I mean by that is that Korra’s journey is often an inner one; Aang conversely had to master the 4 elements and physically become the Avatar he was meant to be; he had a strong spiritual connection to start.)

Korra herself is a headstrong, tough young woman who is initially all too eager to show off the world her prowess as the young Avatar. Coming from the Southern Water Tribe, and living in the giant shadow of her predecessor Aang, she quickly finds that carving out her own legacy is not nearly as easy or straightforward as punching an Equalist goon in the face, and each season progressively delves deeper into Korra’s spiritual connection as the Avatar and her inner demons. (It’s a very Eastern aesthetic, but works well here). With her friends and family though, she continues to move forward.

Mako and Bolin are brothers living in Republic City, the new megaopolis that Avatar Aang founded. (Slight spoilers) Born to a Fire Nation mother and Earth Kingdom father, Mako is a talented firebender and Bolin is an earthbender. The brothers enjoy playing the sport of pro-bending profesisonally(you’ll see if you haven’t watched the show) and become the first friends and then valuable allies through the series to Korra. Bolin also has a fire ferret named Pabu that accompanies him and serves as the inspiration for the team name in pro-bending they have; Mako has an interesting arc that involves romance, police work, and plenty of resourcefulness.

Asami Sato, aside from the diatribe above, is a talented inventor who takes over her father’s buisness for certain reasons (which are very clear in the show). She is the financial muscle of Team Avatar, and often has good advice for her friends. Her signature weapon is an electric glove made intially for the Equalists (the first antagonist group of the series), which combined with her decent prowess in hand to hand combat, is formidable.

While there’s a great deal of other characters worth mentioning (such as deus ex Jinora), the last one I’ll flesh out here is Tenzin. Master airbender and youngest son of Aang, he is a bit of an uptight traditionalist, but cares deeply for his family and friends, and is as brave and resourceful as you’d expect the son of Aang to be.

The supporting cast is also well developed in general; my nitpick was always with Asami Sato, who often felt like a spare tire through the latter half of the series. The romances were a little sloppy; the best in the show from this writer’s opinion was (spoiler!) was Varrick and Zhu Li.  4/5 points.

 
Story quality: The story was an overarching canon about Korra mixed with smaller sub arcs in the different season. These generally flowed together well, and were perfect for character development. Notably, Korra went with seasonal antagonists rather than an overarching one like ATLA and the Fire Nation; these were generally good although Unalaq was rather stereotypical for a villain character. As I talked about at length, Korra’s romantic life was rather clunky. 4.25/5 points.

Themes: Korra dealt with a large theme of change and growth (the Avatar world was constantly growing and is at a pivotal point in its history when Korra takes place.) It also dealt with relationships and ideologies. The final 2 minutes of the show is thoroughly controversial (writing aside), and to say otherwise is to beat down the potential fans who may not agree with how it was handled. (Personally, this is simply an acknowledgement of different moral codes, not anything else.) 3.5/5 points

Don’t insult the viewer: The show was darker and somewhat edgier in tone than ATLA, and for the most part it worked, except for the romantic bits. Frankly, that’s not enough to dock more than a half point.  Specially mention also goes to the terrific score through the show again, which really helped set the tone and atmosphere for so many key moments. 4.5/5 points.

Total Score: 21.25/25 (85%). The successor to Avatar: The Last Airbender was visually stunning and for the most part hit the right notes, but had a few major, mostly minor flaws that kept it from perfection. It’s still an excellent show, and as some places have mentioned, has a lot of strong female characters, which is nice. Overall, Korra rates out favorably in the end.


Like what you see? Have something to say? Feel free to comment- nothing is better than healthy, constructive discussion!