Review: Voltron Legendary Defender Season 1- Forming A New Legend + Site Update

So bit of a quick update. As you can no doubt see by the last time I actually posted something here, I haven’t been too consistent in doing so, and I’ve been spending more of my time writing for The Fandom Post. I do want to try to stay consistent with this though, so for now my personal goal is to try and have at least two or three posts on here every month. This is the first thing for this month obviously, and I plan on trying to have the second done before Saturday. We’ll see how long I can manage to keep this up for, but I plan on trying a couple of different things so hopefully it all pans out. Anyway onto the review.

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Synopsis: Long ago the leader of the Galra race, Emperor Zarkon began his conquest of the universe, and the extermination of the Alteans. The only force capable of stopping him was a weapon known as Voltron, but it was sealed away along with the Altean princess, Allura. 10,000 years later, a group of young space pilots from Earth stumble upon one of the robot lions that form Voltron, along with Allura but soon discover that Zarkon is still alive, and has already seized control over most of the known universe. Now these pilots must become the new Paladins of Voltron and use it’s power to defeat Zarkon once and for all.

 

The Review

Giant robots have long been a staple of nerd culture, and when it comes to Americans who grew up in the 80’s they’re associated with one name: Voltron. Speaking as someone who grew up in the late 90’s/early 00’s, my only experience with the original series is through vague memories of the reruns that aired on Toonami when I was five or so, but I do know there’s been many an attempt over the years to reignite the franchise. These include shortly lived series like Voltron: The Third Dimension, and the more recent Voltron Force, but pretty much all of them have ended in failure. Now it’s time for yet another contender to step up to the plate, but Voltron: Legendary Defender just might be the one that finally lives up to the challenge.

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Reboots tend to suffer from the awkward experience of trying to both capitalize on a new audience while not totally isolating an already existing one, and usually end up losing on one of the two in the process. However rather than leaning too much one way or the other, Avatar: The Last Airbender and The Legend of Korra alumni Lauren Montgomery and Joaquim Dos Santos stated in interviews that their approach was to create the show they fondly remembered, rather than the one they actually grew up watching. It’s a particularly bold statement because the original Voltron was an Americanized mash-up of two separate mecha anime, Dairugger XV and Beast King Go Lion (with the latter being where it drew the most material from), and has been admitted as not making much sense on it’s own, despite the show’s legacy.  Obviously this show is a lot more coherent, but rather than rejecting what came before it, Legendary Defender instead pays homage to both the Voltron of yore and the original Go Lion in particular (Shiro and the Galra retain their original names from Go Lion, and the character designs are retooled directly from that version) while also using the showrunners’ previous experience to make a fun sci-fi fantasy romp, that’s filled with a solid combination of action, humor and occasional 80’s mecha camp. The result is an experience that both old and new audiences can enjoy, and a production that was clearly a labor of love.

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The show’s first season runs 11 episodes and manages to cover a decent amount of ground in that time, but it mostly just gives the sense that things are only beginning. While the 70-minute pilot suffers a bit from having to do a lot of things at once, the later episodes find a balance between building up the show’s universe, and maintaining enough of a constant pace that it never feels like it’s cooling down. In fact, the series takes advantage of Netflix’s “binge-streaming” model to create a heavy sense of continuity, and one that feels a lot more in line with how anime is formatted, than the structure normally seen in U.S. TV seasons. Many of the episodes run directly off each other, and even the small handful of standalone episodes end up tying into the season’s overarching story pretty quickly. This helps to make it incredibly easy to burn through in one or two sittings, but also comes with the unfortunate effect of making the season’s final episode feel a bit frustrating, as there’s no real attempt to conclude anything, so hopefully a second season won’t take too long to surface.

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Though while the show is strongly supported by it’s format, it also benefits heavily from its strong core cast of characters. All of the Voltron Paladins prove to be easily likable, and while they feel a bit archetypal in the beginning, they’re gradually fleshed out over the season’s run. Shiro in particular seemed like the super dependable leader who’s usually set up to be a sacrificial lamb (and still may be) but has enough of his own issues to feel like a real character, and the team’s “smart guy” Pidge has pretty good character arc, ultimately becoming the most endearing member of the group so far. Even Princess Allura manages to avoid merely being a damsel-in-distress, and at times feels like the real head of the team, rather than Shiro. Ironically, if there’s anyone who sort of falls into the background, it would be Keith, who despite being the protagonist of the original Voltron, doesn’t really have much to work with aside from his attitude problems, and occasional banter with Lance. The Galra are also pretty one-note as far as villains go, but the show drops some strong hints about that there’s more to both Keith and Zarkon that meets the eye, so I’m certainly open to seeing where the show takes them going forward.

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Normally I don’t talk too much animation when it comes to western stuff since the intent generally leans towards making something consistent as opposed to how stylized anime can get, but in this case it’s worth mentioning. Studio Mir’s work on The Legend of Korra was pretty solid, and their aesthetics have only improved, with a few of the show’s best action scenes feeling reminiscent of the Japanese “sakuga” style of animation as the animators show off some unique visual flair. Equally notable, is the production’s work in effectively blending together it’s 2D and 3DCG elements, as the latter manages to avoid feeling out of place, and even Voltron itself feels at home with the rest of show’s visuals. My only real complaint would be that the character designs aren’t quite as sharp as the ones featured in Avatar and Korra, but the show more than makes up for it making the characters as expressive as possible, and it helps to add to a lot of the humor.

The rebooting of a franchise as mixed as Voltron is by no means an easy feat, but so far it seems like the staff has managed to pull it off. Between the fun characters and the impressive work on the production, there’s plenty to enjoy here, and the showrunners have clearly poured a lot of time and heart into making a series with the potential to carry the franchise well into the future. Time will tell if this ends up making the kind of splash the other reboots failed to, but for now it’s looking like after years of dormancy, Voltron may finally have the chance to rise again.

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Overall: 8.6/10

Available for streaming on Netflix

Review: Fullmetal Alchemist- Without Equal

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Synopsis: Alchemy is the science of analyzing, deconstructing and reconstructing matter and the Alchemists who use it follow the principle of Equivalent Exchange: that in order to obtain something of equal value must be lost. However when two young Alchemists, Edward and Alphonse Elric lose their mother, they attempt to bend the laws of alchemy in order to bring her back and in exchange for their failure, Ed loses his arm and leg while Al loses his entire body with his soul trapped inside a suit of armor. Determined to get back the bodies they lost the boys decide to join the military and  seek out the mythical Philosopher’s Stone that has the ability to perform Alchemy without any price, but the journey they undertake proves there’s far more to both Equivalent Exchange and the stone than they realize.

Review

Waifus. Ramen. Fullmetal Alchemist. Outside of the stuff that’s been outright ingrained into pop-culture here like Dragonball Z and Naruto, there are very few anime that have left as big an impact as Fullmetal Alchemist. My own personal history with the show, however is a tad complicated. When I was in middle school this was the show everyone I knew talked about, but airing late Saturday nights, and my parents being strict about what I watched made me more or less miss the boat on it. By the time I actually got around to the series, I was in my 2nd or 3rd year of highschool, and since that was mainly thing to do back then, I checked out the manga first through a combination of old volumes my friends had and of course online scans. I enjoyed it quite a bit, and despite hearing that the anime version was incredibly different I was still pretty eager to check it out.

The result proved to me worth my while as I adored the anime’s storyline (the movie not so much) and found it just as compelling as the manga material I’d read. Of course, I had read the manga first, and so as time passed I became more and more invested in that version, and by the time the manga faithful anime reboot Fullmetal Alchemist: Brotherhood came out, I’d almost completely lost myself to it. Still despite the heated debates on the internet over which version was better, I maintained some love for the first anime series and vowed I would get around to revisiting it eventually. Now years later with this version of the show out on Blu-Ray I finally got the chance, and the experience is just as powerful to me as it was then, if not more so.

While it’s inevitable to draw some level of comparison to the Brotherhood/manga storyline, personally I’ve never seen much point in it, and having revisited this version I feel more strongly about that than ever. Though it’s certainly true the two follow a somewhat similar storyline up to a certain point, it was evident from the get-go that the first anime had it’s own plans in mind, and both the director and writer have said as much. In fact, it began making some pretty significant deviations from the source material extremely early on in order to ease into it better and while similar events happen, it’s often for completely different reasons.. As such the overarching result ends in two very distinct shows, each with extremely different characterization, themes and concepts that make them unmistakably distinguishable from one another with the only real similarity between them being that they share the same title.

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So what exactly is it about this version of the story that makes it such a beloved classic? Well to sum it up quickly it would be that it’s an incredibly human drama as opposed to the ultra consistent action-adventure of the Brotherhood/manga story. Anime is well known for it’s use of dramatic elements, and even the original material has more than it’s fair share of it, but there’s something about the way it handles those portions of the story that make it really stand out. There’s always an understandable driving force behind the actions of every character, and even some of the monstrous people in the story carry a few shades of grey. It can be incredibly cynical in it’s view of human nature, but just as often it’s great at displaying an abundance of kindness and forgiveness in regards to the actions the characters face on their long journey. All of it staying relatively composed and keeping it’s drama grounded enough to carry a realistic sense of weight behind everything(well aside from the anomaly that is Robo-Archer but the less said about that the better).

Everyone from the military men like Roy Mustang and Armstrong to the villains like Greed and Dante prove to be compelling and it’s easy to get swept up in each of their stories. However while there’s a lot of great characters and relationships explored, none are as powerful as the bond between Ed and Al. The connection between them is one of constant self-sacrifice and the lengths they’re willing to go to in order to save each other makes for a relationship than can be equal parts heartwarming and heartbreaking as the struggles they endure in order to achieve that goal gradually becomes harsher. Edward’s cynical nature, and Al’s childlike optimism also help to further serve the great dynamic between them as both speak to how the show examines human nature as both points of view are given some level of validation and it makes the journey the two take all the more interesting as their outlooks are drastically changed. In the end, both are forced to realize that the world they live in is far more complicated than either was willing to give credit for, but while not everything equals out, there’s still some value to be had maintaining the belief that we can still get our share of value out of life, and it’s a message that speaks to the show as a whole.

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Of course while the human core of the show is what ultimately carries it, it’s drama is far from it’s only strength. The show also also encompasses a pretty strong fantasy setting, and though the route this version goes with it differs pretty significantly from the source material, it’s still pretty unique. Alchemy in this show is neat, and there’s a lot of careful detail put into it as the show uses it to encompass various ideas on religion and philosophy, all while using it to further strengthen the show’s human elements rather than deter from them, and it makes for lore that’s actually interesting rather than distracting. It’s also got more than it’s fair share of cool action and while it can’t really outdo the Brotherhood/manga material in that department, there’s still plenty enough to make it pretty solid on that front, and it’s the near perfect combination of all these elements that makes it such an incredible show.

It also certainly helps that the show is a great looking production. While it can’t quite compare to other high-profile Studio BONES productions, and especially Brotherhood, it’s still an incredibly polished looking series, and despite being an early digipaint series, the show still holds up well visually and the upscale for the Blu Rays is solid. It holds up just as well music-wise with Michiru Oshima’s soundtrack for the series delivering on a bevy of memorable tracks and most of the opening and ending themes chosen for the series are great too with songs like Kesenai Tsumi by Nana Kitade and Rewrite by Asian-Kung Fu Generation still sounding as fantastic as ever. 

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Can’t really talk about the show without also mentioning the dub too, as next to YuYu Hakusho it’s the one largely responsible for creating Funimation’s reputation as one of the best in the business. While I’ve rewatched certain portions of Brotherhood enough times to be used to the sound of that dub regarding the characters, this one still holds up extremely well and even the roles like Scott McNeal as Hohenheim and Dameon Clarke as Scar, whose Brotherhood replacements delivered on some pretty strong work, I found myself warming up to again very quickly and are still really great performances. Vic Mignonia’s Edward Elric still sounds as iconic as ever and Aaron Dismuke’s Alphonse still really manages to capture the essence of a little boy (and the fact that he was one at the time certainly helps) with the rest of the cast sounding nearly pitch-perfect all across the board aside from one or two minor characters. 

All in all, I can’t say I was too surprised at the fact that this version of Fullmetal Alchemist still held up for me, but I was taken aback at just how much it resonated with me. Everything from how the show handles it’s characters and themes, to it’s presentation are still remarkable and it’s the rare kind of package that delivers on a little bit of everything, with none of it being compromised. It’s easy to see why this show is still so highly regarded, and while it may get looked over by some fans in favor of it’s shiner and more manga friendly counterpart Brotherhood, it’s still more than worth taking a look at. Fullmetal Alchemist may not have given the same experience as the original story but in exchange we ended up with one of the strongest anime ever made, and for me that’s a more than equivalent.

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Overall: 10/10

Available for streaming on Funimation, Hulu and Netflix. Blu Rays available through Right Stuf and Amazon

Review: Transformers Prime- Another Transformation

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Synopsis: For countless millennia, a war has been waged among a race of robotic lifeforms and their separate factions, the Autobots and Decepticons. The battle between the two sides led to the destruction of their home world Cybertron, and leaving them scattered throughout the cosmos. Eventualy the leader of the Autobots, Optimus Prime and his team made their way to Earth, but so has the leader of the Deceptions, Megatron along with his own forces. Now together with three human allies, the Autobots continue their battle against the Decepticons on Earth, and seeking a way to eventually restore their lost homeworld

The Review

So I wouldn’t exactly count myself among the biggest fans of the Transformers franchise, but I’ve generally enjoyed the incarnations of it I’ve seen. Of course having seen some of the 80’s series, the Unicron anime trilogy, Transformers Animated and *sigh* the Bayformers movies there’s only so much of the same story you can really take without hoping they can put enough of a new spin on things to make it fresh. As such when this series first came out, I wasn’t too interested in checking this out despite the level of praise it was getting since I was kind of burned out on the franchise by that point. Though now it’s been a couple of years and I’ve managed to avoid enough new Transformers stuff to be able to give this one a fairer shake. So does it actually do enough to really stand out from the other various incarnations of the story? Well the answer is both yes and no.

As I assume anyone reading this is over the age of 8 and at least has a basic idea of how the Transformers franchise works, I’ll spare going over the direct narrative details and jump straight to discussing the version of the plot in question. The fact that the basic premise of the franchise is an ongoing war is something that it’s never gotten much millage out of outside of anything directly taking place on Cybertron but this series manages to work it quite well.  There’s a bigger emphasis on how much the battle between the Autobots and Decepticons has turned into a never-ending conflict and one that’s been costly for both sides as they spend just as much time fighting over resources (specifically their “lifeblood” Energon that allows them to function) as they do trying to wipe each other out.

What’s particularly of note though, is that compared to other versions, the Autobots here kind of feel like actual war veterans, having each suffered through some form of loss, and carrying some kind of baggage. Most notably with this show’s version of Arcee suffering through PTSD in regardless to losing people close to her, and it plays a pretty big role in regards to her character arc and how she treats others. It helps to create some interesting paralells between them and their human companions, Jack, Miko and Raph who all kind of help to build off their respective robot counterparts, Arcee, Bulkhead and Bumblebee as they work through each other’s flaws. It works it better in regards to Jack and Arcee than the others since they don’t develop quite as much but it’s one of the stronger uses of the dynamic I’ve seen from the franchise.

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Even the Deceptions here are a bit more complex than usual here. Megatron is still well…Megatron but this particularly incarnation feels a bit less generic evil overlord, and gets to be a lot more pragmatic. Starscream on the other hand, is a much less effective schemer than in previous versions but in exchange gets a whole character arc devoted to whether he should just accept his fate as Megatron’s lackey. As always there’s usually quite a bit of civil war going on within their ranks and it manages to keep things interesting as Megatron has to spend just as much time keeping his subordinates in check as he does worrying about the Autobots. Something of which he actually manages to become savvy to, the further the show goes along.

It’s also very notable that compared to the other versions, this one is perhaps the most effective at making the Cybertronians feel more like living creatures and less like well…robots in regards to vunerability. When they “bleed” Energon, it really looks like their actually bleeding and when some of the characters die, the show can get pretty brutal how violent said deaths are. In fact it’s probably one of the most effective uses of robot gore I’ve seen in animation since Samurai Jack, and in a lot of ways it’s even stronger in this show since it’s less a means to get around censorship and more of way to hammer in the severity of what’s happening.

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As such, the biggest flaw of this version ultimately comes down to that it’s still generally the same story. It manages to maintain a tight Gargoyles style sense of continuity in regards to the storyline and similar writing to match as it gets pretty deep into Transformers mythos as the show goes along, but the sense of scale never changes too much from beginning to end. It’s not too crippling but for a 65 episode show it can feel a bit draggy and all the more so when it’s still occasionally subject to the usual action show cliches in regards to silliness. Also while this version does do more to make Optimus Prime a bit more interesting than in other continuities, his standardized heroic traits still come off as kind of boring and his development is kind of lacking compared to the other Autobots. Thankfully though, the tighter narrative is ultimately what proves to be it’s saving grace as even the slowest episodes usually end up tying into the larger story at play and it does manage to have a complete ending with a movie epilogue to wrap things up (well aside from the weirdly ambiguous fate of one of the villains but it’s not a major hangup) which is something I can certainly appreciate give how much actual endings are a rarity when it comes to action shows from the west.

Presentation

The show is animated by Japanese 3DCG veteran studio Polygon Pictures who’s best known for stuff like Star Wars: The Clone Wars, Tron: Uprising and if you want to get into anime examples, Knights of Sidonia. 3DCG still isn’t something people have a lot of tolerance for, but at this point Polygon’s more or less figured out how to best work the craft and it shows. Some of the fight scenes can look absolutely stunning and the show can make good use of cinematography from time to time to really capture the feel of some of the more horrific scenes in the series. The limited scale of the series’s narrative also puts a limit on how diverse some of the backgrounds can be but as the show explores more of Cybertron and Earth, the visuals manage to take a bit of a step up. As far as the character designs go though, the human characters look pretty basic for 3DCG standards, but the Transformer designs on the other hand are a bit more varied than they’ve been in some of the other incarnations and look appropriately cool. The CG’s not the greatest thing, but it never puts too much of a strain on the show’s capabilities and when it gets to go all out, it can lead to some nice results.

Final Thoughts

So how much would I recommend Prime as a whole? Well if you’re as burned out on the franchise as I used to be then I imagine this series probably won’t do too much to change your mind since it’s differences generally don’t lie in the basic story. But if you’re interested in checking out a somewhat darker and grounded spin on said story, then this one may be right up your alley. It’s not the biggest transformation the franchise has ever pulled, but it’s one that helped to remind me part of what drew people to it in the first place.

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Overall: 7.9/10

Available for streaming on Netflix

Review: The Tatami Galaxy- 4.5 Squares of Life

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Synopsis: A young college student is trying to get a fresh start and live out a so called “rose colored school-life” by having the best college experience possible. However his attempts to build a solid social life are constantly thwarted and he’s found that he’s wasted the last two years of his life on nonsense and wishes he could do it all over again. His wish is somehow granted and he’s given the opportunity to restart his college life over and over again in attempt to finally get it right, but will he ever actually succeed?

The Review

So this show has something of a rather infamous reputation at this point. Mainly in that I’ve seen nothing but almost unanimous praise about it, and yet the streaming numbers for it were apparently so ridiculous poor that it’s never seen the light of day for a physical release here in the U.S. and Funimation themselves have outright said not to hold your breath on that one. As a result, I’ve mostly attempted to steer clear of the show since I didn’t want to experience the agony of pining over something I can’t have and having now sat through the whole thing I can confirm that instinct was pretty much on the money. Though I ultimately don’t have too much regret over the decision as the show proved to be worth it.

Right off the bat it’s not particularly hard to see why this show would be a turn off to most audiences. The first episode doesn’t really do a good job of explaining what the heck it’s actually about, the main character talks so fast it’s hard to keep up with the subtitles, and the artstyle of the show certainly isn’t what most anime fans are used to seeing to say the least. However there’s a method to the show’s madness that doesn’t quite become clear until the second episode, and if you can make it through the first episode’s barriers unscathed, there’s a pretty immediate payoff.

The basic story of the show centers around an unnamed protagonist who just wants to live out a happy “rose colored” college experience and build a successful social life. That doesn’t quite end up going as planned and he ends up spending the next two years getting wrapped up in what he feels is a disaster, wishing he could do it over. Somehow he’s granted that wish and so forms the various episodes and situations the show has to offer. The different timelines the protagonist finds himself in are all loosely connected, but a couple of things generally remain constant: he always finds himself becoming friends with a guy named Ozu who he feels constantly drags him through the muck, thus ruining his life, and he’s always acquainted with a freshman named Akashi who’s clearly interested in him, but he never has the courage to ask out.

Each of the show’s scenarios get crazier and more fun with each passing episode, and with each one a cast of recurring characters slowly begins to form ,with all of them having some sort of bizarre influence in the protagonist’s life. In all of these stories, the protagonist seems eternally doomed to fail, but while he believes that circumstances out of his control (mostly Ozu’s very existence) are to blame for his constant failures, it becomes apparent pretty quickly that the biggest obstacle to the protagonist finding happiness is the protagonist himself. While in pursuit of his dream life, he always fails to take advantage of what he has right now, and always finds an excuse to back out of taking an actual step forward. Even in the one scenario where he actually does (sort of) gain power and influence, he’s still left unsatisfied in the end because he’s lost out on what really matters.

It all comes to a head during a conversation with one of the other characters who tells him quite frankly that the so called “rose colored” college life he dreams of obtaining simply does not exist. The best thing he can do for himself is to just accept his life as it is, and take advantage of what he has right now. Even Ozu, who the protagonist thought was as much of a loser as he was, was actually out living it up pretty well, and it drives home just how much the protagonist has wasted his life seeking something he can’t have.

As someone who similarly wasted a good percentage of early part of their college life in the same pointless pursuit, this hit pretty close to home for me, and it’s a message that captures that particular stage in life well, as it’s definitely something we tend to go through at some point whether it be in college specifically or somewhere around that age.  Of course it takes a couple of episodes of the protagonist choosing to isolate himself if he can’t have what he wants (along with simultaneously explaining the Groundhog Day plot the audience has already mostly figured out by this point) to finally realize this, but it eventually gets through to him and it makes for a satisfying conclusion.

The show was hemmed by Maasaki Yusa, who has since gone on to be known for last year’s Ping-Pong: The Animation as well as the Food Chain episode of Adventure Time, and it shows. All of his works carry a very unique art style, that looks almost cartoon scribble levels of crude, while allowing for a solid amount of fluidity in regards to animation and taking advantage of the art through the weirdest ways imaginable. That holds pretty true here and it really helps to make a lot of the show’s comedic moments work a lot better, while also making for a really neat contrast with some of the show’s real world backgrounds to give it a really interesting sense of flavor, though it can certainly be a turn off for the uninitiated. Michiru Oshima’s soundtrack for the show however isn’t nearly as distinct though the opening  “Koinu to Ame no Bīto” by the now legendary J-Rock band, Kung Fu Generation is pretty catchy.

It’s not hard to see why The Tatami Galaxy got the amount of praise it did when it aired. The show takes advantage of it’s weird premise to make for some pretty entertaining material, and the overall theme of the show is one that speaks well to both younger and older audiences in regards to living life to the fullest with what you have. It’s also perfectly capped off at a relatively short 11 episode count which is just the right amount of time it takes for this kind of show to work before the repetition of it really starts to set in. If you can get past the somewhat incomprehensible on it’s own first episode, and the weird art style, this show’s a really winner and one that definitely deserves a lot more appreciation than what it’s gotten thus far. So I guess you can now count me among those who’ll wait until the end of time for this show to ever get released here, and will complain ever day it isn’t. You win this round Tatami Galaxy. You win.

Overall: 9/10

 

Review: Inside Out- That’s Life

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Synopsis: 11 year old Riley is a girl with a peaceful little life, and she’s defined by her core emotions of Sadness, Anger, Disgust and Fear, though mostly Joy. However when she has to move to a new city, her life starts to hit some roadblocks and her emotions of Joy and Sadness end up getting separated from the center of her brain alongside the core memories that make up Riley’s personality. Now Joy and Sadness must make their way back to the center of Riley’s life and restore her personality before her life completely falls apart.

The Review

So it’s no secret that Pixar’s gone through something of a rough patch for the last few years. A lot of their recent films have lost the magic that made the studio so legendary with Brave being fairly generic, Monster’s University mostly passable (though I do have something of a fondness for it) and of course Cars sequels/spinoffs up the wazoo. Needless to say the expectations surrounding this film were fairly low, but not only has it beaten them to prove itself as the best thing they’ve done in years, it’s also one of their greatest works yet.

The film both figuratively and literally takes us inside the mind of an 11-year old girl named Riley. Her life has been a fairly happy one, and one mostly defined by the emotion of Joy, who serves as the movie’s protagonist. Alongside the other core emotions of Anger, Disgust, Fear and of course Sadness, she helps in keeping Riley’s personality on track, literally going out of her way to keep sadness to a minimum by trying to keep said emotion out of her life as much as possible. After all, no one wants to be sad right?

However things in Riley’s life take an unexpected turn when she moves from her home in Minnesota to San Francisco and has to try and adjust. While the other emotions all appropriately have a negative reaction to the situation, Joy still believes she can put a brighter spin on things and tries to keep a positive outlook. It doesn’t take long for things to get worse and Joy and Sadness end up getting accidentally launched out of the core of Riley’s mind alongside the core memories that make up who she is.

As the two attempt to make the journey back alongside Riley’s old imaginary friend, in order to restore those key memories, things in Riley’s life gradually begin to fall apart piece by piece as the key parts of her life up till now become unsustainable. To make matters worse in the absence of Joy who’s been the defining emotion of Riley’s life up until now, the others keep making worse and worse decisions for her until they eventually decide that she should run away from home since that’s where all her happy memories lied and should be the best way to restore them. During their journey, Joy and Sadness begin to slowly bond with each other, and Joy starts to think that maybe sadness isn’t such a bad emotion after all, but as the situation worsens she abandons her since she still feels joy is all Riley really needs in her life.

When things get to their lowest point though, it’s at that moment she takes the time to realize that Sadness is indeed a necessary emotion and that it has it’s importance in Riley’s life too. Joy goes back to reunite with her and it all leads into the moment that defines the film’s core message. To resolve the whole situation, rather than Joy being what convinces Riley not to go through with running away it ends up Sadness because it’s something she’ll ultimately come to regret. This leads to Riley reconciling with her parents in an emotional breakdown, and a moment that’s defined as equally sad and happy in Riley’s memories becoming a new core memory that helps to define who she is.

At it’s core, the film understands that we aren’t just defined by our happy experiences in life. We experience sadness, frustration, disgust and various other emotions as we encounter situations throughout life. However all of these emotions define who we are and it’s important to recognize the sad times in life just as often as the happy ones because they’re what ultimately make us stronger. The ending is equally strong in that respect as while it ends on a somewhat upbeat note, it also suggests Riley will have another experience just like that one before too long because well…that’s life and you never really stop encountering those kinds of problems. It’s what you take away from the experiences that really matter.

The film’s thematic merits are strong but it also works really well as a solid piece of entertainment. The world of Riley’s mind is fun and imaginative, making it pretty neat to explore as Joy and Sadness traverse it’s various parts. In addition the movie’s humor hits just the right cord of silly enough to make kids laugh, while not overtly dumb enough to turn off adults, and a lot of the jokes are really clever and witty. Also have to give a small thumbs up for the film NOT featuring an antagonist, in an extremely rare feat for a kids’ movie. It briefly tempts it as the imaginary friend initially seems like he could be one, but the movie decides to trust that Riley’s situation is conflict enough on it’s own, and it makes the film much more close to home and personal. This movie has all the makings of a modern classic and is definitely a strong contender for one of the best, if not the best film(s) of the year. Welcome back Pixar, now please don’t go away again.

Overall: 10/10

Review: Ouran High School Host Club- Reverse Harem Charms

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Synopsis: Haruhi Fujioka is a honors student recently transferred to Ouran Academy, a school for the rich and fabulous. One day she accidentally wanders into the school’s host club, which is a group of pretty boys who spend their time serving ladies, and ends up getting indebted to them. She’s forced to join the club and also serves as a host for the girls, while the rest of the club tries to conceal her actual gender.

Review

Ouran is considered one of the classics of the mid 2000’s and the most notable pioneer in the reverse harem genre. It’s a show I’d never quite gotten around to as it’s only in recent years that I’ve taken more of an interest in shojo series, and though I tried it a couple of times in the past that barrier took a while to get past, preventing me from getting that interested in it. Though having now seen a fair share of solid shojo series and a couple of other reverse harem shows, I figured that it was about time to revisit this and give it another go.

Right off the bat, the show gives off a sense of charm that’s hard to ignore with it’s characters. Each of the guys more or less fills a certain archetype (which the show is self aware enough to frequently point out) such as main guy Tamaki being attempting to come off as a “prince”, though really being more of a goofball than anything else, while the twins Hikaru and Kaoru are whimsical trolls. Haruhi herself on the other hand comes across as a pretty down to earth heroine, though she doesn’t always play straight-man to the hi-jinks of the other characters as her general lack of concern over half the things that happen is played for laughs just as much.

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Aww, look at him! He’s so adorable…and deadly. Very deadly

Most of the episodes revolve around the club members helping out their guests with their personal problems or delving into the backstories of the club members. Some of the stories involving the guests are hilarious, others fairly touching and most being a mix between the two. Much of it is pretty standard fare for a harem series, but the show really plays up the reverse aspect of it quite a bit and plays it to the fullest. It doesn’t always knock things out of the park in terms of humor but it’s charming enough to stay fun even when it’s not at its funniest.

However the show is also pretty  good with how it handles some of its drama. Specifically, the club member backstories as each of them has their own hurdles to deal with and being in the club has helped them to broaden their horizons and open up more thanks to Tamaki’s influence. Not all of them are handled that seriously, but a couple of them such as the story behind the twins can be genuinely heartwarming . Despite being the main character, Haruhi’s background isn’t focused on quite as much as the others, but even she is slowly shown to progress from being incredibly straight-laced to learning how to get more enjoyment out of life, which is a theme the show puts a lot of emphasis on.

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Someone just give these two a hug

Interestingly though, what doesn’t get quite as much emphasis on the other hand is the actual romance aspect of the series. Or at the very least not in the way that would usually be expected. A couple of the club members such as Tamaki and Hikaru are shown to be interested in Haruhi over the course of the series (especially Tamaki, who’s fawning over her is constantly used as a joke), but the attraction is generally looked at from their perspective rather than Haruhi’s which is a bit odd for a shojo series. In fact, Haruhi more or less never shows any serious romantic interest in any of the guys (except Tamaki…maybe) and generally doesn’t like to put much emphasis on her gender which is kind of refreshing.

Haruhi herself is actually one of the strongest aspects of the show in that respect, although it does make a couple of missteps to undermine her somewhat. The beach episode where she’s berated by the other club members for stepping in to save a couple of girls from some thugs since she’s a girl as well, comes across as a bit sexist. While it’s obviously meant to demonstrate that she’s not invincible, and her fear of thunderstorms which is introduced in the same episode reinforces that fact, it puts an unnecessary emphasis on her gender that otherwise didn’t really need to be there, and it felt as though the show could have found another way to emphasize that point without taking away that’s generally an incredibly strong example of a heroine. Thankfully it’s the one and only time the show ever brings it up but it’s something that feels unusually problematic for what the show otherwise does with her.

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And just where were YOU when she needed help? Huh, Tamaki?

However, more so than romance related to her, the relationship the show instead decides to focus on the most is the group as a whole. All of the group members have their own problems and the glue that holds them together as people are the other club members, specifically Tamaki. They give off the illusion of a hilarious, but also somewhat broken, dysfunctional family more than anything else although, as the show goes on and how they view each other changes, some of the characters do notice that the illusion’s in danger of being shattered. Unfortunately things wrap up before it can show the end results of that aspect, but it does end on a high note as it highlights the importance of that bond, and how much personal freedom they’ve gained because of it.

BONES, who’s been well known for gorgeous looking shows such as Fullmetal Alchemist and Soul Eater, handled the animation for this series, and it mostly shows as it’s a consistent looking production, although far from their greatest. The character designs are pretty typical for shojo and look a bit dated as a result but the show is generally nice to look it. However the music for the series is mostly forgettable and is hindered by Funimation’s decision to do english covers for the opening theme “Sakura Kiss” and the ending theme “Shissou” as both are pretty badly performed and to the point of being downright skippable.

Funimation’s dub for the series on the other hand is a solid effort, as normally expected of their work in those days. Catlin Glass does a great job of making Haruhi sound androgynous and Vic Mignogna delivers on a spectacularly hammy performance as Tamaki, which has gone on to be one of his most iconic anime roles next to Edward Eric in Fullmetal Alchemist. None of the performances are particularly stand out but all of them are well handled and a lot of fun to watch. Interestingly this show is one of the few instances of a Funimation dub using japanese honorifics and they blend in well for the most part, though the script being so literal occasionally leads to a few jokes being lost in translation though not enough to take away from the dub entirely.

Ouran is one of the most iconic shojo series out there and the most heavily referenced when it comes to any mention of reverse harem stuff. It’s easy to see why the show is so beloved as the characters are pretty fun, and the show itself is a pretty solid comedy. It hasn’t aged perfectly as the designs are a bit dated as well as a couple of view points, but where the show excels it excels well as it’s an entertaining ride, and has the right amount of depth to it to keep it from being forgettable. It’s not a flawless show by any means, but it’s stood the test of time as a classic for good reason, and it’s definitely something worth looking back on.

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Overall: 8.3/10

Available on Hulu, Netflix & Funimation.com

Review: The Legend of Korra Book 4: Balance- Balancing Games

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Synopsis: Broken both physically and psychologically after her battle with Zaheer, Korra returns home to the Southern Water Tribe and spends the next three years recovering. In the meantime a woman named Kuvira has taken charge of the Earth Kingdom, and become a dictator bent on forcing the entire nation to her will. As Korra sets out to stop her she must rise not only to face this challenge, but herself as well

Review

The Legend of Korra has gone through a lot over the course of it’s run and its been a journey of ups and downs. Book 1 was relatively satisfying in making the show seem like a solid successor to the first series while Book 2 brought the franchise  as a whole to some of its lowest points (and lowest ratings which started a whole other slew of problems for it). Book 3 on the other hand was a full return to grace and it seemed like for the first time the series actually had the potential to outdo it’s predecessor. Unfortunately the final book doesn’t quite meet those expectations for a multitude of reasons but still manages to bring a proper end to Korra’s character arc and a relatively satisfying ending for the series a whole.

The name for this book is rather appropriate, not only because of the theme but largely because the season feels as though it’s trying to balance several things at once. On the one hand it’s got Korra’s character arc, on the other it has Kuvira’s threat and then on top of that it’s trying to give development to a slew of other characters while trying to make it all tie together. Needless to say it doesn’t handle that juggling act quite well as it gets certain aspects of it better than others and has more good ideas than knows how to execute th

Starting with the more mishandled parts of the season, is Bolin part in the season. His arc in joining and defecting from Kuvira’s army after seeing she brings more harm than good is an interesting one on paper, but for the most part it doesn’t do much to change him as a character, and if anything kind of makes him look dumb for not realizing sooner that Kuvira was a threat. Varrick getting thrown into the mix and defecting with him does make it a bit more interesting though Varrick’s reason for switching sides feels out of character for him since he’s generally been lovably amoral for the most part, and having him betray her just because she tried to kill him would have worked just as well.

Kuvira herself is also a pretty large misstep for the season as compared to previous villains she doesn’t have a lot going for her. Her motivations are largely unexplained (until the ending) making her come across as a bit one dimensional and bland. She also doesn’t represent enough of a personal threat to Korra as a character as many of her greatest feats of villainy feel to indirect to Korra’s character arc and while there are clearly supposed to be parallels between her and where Korra’s character was for most of the series, the parallels don’t intersect as much as they need to make things work.

Of course with all the bad there’s also good, and for some of the things the season can’t quite juggle there are things it does well. Bringing back Asami’s father and having the two restore their broken relationship was a nice touch and made his sacrifice at the end a touching one, even if he wasn’t in the spotlight enough for there to be much impact. Similarly, Toph’s role in the season is much appreciated as she helps Korra along her road to recovery and also mends her own broken relationships with her daughters which is a nice follow through on that arc from the previous season. Prince Wu’s character development over the season from a self absorbed jerk to a decent politician is also an interesting one though it’s a bit bumpier than some of the stronger character arcs in the season as he’s a bit overly used for humor.

The strongest part of the season is by and large the ending to Korra’s journey as a character. Her road to recovery is a tough one as she’s forced to confront her biggest fear: being powerless. Compared to Aang’s rejection of his destiny as the Avatar in the original series, Korra can only define herself as such and having that sense of power taken away from her physically does a number on her as she desperately tries to find a way to fix her health. However it’s in this powerlessness that for the first time she learns to empathize  with the perspectives of others, including some of her former enemies (which doesn’t work quite as well as the show thinks it does since Zaheer was the only villain the series who actually believed in what he was doing) and eventually confronts her fears by facing the one who took away her sense of power in the first place.

Her strengthened sense of empathy plays a large part in the final battle as rather than a large blown out duel like with Aang and Ozai, it’s by trying to understand Kuvira that she triumphs in the end as the two find their similarities and make peace. Unfortunately this confrontation occurs largely after the bulk of Korra’s character arc is already completed, and Kuvira’s characterization was too limited for most of the season as she mainly just comes across as a generically dictator(though not quite to Ozai’s Darth Siddus levels in the original)so the scene doesn’t work as well as it should thematically. It puts a nice bow on Korra’s journey as a person but most of the conflict throughout the season doesn’t quite carry the sense of scale that a series finale should and especially not compared to the grand finale for the original series.

That said the show does have a pretty notable ending, as it delivers on a sensible but pretty unexpected to actually happen pairing. Korra and Asami’s bond has been subtly built up over Books 3 & 4 and the two had some decent chemistry together compared to most of the couples the show had to offer (well with the exception of Varrick and Ju-Li but then they wrapped things up with that one) though the show actually following through on that seemed like a long shot. However the final scene between Korra and Asami more or less unambigously (there will be those who argue otherwise but the parallels between the scene and the scene confirming Aang and Katara’s romance at the end of the original are pretty much impossible to deny) pairs the two together. Whether it’s the possible start of a relationship or the cementing of one is nicely left up to interpretation but it’s definitely one of the boldest things Nick has ever done.

The Legend of Korra has had some big shoes to fill as it’s predecessor stands as one of the greatest animated shows ever made, and it’s been a hard fit as the show has struggled a lot more in terms of tone and characters due to the bulk of the series being an initially unplanned continuation(and it really showed in Book 2). For all those bumps though it’s had it’s highs as well, and has done a solid job in expanding the world of the franchise as a whole. While the show may end up being remembered more for the last three minutes of the finale than anything else, it’s earned it’s place as one of the most memorable pieces of action animation produced in the west. It’s not nearly as good as the original series as a whole, but its a solid journey and a mostly worthwhile successor.

Overall: 7.6/10

Available on Nick.com

Review: Over The Garden Wall- The Olden Days

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Synopsis:  Two brothers named Wirt and Greg end up getting lost in some mysterious woods called “The Unknown. Together with a talking bluebird named Beatrice, they search for a woman called Adele who can show them the way home while avoiding an evil entity known as “The Beast”

Review

Over the Garden Wall is the first miniseries that Cartoon Network has ever done (well depending on how you count the IGPX shorts) and it’s a pretty interesting undertaking for them. They’ve been pretty risk averse the last few years so it was questionable how they’d handle such a thing and if it would go for something ambitious or merely serviceable. Thankfully the show has gone for the latter and in the process has turned into not only the first real miniseries they’ve ever done but also one of the best things they’ve ever done.

What stands out right away about the series is its massive homage to some of the classic cartoons of yesteryear. The artstyle feeds that aesthetic really well and it’s pretty breathtaking to behold as it gives everything a rustic old country feel that can be both beautiful and horrifying whenever the mood requires it. Everything from the creatures, to the music, and even to how the characters talk, gives off the vibe of a classic Disney film and it’s hard not to feel nostalgic when watching it.

Even a lot of the narrative style gives off this vibe, and it’s very reminiscent of old fairy tales. The story starts off in media res wth the brothers already lost with no idea how to get back home. This leads them to an encounter with a mysterious woodsman who offers to help them out while warning them of an evil beast that lurks the woods. After a slight falling out with him though, they instead end up in the care of a talking bluebird named Beatrice who offers to take them to see Adele, the Good Woman of the Woods who can show them the way home. Their journey through the Unknown brings them on several different adventures, some being creepy and some being charming with each feeding into the show’s colonial aesthetic.

Along the way Beatrice gets a bit closer to the two and reveals the  exact reason why she’s a talking bluebird. It comes at a price though since she’s had her own agenda for most of the time, which leads to a pretty shocking betrayal when it appears she’s been playing them the whole time and the good woman of the woods turns out to be not so good after all. In the meantime the show also delves a bit into what’s going on in the background between the woodsman and the beast as well as why the two are connected.

This all plays into the show’s final act where it starts laying all it’s cards on the table. While the countryside aesthetic holds a lot for the series, at it’s core it’s really about the relationship between the two brothers, and it ties into things in a big way as things take a slight step back to look at how the brothers got there in the first place. While Wirt is never a downright jerk to his younger brother Greg, he does dismiss his optimism a lot and is quick to blame him when things go south. This combined with Wirt’s own lack of confidence, leads to him taking his brother for granted, and also helped to land them in the accident that got them there. However it’s only when Wirt decides to confront the beast in order to protect his brother that everything comes to light and everyone is able to get a happy ending with the show (thankfully) being ambiguous to whether or not the whole affair was dream and/or purgatory.

Cartoon Network’s first mini series has made for a pretty interesting tale, and a pretty ambitious project on their part. The show’s classic cartoon homage makes for some fun stuff, and it also manages to tell a fairly touching story as well. While the narrative isn’t completely flawless the overall aesthetic easily up for it and the ending is pretty sweet. This may be the first true mini series the network has done but it most certainly shouldn’t be the last.

Overall: 9.3/10

Available On Demand or at CartoonNetwork.com

Review- NANA: Life, Love & Music

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Synopsis: Nana Komatsu is a young 20 year old girl , who decides to move to Tokyo to live with her boyfriend Shoji. On the train ride there, she meets Nana Ozaki, a punk rock singer who also happens to be moving to Tokyo.  Upon arrival, they both end up trying to rent out the same apartment and decide to compromise by becoming roommates. The two become close friends as they deal with the men in their lives and the inner pain they both have to overcome.

Review

The shojo genre is  one that is generally filled with ideals as romance stories are its most primary staple.  Though many shows in the genre do tackle genuine drama and struggle, most of them never stray too far from the ideal of pure and innocent relationships, not always giving into total fantasy, but rarely much further. However Nana is a show that understands that ideals and reality are two different things and breaks the mold in a sometimes painful but ultimately compelling display of this truth.

Before the show even begins to build the two girls relationship together, it first dives into each of their pasts and examines them fully. Nana Komatsu, later nicknamed Hachi, to make it easier to differentiate the two, is boy crazy, dreams of being a bride someday and tends to fall in love at first sight, which has lead her into a series of failed romances, including an affair that leaves her somewhat scarred before finally finding a real relationship in Shoji. The other Nana was abandoned as a child, and lived a life of social isolation before joining a band called Blast, and falling in love with the band’s leader, Ren before he ends up moving to Tokyo to join other band. She vows to surpass him and become a great musician in her own right, which leads her to Tokyo and ultimately becoming roommates with Hachi.

One thing that eventually becomes apparent about the show is that it revels in a lack of escapism, as compared to most other shojo series. The beginning of the story follows Hachi’s perspective on life, and initially things go pretty well for her in her attempts to be independent and become a proper adult. It doesn’t take long though, for her idealism to clash with reality and it sends her on a downward spiral as life’s situations prove much tougher than she expected as she deals with financial struggles and a tough breakup. Through it all, the one thing that remains a constant positive in her life is her relationship with Nana, and the other members of Blast as they make their march towards stardom. However as things push ahead, the more the band’s situation improves, the further isolated and empty Nana feels as she struggles to find a purpose for her life. Her pain eventually leads her into relationship that serves as her biggest wake up call, and forces her to confront both painful new reality and a relationship far below her ideals.

While Hachi attempts to come to terms her new situation, the show moves over to the perspective of the other Nana as she tries to cope with Hachi’s problems in her own way but ends up feeling betrayed as the two part ways.  As Hachi’s struggles force Nana to come to terms with some of her own, the other band members go through their own various love affairs and strained relationships with things becoming painful for everyone involved. However while the show understands that ideals and reality don’t truly mix, it also knows that the two can sometimes mingle in unexpected ways. and this fact becomes more apparent as it goes on.

Hachi’s does eventually become the bride she’s wanted to be but the journey there is harsh, and she ends up losing her ideal men to get there. Similarly, Nana and Blast’s path towards fame is also one that gets fuffiled and allows her to finally obtain a family of her own,  but it also turns out to be a path riddled with compromises in both business and in love. When everything is said and done, the two girls do eventually reconcile and find peace with themselves as life goes on for everyone, and while the ending is a bit more ambiguous about Nana’s future than it needs to be, the show manages to wrap things up satisfactorily for the most part and while no one really manages to find unabashed happiness or love, they come to understand that’s life and it must go on.

The english dub for the series, done by Ocean Group is very solid and provides a good mix of strong performances. Kelly Sheridan delivers a good performance Hachi, making the character sound sugary sweet while also managing to give some heartwrenching delivery during some of her weaker moments. Rebecca Shoichet’s Nana sounds intitially strained during some of her comedic moments but ultimately captures the character well. The rest of the cast provides very down to earth performances that fit the nature of the well show, with some stand out roles such as Brian Drummond’s Yasu which really captures the big brother nature of the character well. The insert songs for the show aren’t dubbed which makes for some occasional dissonance, but it doesn’t effect the dub enough to seriously take away from it.

Madhouse’s production on the show is solid as their usual works, and the animation budget is consistent. The character designs are somewhat standard in terms of shojo but have a pretty good look regardless and they manage to avoid making all of the characters look too pretty. Tomoki Hasegawa’s musical score for the series provides a pretty distinct mix  of orchestral and rock tracks and the all of the opening and ending songs for the series stand out pretty well though the biggest highlight of them is the first opening “Roses” done by ANNA.

Nana is a coming of age tale for young adults and is filled with all of the heartaches and harsh realities that come with it. More than that though, it’s a story of varying degrees of love be they relationships with family, friends or lovers and how they can effect each of us. In a genre of idealized versions of love, Nana stands triumphant as a much more honest portrayal of those ideals and that’s not such a bad thing as it allows for a story that is more than capable of standing the test of time in it’s genre.

Overall: 9.8/10

Available on Hulu

Review- The Legend of Korra Book 3: Change Is Good

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Synopsis: After the battle with Unalaq and the decision to bridge together the human and spirit worlds, Spirits are causing problems in Republic City and Korra is left to take the blame. However the shift has also brought about a chance for the resurgence of the Air Nation as new airbenders have begun to pop up, and Korra decides to leave the city to search for them. Meanwhile a dangerous group of benders have escaped their imprisonment, and have their own plans for the Avatar…

Review

Though Book 1 of The Legend of Korra had initially allowed for the series to be deemed a worthy successor to the original Avatar: The Last Airbender, Book 2 soured its reputation significantly. That combined with the massive ratings drop that season saw, made the future of the franchise look grim. Though while the fate of the franchise itself is in a worse state in terms  of visibility, in terms of quality, Book 3 has managed to turn things around and bring the series back to not only being a worthy successor to the first one, but also giving it the chance to potentially surpass it.

The storyline in particular, works a lot better here than in the first two books. Returning the airbenders to the world, initially feels a bit overly convenient it allows for the characters to go on a globetrotting journey, something that gave the original series it’s sense of flexibility and lets us see more of the newer Avatar World. Of course while the gang is excited at the prospect of restoring the Air Nation (Tenzin in particular), it doesn’t go over smoothly at first as many of them are unwilling to give up their current lives to embrace the philosophies of the Air Nomads which provides some interesting conflict in the earlier episodes. Though as the journey continues they do find airbenders who are willing to take up the cause (and we even get a solid side episode devoted to their training), but the real highlight of the story goes to the antagonists.

Avatar as a whole has generally been uneven in terms of compelling villains as most of them were a bit too one-dimensional.  Book 1 of Korra attempted to somewhat rectify this with Amon and the Equalists but ended up backtracking considerably with Unalaq. Book 3 on the other hand, brings us the most interesting antagonists out of the whole bunch(the Earth Queen non-withstanding) as the Red Lotus not only feel significantly more threatening, but have  relatively understandable motives. Anarchy isn’t a particularly new villain agenda in fiction but what makes it work here is that the Red Lotus genuinely believe what they’re doing is right and though the group is willing to go to extremes to achieve that agenda, the characters themselves come across as pretty human and enjoyable to watch whenever they’re on screen.

The villains aren’t the only interesting characters though, as our group of heroes get some nice development as well. Korra has been difficult to pin down as a character as her brashness is her most defintive trait and  was part of what made her almost insufferable in the first half of Book 2, but here the writers have found a much better balance, keeping some of her agressive traits while also making her  a lot more compassionate and willing to learn.  She also gets a pretty good dynamic going with Asami as the two  feel much more like actually friends (and some light subtext suggesting more than that) than in previous seasons. Bolin also gets a bit of development in terms of improving his bending skills, but the real highlight goes to Lin, whose past we get to see a lot more of, and has a lot of serious difficulty overcoming, though the payoff is heartwarming when she does. Mako on the other hand still remains largely uninteresting on his own, but he’s tolerable enough here as opposed to the previous seasons that it’s not to much of a detriment.

On top of everything else though, the season also delivers on one of, if not possibly the best season finale of the entire franchise. Though the stakes aren’t quite as high as Book 2’s the threat is still pretty large, and the final battle is a nice spectacle to behold (and for once avoided any noticeable Deus ex Machinas). The aftermath is what really drives things home though, as unlike in the previous seasons, the gang’s victory comes with repercussions including a particularly large one for Korra that will be really interesting to see unfold more later on. Things don’t end on a completely downer note though as the finale also delivers on bringing about an interesting shift for the Air Nation and the world as a whole, while also using it to help to wrap up Jinorra’s character arc from the last season in a pretty big way.

Book 3 has brought about a lot of changes for The Legend of Korra, and many in ways that were pretty unexpected. Though the fate of the franchise itself doesn’t look particularly up given Nick’s current treatment of it. there’s still a lot of potential to be had going forward depending on where exactly everything goes from here. Through it all, Book 3 has shown us one important thing for the story: Change is good.

Overall 9/10