Yeah, but is The Legend of Korra good, Though?

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I just finished my season-by-seaon look at The Legend of Korra, and overall I find it a facinating series (6,000 words of fascination later).

The most fascinating, and my favorite thing about this series is the complicated and diverse discourse the show has. This might be because I relish argument as pure sport (read my piece on Smash Bros for further understanding— it’s good). You might believe what you say, but it’s just a debate. It doesn’t matter (can you tell I spend no time on message boards— Discord Servers, God I’m old). That makes how this show can have articles and videos decrying it as a failure while other praise it as sophisticated story telling. It’s why, as much as I hated early DCEU (and really all dc movies after Dark Knight), I find the debate around them to be so interesting because it’s the same kind of thing. To that end I watched so many analysis and editorials on Korra, as well as read articles to really gauge all the talking points people have, and to help measure where I fall.

One phrase I kept coming back to in my head was, “I hate to criticize this show because I love looking at it,” and that sentiment holds true no matter how many editorials or video essays I watched. I think it stands as one of the best looking animated series even after the animation slump between season one and two when the switches from Studio Mir to Pierrot and then in season four. This does sound back handed, but it goes deeper. The visuals are only a part of it. I think the character designs are striking. Each one oozes with personality some of the people embodying them don’t have. Korra in particular is one of my favorite characters for the look alone. Some of the complaints that her design is busy feels mixed. I like her season four outfit a lot, but it also feels like an evolution of the brash nature she once had (also I’m shocked she’s not more of a female icon. Not because she is swoll as Hell but because she gets away with wearing sweats for the whole show, and of the little I know about women, comfort is key).

But even designs as simple as Kuvira and Zaheer all give them some concrete personality. There is also no accounting for how much I care for the world of Avatar that just spending more time in it feels good, and giving it a full HD upgrade helps it come live. Though I also love the tone and atmosphere of the series. It balances the line of being mature and goofy better than Avatar did even as the writing is lesser. This made the multiple times I watched through footage during the video essays that much more enjoyable.

Even as a shallow compliment, me liking visuals, that should tell you enough of my opinion, but I have more thoughts. Some of them are not so subtle responses and expansions of points I heard and read during my deep dive. All of them center around the changes, not necessarily evolutions but some times evolutions, made from one series to another.

Not all changes are bad, and neither are all differences. Two objects are able to exist as opposites without one being better (why do you think Mean Girls is my favorite movie while Avengers Age of Ultron is my favorite superhero film). I might like one more than another but I wouldn’t quantify them the same. Many elements between Avatar and Korra are felt in that way. The biggest being a comparison between Appa and Naga.

Appa was an essential part of Avatar. Not just because he was Team Avatar’s transportation, but because he was one of the last remnants of the Air Nomand civilization, and crucial comic relief and empathy. There is a reason it is a big deal he is stolen and forced to flee his numerou captures all to get kidnapped by the Di Lei and eventually freed. It made us care for this big loveable creature. He clearly had emotions and obviously meant a lot to Aang and the rest of the team. Naga, Korra’s spiritual animal, less so. Naga plays a role only in season one as Korra’s city transport before they get a satomobile. After that she is abandoned to being background dressing and occasional cute animal comic relief with Pabu. That means Naga holds far less emotional weight to the series. If she got kidnapped I would fear the situation but would not be nearly as affected. This might sound like a negative, but it’s just a difference.

Naga and animal side kicks are not as important to Korra the series, and the characters that have them are used to show they are immature in some way (similar to say Kristoff and Sven in Frozen). Heck, they are used as a parody of animal side kicks in the movers Bolin films in season two with Verick. Basically, there is a reason Bolin becomes more himself in season four when he reunites with Pabu after fleeing Kuvira’s army.

The other example of problems that aren’t problems are harder to quantify because though they are not problems conceptually, they are never handled great in the series to hold them up. The first of these is Korra being so sheltered growing up and training. As pointed out in Avatar, the reason an Avatar must go on a journey is to learn the world and find masters who will help them understand themselves and the world they must protect. Korra, for plot reasons, did not have this. In universe that makes sense. By the time Korra is born the Avatar is a key positon right for exploitation like kidnapping. Of course this lack of seeing the world has unforseen consequences on Korra. Without having seen the world her brash attitude causes her to make situations worse. A key character flaw like that is perfect for great writing, unfortunately it seems like the team doesn’t realize that’s a problem, or figured it out too late and tried to adjust course by humbling her. They just never stuck to it.

I hate to rewrite stories. It’s my least favorite form of critique (also why I dispise theory talk or speculationcasts. Wait for the thing to come out and then discuss what it does. Don’t try to predict and get your hopes up when it doesn’t reach that goal). But the team had many good points in the story to do this and never did. When Korra loses her bending against Amon they could have done a season on her regaining them. When Korra loses Raava they could have done something with her gaining that back, and when she is crippled by Zaheer they do something with her then, but by then it’s the end of the series and feels like they’re finally getting around to telling the story they were trying to tell. Unfortunately by that time the series is over and any future is only possible in comics, not in the animated series proper.

Another one that isn’t bad is one the show deals with quickly but feels ever present even as the team moves past it. That being the stationary nature of the series. Instead of a world spanning trip across mystical lands, constantly searching and being hunted like in Avatar, Korra seeks for a more stationary cast and setting. This is most true in season one as New Team Avatar tries to deal with the unrest in Republic City, but even afterwards, in the later seasons, the locations they go to are all reused and feel more like limited TV sets than a full on world.

Now saying you should discount a show because it reuses sets would seek to discount most all television, good and bad. Instead I mean that Korra seeks to be more focused on having a consistent setting. This works for the most part. Despite decrying the Americanization (which I would push back against some as, seeing pictures of streets in Hong Kong and Beijing they look similar to that as well) and steam punkery of Republic City, it is a place brimming with life. Same with the Southern Water Tribe, Zaofou, and the Spirit World, they are all places interesting enough in design, tone, or culture to make spending time there enjoyable. It also gives more time to get to know the groups and people living there. In theory at least, it doesn’t always execute on that.

A great example is Zaofou. We spend a good chunk of season three and four in the city, but it feels unclear how it operates, how it was founded, and its function in the larger society. Instead time is focused just on Su and Lin. This is good in theory, but when we have to care about it later it’s hard because we know so little about it or what it stands for. This also means sometimes time is spent too long in one location to be enjoyable and feels like a slog. Hence the lack of energy in places like the Bending Arena, police stations, air temples, and Kuvira’s camps. It might also be why the final fight feels so lackluster. Though it is in Republic City, the city is never displayed or conveyed well, making the fight seem smaller and less substantial than it should.

One issue this focus on staying in the same places leads to a lack of world building outside the set locations. Normally this wouldn’t bug me except for one little nibble… we don’t know what’s going on with the Fire Nation.

This seems like a strange oversight borne from a good place. The last series spent a lot of time with the Fire Nation, so gooing back to it would be odd and might feel like a rehash of what’s come before. Unfortunately not touching it at all leads to questions I have about it (in the same way I question what the rest of the world is like in stories like The Hunger Games or Divergent). The most we are given is that Zuko was leader until his daughter took over. They are also in some way connected to the World Army that General Iroh is connected to, but other than that it’s a giant mystery, and it shouldn’t be. The Fire Nation should be a hotbed (no pun intended) of possible stories. It’s now a nation having to recover its image after going full totalitarian. It must be ripe with debate, intrigue, and drama over how to recover their tarnished image. Instead we get a couple scenes with Zuko and one scene with his daughter and after that it is abandoned.

Yet, that might not be as true as I once thought (to bury the lead a little, it is true what I said before, I’m just focusing on something else). An idea that is often overlooked in the first half of the show but made a strong focus in the latter seasons is Republic City as a part of the Earth Kingdom. Land stolen by Avatar Aang, Zuko, and the Earth King. Some call this colonization and feel like the show doesn’t address that enough or paints it as a good thing that the Earth Kingdom was taken over by an invading or previously invaded power. That is a compelling thought. There is some logic in it, but feels like an argument the show would make about a political ideology. It wants to be an allusion or allegory for a real life problem but has too many in-universe issues getting in the way.

Just like how Amon says that non-benders are oppressed but chooses to use only a sport to illustrate that, Republic City was not something taken by Fire Lord Zuko and Avatar Aang. Granted we don’t see how it transpired, just given an explanation, but the explanation seems to be one of unity and experience. To create a place not tied to any of the nations. It also doesn’t seem to have been taken by force, but instead compromise. Whether that’s true or not is hard to say, but the fact both the Earth Queen and Kuvira want to take it back by force are ways to illustrate that they’re villainous in some way. They want to take a place of independence and force it back under the rule of one nation. That doesn’t mean there is no discussion to be had. The decision of the Earth King from 60 years ago shouldn’t take precedent over future goals, but there is no discussion had in the show or reasons to think its meant to be villainous in their own right other than what they represent.

The final change between the shows is its use of multiple villains on the same level instead of a consistent overarching antagonist with minor minions as the day-to-day foes.

This change is nothing new for semi-serialized and fully serialized TV shows. Clearly an influence on the team was Buffy, which did that consistently (kind of) for seven seasons, along with most superhero and crime shows. They give fresh threats for the characters to face instead of just one insurmountable threat they’re training for. It’s a tried and true method that flexes writing and planning skills, especially when you try to make them more relatable and sympathetic.

In my 5 Things I Would Change with Avatar (It’s good, you should read it), one of them was to give Lord Ozai more refined goals and motivation. Not necessarily make him sympathetic, but at least have definition other than being a crazy fire monster voiced by Mark Hamill. Korra attempts to do that for multiple villains to mixed results. Both Amon and Unalaq were the roughest of them and share the most in common. Both are villains that are supposed to be foils for Korra, a person who has mastered a skill she has not and thinks that they are the better for it. Of course where they break down is in their motivations. They are both far more self serving than once thought, and devolve into villains as cliché as Ozai, but with rhetoric to make them sound smart.

Zaheer and Kuvira fare far better then Amon and Unalaq, but suffer from different problems. Zaheer’s ultimate freedom, anarchy-chaos as natural order shtick works better than I think people give it credit for. The idea air bending is total freedom and he gets that through a major change as if I’m he was chosen to enact that freedom onto the world would be great if it was explored more. Yet. much is put on him for being idiotic, unthoughtful, and more selfish than he thinks. Criticism of him killing the Earth Queen and hoping for the Earth Kingdom to sort itself out only to lead Kuvira into power is seen as a negative trait, but could also have been done on purpose. That’s one of this outcomes where it’s hard to tell if it’s a happy accident or planned. Either way, the fact he is a villain should automatically rule out anything he says… except for the fact the team tried and failed to make their past villains have a point and support that with how society changed to better address their grievances. Meaning it’s hard to tell if Zaheer’s ideals are supposed to be taken seriously or just his actions.

Kuvira on the other hand is supposed to be taken utterly seriously. She left to mend the broken Earth Kingdom and instead instituted a fascist government. The problem with her is that so little is really shown of a normal life under her. I’m not sure what she’s really protecting them against. There are bandits and raiders shown in the first episode, but they seem more displaced and turning to crime by her intervention than helped. Interestingly though, being she is the closest one to Ozai’s ideals, she’s given some backstory. Unfortunately that doesn’t make everything she do make sense. Most of it feels constructed to make her Nazi-lite (all the totalitarianism, none of the death camps), and also want to her to be sympathetic but not go into detail why she makes some of the choices. One of the biggest examples is throwing other element benders into prison camps. In fact, much of what Kuvira does feels like all posturing and threats (which she’s good at. Now I know what Baatar was into cause I’d want her to step on me too), but doesn’t go far enough. Even if they wanted her sympathetic they could make it feel more out of anger than an actual, honest threat. I think she needs just one line about not wanting to lose power to someone who could replace her, or threaten the other nations if they interfere with her land reclamation. But even as I want her to be more in-depth she serves her narrative purpose well enough.

Even as the villains make no political sense, as much as they want them to, that’s not their main role. With each villain they were foes to help Korra grow, but also to learn from. Now despite the fact Toph just explains what the viewers and Korra were supposed to take from the past villains, Korra does learn. The believablity, understanding, and “too easiness,” aside, of course, she grows even if she doesn’t realize it. Amon, by taking her bending, forced her to believe in the forces inside her, thus helping her throw her first air-punch. Though Amon lied about his origins he still taught Korra the importance of belief even if that wasn’t his goal. Unalaq built on that further by forcing her to come face-to-face with the spirit world and how the Avatar neglected them. Zaheer forced Korra to her lowest point in order to help her build up, and Kuvira is the culmination of everything she learned rolled into one final conversation at the end of the series. It’s far more reminiscent of classic TV writing. She needed one lesson to deal with the other. Execution of these ideas might be wanting but they drove their point home.

Every change above is a lateral move. In concept none are better or worse, just different. Of course, not all differences are positive. Some of the changes in course were not for the worse. Most talked about and agreed upon is the change in bending.

Bending was both a martial art and an artform. There is not end to the amount of times I watched the behind the scenes on Avatsr just to see where they got the inspiration for each style of bending, and what that bending said about the person using it. That last point was so crucial there was a whole episode with Zuko trying to get his bending back. All to say that style was important. Korra the Series change to make it all generic MMA combat (granted I’ve watched enough Joe “Welcome to the Show… Friend of the Show… Hey good buddy… probably true” Rogan to know MMA isn’t generic). Even if it isn’t, they have simplified it all down to a base set of moves and styles every character used.

There are a number of reasons this happened or could have happened even if they didn’t mean for it to. Some of it comes from an honest and impossible place to advance the world. The most obvious examples being electricity and metal bending. Those two styles and moves of bending were big hits and important parts of the worldbuilding. If they didn’t advance those styles of bending people would have called foul on more people not learning, but since they did advance it the world feels less deep. People have to work at metal bending, and some can’t do it at all, but they make electric bending just a normal skill fire benders can do (though to compare it back to the lack of exploration with the Fire Nation, maybe they do have to learn but it isn’t explained at all). The second, less obvious, is how benders are no longer suppressed like they were under the Fire Nation, meaning more benders are around. This would logically mean not all of them would be properly trained to bend elements, hence getting the street fighting/boxing styles of combat most benders use. That makes sense why the Equalists could take them. They actually had to train to fight them on an equal level.

Of course that isn’t the whole change because the biggest culprit/chicken and the egg scenario is pro bending. Pro bending did not have to exist. That was one element of the show no one wanted or clamored for. However, once you hear those words in your head it does get possible ideas spinning. The direction, a three v three boxing-alike, makes sense if you think of it as a 20s era sport. Boxing is huge and very American, which this series is pushing. That decision is also where the change in bending is shown. All bending can no longer be this whole art form because now it needs to be quick, high impact moves. Basic jabs, kicks, etc. what makes it kind of worse is how there is seemingly no strategy to the sport. Just hit hard and fast. The only time it feels classic or like it’s a new spin is when Korra uses that to figure out air bending stuff with the dodging, and the one on one fights. That brings me to the discussion of why it had to be that way in the first place. There are plenty of other sports to copy. An automatically better and more interesting idea is a ball control game where you scores points by throwing a ball into a goal with only bending. Have two field players and a goalie. That would expand bending by seeing how each element uses its power in new ways, and get Korra on a team so she has instant access to bending friends. And if it has to be fighting, make it a team of one on one fights and add other game elements to it. This too would expand bending by maybe having a water bender who can cut rocks, or a fire bender who is good at fighting water. Just so many options, none of which would have caused the portrayal of bending in the series to change.

None of this is to say that pro bending on its face is bad, just could be better. The show kind of agrees with me and realized it was a good world building idea at best by sidelining it in season two, and then having Su’s sons in Zhaoufu make a way better bending sport with a metal disk that can bounce around. Basically, pro bending isn’t the problem, it’s the symptom.

The most aggravating thing about the series can be seen in microcosm with bending. Bending changes and there is some talk about it, but other than that it is left as it is with no sense of how others really feel about it. Something like that should play as a big question to the audience who came in right after the past series, but it’s not. It would be like if they changed The Force in Star Wars (people argue the sequels did). But not just giving everyone the ability to force push or force kick or whatever, but said you could fly and throw rocks like an earth bender. Stuff people would question why it changed and if it’s supposed to mean something. But, it is only slightly addressed, maybe up to be a problem that isn’t. Problem, then forgotten about in the way lots of things are where I don’t know if they forgot about it or I was just supposed to stop caring, or if they wanted to go in another direction and didn’t mind just dropping it.

Of course this is compounded by how pretty the show is and how fluid the fights are. I just love watching them so much that it almost gets me and makes me not care so much… until I see some of the most basic Aang/Zuko fights of season one and see far more strategy and care going into every movement. Zuko and Aang trying to strike each other, or avoid hitting, on top of the well in front of the scent shop has far more going on than just cool punches and kicks.

Though what makes many of those even smaller, less important, fights work is all of strong ground work laid by the story in Avatar. No matter how seemingly pointless an episode is, or divergent from the path, they do work in one way. They fill in the space between big moments. They might not progress larger narrative, but they move the story forward. Something Korra the Series, doesn’t have or get.

Filler gets a less than stellar rep in story telling. Horrid memories of Naruto and DBZ stories that just seem to waste the viewers time are all associated with that word. Some of that is valid. More of it is not. The defining difference is how that time and those episodes are used. An example outside of this franchise would be Gravity Falls. Gravity Falls is a great series that has a first season which consists of mostly stand alone stories and a second season with a mix of stand alone and plot-building. However, instead of relegating the stand alone episodes to a seperate world that doesn’t affect anything, they are used to setup the characters and build on them while also being reincorporated back into the main plot. Turns out none of that was filler, it was doing work the whole time.

Avatar had this similar structure. Each episode, whether big or small, helped build on some aspect of the world, characters, or story. Every episode, even in book one, is meaningful. The one exception is The Great Divide (even the show makes a joke of it), but that makes up for it by being the most intellectually interesting episode of the whole show (I have a whole other editorial on that, but don’t want to bog people down in constant Avatar content). Though, the fact The Great Divide was reused in some way proves it wasn’t filler. It still added something to the series. Korra the show, contrastly, doesn’t seem to see its story in that way.

Some of the problems with the show is production kerfuffles we’ll get into later, but the show misinterprets filler and is the worse for it. Every episode, aside from the clip show (which was budgetary) has to contribute directly to the main story and progress the plot in a single direction. They find ways for some b-plot digressions, but that single drive and limited episode count per season leaves little room of characters to just hang out. Sure, that happens in the show, but instead of talking about character stuff it is instead just about the plot. Any time New Team Avatar is together it has to connect back in someway to the villain plot (or love triangle). There is no space for an Ember Island— Breakfast Club style hangout movie or a revenge story, or just a goofy episode where Aang can’t sleep and the gang has to help him find some peace while also highlighting the seriousnesss of the possible encounters ahead.

Korra the Series, does give some of these introspective moments to its characters. The episode of Tenzin learning to train the air benders, Korra Alone, or Korra dealing that trauma of Amon, and the digression with Tenzin and company in Civil War two-parter. But it’s never spread evenly. It’s lathered to only a couple character. Hence why a solid B-Rank side-character like Kya is granted more depth… heck, even Meelo gets more character than essential New Team Avatar members like Asami and Mako. When they’re together they can only talk about the plot or their generic romance banter, not anything about who they are beyond their character bio (woman in STEM and angsty Batman-alike).

Laid out like that, it feels like everything that characterizes The Legend of Korra is the drive not to be Avatar the Last Airbender. That, again, is a tough spot to be in. It makes a sort of sense to try and go in a totally different direction with the same franchise. Try to break any possible comparisons you can. Unfortunately, kind of like the series, they don’t go far enough one way or the other leaving them in this strange middle ground. It tries to take the series in many different directions but doesn’t or can’t commit to most of them. It tries to be more serious but has characters who use the exact same comedic sense as the past series. That similar sense of humor paints them as lite versions of past characters, and someone to write off. The villains want to have more depth and interest in ideals but aren’t given the time and space to flesh those ideas out, or just lie about the ideals making them no better than the main antagonist of the first series. The action is changed, but isn’t substantial different enough. It’s the same as before but watered down.

It is a noble thing to try and go in a new direction. Just look at how Himoru Arakawa went from the neigh-perfect epic of FMA to the slice of life drama, Silver Spoon. Not saying the team should have done a completely different kind of story and genre all together, but structural shifts and looking at this world in new ways makes sense (though maybe a totally different show all together would be better liked, ultimately, no one will know until if/when that happens). It is, in fact,the only solution the team really had, they just are also following up a classic series, beloved by millions, and iconic to boot. It’s an unenviable position that is made worse by the tumultuous production.

When looking into the show for any amount of time though, it’s clear the path the series took to being completed was less straightforward than its predecessor. From near the very beginning the show was myriad in production woes and would be for the rest of the series run. Starting with Nickelodeon’s trepidation at having a female lead in a show aimed at an older demographic, to constant changes in how many seasons they go, budgetary changes, and an unstable release location and schedule. It must not have been an easy show. The fact the team was working on, at one point, 30 episodes at once; with each being in a different stage of development. Post-production on one, production on a second, and pre-production on a third set of episodes. It’s no wonder so much of the show feels off, there seemed to be no time to collect your thoughts and plan. It had to be a full steam ahead type of adventure. With that being so common knowledge, it feels almost impossible to try and review the series without stating how much of their vision was compromised not by studio meddling, but by time constraints. There is no way this series was this team’s full vision when pressed like that. All questions of if the team thought through this story or plot point goes right out the window when you realize they were put into such an unsure place that it would be impossible to know what to plan out fully and what just need to be worked out in the edit.

That is not to say the series is blameless. This is the story Michael DiMartino and Brian Konietzko along with the rest of the team made. All productions have their issues. This one may have had far more or not, but in the end this is the story they chose to tell and how they chose to tell it. It is not fair to the act of criticism to just write all art off as not being given enough time. Time doesn’t fix a story that is misguided or mishandled in the first place.

This part is something I wasn’t able to put anywhere is just how good the casting is. I said in the very beginning how the cast isn’t as great as Avatar. While some of the actors in Avatar are transcended and star making, they are using two different styles of acting. Avatar, to be more on brand as a cartoon, kept more cartoonish voice acting. They used that to subvert expectations in places for serious moments, but on the whole was exaggerated. Korra the Series, is far more understated when it comes to voice acting. That sounds like this should go up with the lateral changes, but the difference is in the quality of the actors they got.

Neither of these show strike me as having a star studded cast, but when you look over the cast list, it is clearly star studded. Steve Blum as Amon isn’t star studded other than he’s a popular actor, but getting Lance Henriksen as his partner with the goggles is baffling. Adding to that is season two’s additions. I already mentioned Aubrey Plaza, but you get James Remar (last seen as Dexter’s dad Harry) as Unalaq in a completely inspired performance. Knowing who that is now makes me like him a whole lot more. But you also get Cutty from House as Kya. But it keeps coming, Bruce Davidson is the voice of Zuko and was Senator Kelly in the X-Men movies. Grey DeLisle returns as one of the members of the Red Lotus. People who know who Henry Rollins is, does Zaheer, and finally you get Zelda Williams – daughter of Robin Williams- is Kuvira. It’s almost no wonder why every character is given both so much and so little with a cast that strong. Everyone has to have lines to say and stuff to do because you have some major people in the booth. It’s another one of those impossible situations the team was placed in.

Yeah, all of this is interesting, but it doesn’t lay out if the show is good or not. The answer is that it’s not that simple. People come to different shows for different reasons. Whether they care about story, animation, meme moments, to cringe, or genuine enjoyment, it’s all valid reasons to watch something. In my research of the discourse I have found people who love the show but see it’s flaws, think it’s a flawed show with good qualities, those that think it’s a problematic show that can help other grow from its mistakes, and those who find it utterly insufferable, irritating, and just straight garbage. I fall in a strange place on that list.

A part of my enjoyment of things I like are also the things that make me hate it. I love shows and movies that are terrible or have bad things in them because they are just so bad. Nothing comes to mind immediately, but often when people say something about a show or movie I like is bad I will agree and say it’s great. I think maybe Rise of Skywalker is the best, most well known, current example. That’s an insane movie that makes no sense and totally contradicts or changes stuff in the previous movies and I love every second of the ride. Korra is like that for me. I would say it’s, on balance, better than Rise of Skywalker, but has those same kind a of moments. The whole (rightfully molined) kaiju battle between Ultra-Korra (who could also step on me) and Unavaatu is utterly dumb and only makes sense as a move for spectacle, but is also so enjoyable to watch. Same with most of the pointless pro bending matches, whatever nonsense Bolin is up to, and the times characters actually take any of the villains politics seriously (yes take the man who forces bending away seriously in any government). It makes minimal sense but has such an energy that I can’t stop watching.

It almost doesn’t matter if the series is good or not. The mere fact there is this much to say about just one TV show is admirable in its own right. It may not live on in my brain as a series that made storytelling feel effortless like it’s predecessor, but it’s many manhandled political ideas, characters, stories, and themes will live on forever in this virtual space and in my brain as something I couldn’t stop thinking about… and that is good.

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: say you’re a reader and I’ll be happy to discount any item for you!

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