Legend of Korra Finishes (spoiler lite)

And with tonight’s episode, Avatar: The Legend of Korra reaches it’s final conclusion with the end of Season Four.

It’s been a rocky road for what has turned out to be one of the best animated series Americans have ever produced. The show itself was only meant to last a single season, and then suddenly given three more when it turned into a mega-hit, which left the writers scrambling to continue a story they’d rushed to finish at the end of Season One. Then, once Season Two didn’t get the ratings of Season One, the executives at Nickelodeon lost faith it in to the point they pulled it from the air halfway through Season Three due to “low ratings”. (Low ratings on a show that they didn’t advertise, and which they threw onto the air during the notoriously low-rated Summer season. Surprise!) In the end, it only got a fourth season because it was already in the can when Season Three was stuck online-only, and because it still got great ratings in overseas markets.

Despite all this, the writers and producers of Avatar: The Legend of Korra managed to produce a fine show. A series with unique characters that grew and had a life of their own, a setting that actually changed with the story, and some amazing heroic action sequences that could be mind-blowingly good. Korra started as a unique lead, a hotheaded “female jock” who didn’t fall into the stereotypical “strong female lead” traps, and changed as the series went on into a balanced and considerate person. She suffered, and grew from her suffering, and since the theme of the show was “change and transformation”, she exemplified those ideas in the best possible ways.

Each of the villains represented a different philosophy- equality, harmony, anarchy, and order taken to a radical extreme (mostly in the pursuit of power) and that gave the show a thoughtful edge that challenged the preconceptions held by the main character and the audience. It forced Korra to expand her way of thinking about the world, and in doing so also made the audience question as well. Even if it was all in the service of some great action/adventure stories, it gave the show a subversive depth you rarely see on TV anywhere, much less on a Nick cartoon.

It wasn’t a perfect show, of course. There was the horribly rushed ending during the last 15 minutes of the first season, and then the second season didn’t come anywhere near the quality of the first in terms of writing. (It was very much a generic “evil villain wants to take over the world because he’s evil” plot.) And, while the third and fourth seasons were amazing (and even managed to make the second season look better in retrospect of what we learn later), there was a lot of character randomness as the writers struggled to make characters designed for one season work over four seasons. (This was especially true of Asami, but more on her shortly.) There was also the decision to “break” the link between the Avatar and her past selves during Season Two that I maintain was a big mistake that even the writers felt later on. But, what’s done is done.

And, in the end, it all came together in a spectacular fourth season that echoed real Chinese history, with Kuvira standing in for Shang Kai-Shek and his Nationalist Army. The finale played to the show’s strengths, and the whole thing showed how Korra had really changed the world and herself through her actions and choices. If Korra hadn’t come along, the ending never could have happened, and that’s the mark of a good story- where everything fits together.

Everything except one small piece…

SPOILERS from here on in! Don’t read if you haven’t watched the ending yet and care.

So, first, let me say that I don’t care who Korra ended up with. I’m not a (relation)shipper, and don’t often invest in character romance stories or pairings. In fact, Korra could have ended up with Kuvira, or Tenzin, or even the Ghost of Uncle Iroh for all I care. That said, I didn’t like the pairing of Korra and Asami at the end, and in fact it pissed me off.

When I first saw it, I actually smiled. Both because it was nice to see Korra start a new relationship, and because I was impressed a Nick show would end with such a LGBTI friendly ending. It took guts to end the show that way, and they must have worked hard to slip that past the Suits. (I wouldn’t even be surprised if it’s edited for later airings after a flurry of “concerned parents” write like crazy to Nickelodeon.)

However, something bugged me, and after a bit of thought I realized what it was.

You see, one way to see a story is as an argument. The whole story is an argument for why it ends the way it does. It sets up evidence and puts into motion events that produce the ending we get. A perfect example of that is Varrick and Ju-Li. Varrick starts as a heartless capitalist rogue with Ju-li as his assistant, and then after he loses everything she still sticks with him. When he loses her too and goes on a journey of self-discovery he comes to realize that she is the most important thing in his life, and eventually appreciates her and asks her to marry him. (Something the Varrick we first meet would never have done.) She also grows in her will to be a person, and in doing so, earns his love by not just being his assistant, but by being his partner. You can think back and examine the trail of evidence, and reach the conclusion that this was the proper ending for their story.

Not so for Korra and Asami.

When Asami was introduced, it was as a romantic rival/femme fatale/non-bender character who represented the new technological age and stood between Korra and her love-interest Mako. She was intricately tied into the story for Season One, since her father was one of the main villains, and so when Season Two came around the writers struggled with what to do with her and ultimately stuck with the romantic-rival role. Finally, partway through Season Three, she took on the “best friend/confidante” role, and that’s where she sat until literally the last second of the story when it’s implied she and Korra are starting a romantic relationship.

Now, over-viewed like that it doesn’t look so bad, but in actual presentation there was zero clues or hints of anything romantic between the two of them until the very very end. Like nothing. After more than two seasons of chasing a man and being passionately in love with men, and being heartbroken about losing men, they suddenly decide to run off together. How does that work? This would be like if at the end of Harry Potter, Harry and Ron suddenly decided to run off together after spending the whole story chasing girls. It’s a valid ending, but is it the valid conclusion to the argument the story makes?

Now, you could make an argument that Korra wasn’t emotionally in a position or ready to take on a relationship like this until the end of the story. She’s a changed person, and as a result she’s ready to try something new and go in a new and more balanced direction. That would be fair, however, it takes two to tango, and Asami was never shown to have any romantic interest in Korra either. If she had, I could have bought the ending, but we’ve never had even the slightest hint that Asami also likes women, and every piece of evidence in the show tells us the opposite.

So there’s the problem, we have not one, but two characters making total left-turns at the end of the story out of the blue. I can only guess that the writers/producers wanted to do something controversial, or perhaps please the Korra/Asami Shippers by giving them the ending nobody expected to get. Then again, it was the ending that nobody expected because it didn’t make any sense, not because it was socially radical.

For the record, I was rooting for Korra and Bum-ju. (It had just as much evidence to support it.)

Rob

F.Lux

A little while ago I heard about a program called F.Lux on a podcast I was listening to and decided to check it out, here’s the wikipedia entry about it:

f.lux is a computer program developed by Michael and Lorna Herf. It adjusts a computer display’s color temperature according to its location and time of day, based on a user specified set of longitude and latitude geographical coordinates, a ZIP Code, or a city name.

The program was designed to reduce eye strain during nighttime use and to prevent disruption of normal sleep patterns.

So I downloaded it and after a little adjustment, I have to say I like it. Since I work on my screen a lot after dark, I wanted something that will reduce my eyestrain and f.lux seems to do the trick. I haven’t noticed any particular benefits with my sleep patterns, but that may also be because I found the recommended settings a bit too orange and so I increased the blue factor of my screen a little bit above the default.

Still, I’m pretty happy with it. One warning- if you are doing colour-sensitive work you’ll want to disable f.lux while you’re doing that work because the colours won’t look right. Luckily, that just requires a single click to do, so it’s no big deal.

Rob

 

Parkinson’s Law for Writers- Introduction

Although he was not entirely serious at the time, Cyril Northcote Parkinson once declared one of life’s truisms- “The demand upon a resource tends to expand to match the supply of the resource.”

What does this mean?

Well, let me give two examples:

1) If you only have $10 for food that week, you will find a way to make do with $10 worth of food, but if you have $100 you will spend $100 on food that week even if you could have made do with $10.
2) If you say you have one day to get a project done, it will get done in one day. If you say the same project will take a week, it will take you a week to get it done.

Because of many factors, be it laziness, practicality, or procrastination, it’s just human nature to make maximum use of resources like money or time for our own convenience, even if using them more wisely might bring us long-term benefits. Maybe it’s a side-effect of short-term thinking, or our selfish natures, but this is a problem that keeps popping up again and again, and often we let this side of ourselves keep us from doing what we want to do. This is what’s known as Parkinson’s Law.

I’ll give you an example (the one which got me thinking about this topic)- National Novel Writing Month (or NaNoWriMo) is a month where would-be writers are encouraged to pump out a 50,000 word novel (or 50,000 words of a novel) in an effort to force themselves to write. It creates a time limit, sets a clear goal, and forces writers (who are horrible procrastinators) to actually commit to using that month to produce the book they’ve always wanted to write. The idea is that 1,667 words a day (50,000 roughly divided by 31) is an easily achievable goal for almost any writer, even one with a day job, and if they just reach that goal consistently for 31 days they’ve got their book finished!

It’s a great idea, and for many people it works. It gets butts in seats and words on the screen, and overcomes many of the hurdles that writers tend to find themselves facing in an effort to make their dreams into reality. But, what really made me think was what writer Matt Ahlschlager did- he finished NaNoWriMo in 1 day! In fact, he did it in less than a day, while bogging about it as he went, and this November he did it 3 times!

So why does it take other writers 31 days? Yes, Matt is a fast typer, but couldn’t most people carve out a weekend (2 whole days) and produce a book, especially if they wrote “Chinese Style”?

Isn’t this just an example of Parkinson’s Law in effect? Writers give themselves 31 days, so it takes 31 days, but it doesn’t HAVE to. Writer Michael Moorcock wrote an essay called “How to Write a Book in 3 Days“, and it outlines exactly how to write a book in one weekend. Even most professional writers (the prolific ones) often talk about writing a novel in 2-3 weeks at most, and author Rachel Aaron discusses how to do it in one week by writing 10,000 words a day. It can be done.

Think about it- if you had 2 days to write a 50,000 word novel or pay a $100,000 penalty, could you do it? I bet you could. I bet most people with at least some writing talent could, especially if given a bit of preparation.

So why don’t you?

Every book you write is a potential “lottery ticket” which could actually make you $100,000 (in the long run, if it sells well) and the more stories you write, the better your chances are of writing that winning book. So why are you capable of that kind of productivity only if it’s penalty? Why can’t you do it as a reward? (Yes, I know, one is certain, and one is a gamble, but if you don’t write anything you’re guaranteed to make nothing from it.)

It’s this thinking that got me wondering about how writers could find ways to use Parkinson’s Law to their advantage. If this is a part of human nature, how can we “hack” it to benefit ourselves as writers and make ourselves more productive and profitable in the process?

So let’s explore this “law” and see what it can do for our creativity. Over the next few days, I’m going to write a series of posts on this topic, and my thoughts on how we can benefit from it.

First up- TIME!

Rob

Story Editing Services for Hire!

EditingGlasses682My brand new editing website is now live and I’m accepting clients for story editing, proofreading and general editing services. I’ve decided to take my 17 years as a writer, editor and teacher and put them to good use helping other people make their fiction the best it can be. I love telling stories, and I love helping other people tell stories too, so it’s a great new direction.

If you or someone you know is in need of an editor, please send them my way. My rates are reasonable, my fingers are fast, and my red pen is always sharp!

Rob

 

Ghost Hunt

I just finished watching Ghost Hunt on Netflix, and I have to say I’m really sad there’s only one season. In addition to having one of the coolest opening songs of any anime (see above video) it’s a really unique series- a semi-realistic ghost hunting TV series. This is likely because it wasn’t conceived as an anime, but a light novel series by author Fuyumi Ono, and as a result it’s more grounded than most anime. (With the exceptions of File #4 and File #5, which are radically out of place with the rest of the series, and were likely written as filler episodes by the anime production staff.)

For those not familiar with the series, Ghost Hunt is a supernatural thriller anime about an extremely mixed group of spiritualists who are united by their employer, a science-based spiritual researcher who goes by the nickname Naru. Each story is a multi-part supernatural mystery (a novel broken into parts) with twists and turns and unexpected surprises. You can never be quite sure what the real culprit is, and this gives the series a fresh and creepy feeling that most supernatural shows lack, much less anime. The combination of reading on actual psychic research the author has obviously done while mixing it with just the right amount of fantasy helps heighten the realism of the show and makes it feel more solid. This, in turn, makes the whole thing creepier and more thrilling at certain points, and I have to say that it’s one of the very few anime that have ever given me chills.

Anyhow, if you get the chance to watch it, it’s highly recommended. It has its silly points, but they’re really outweighed by the quality of the series. It’s too bad the author didn’t put out enough books for them to do a second season (although rumor has it she might be returning to it soon), especially since the mystery of psychic dreams of the viewpoint character, Mai, isn’t answered during the run of the series. I had to read the comic adaptations of the further novels to learn the answer to that particular mystery.

Give it a look, it’s the perfect Anime for Halloween!

Rob

Rob Takes Up Freelance Editing- My Eye and Quill for Hire!

I’ve decided to make myself available for freelance editing jobs, starting with an ad on Fiverr.com offering 999 words edited for just $5! What a steal! In addition, if anyone has any other editing jobs they’d like done, please feel free to contact me directly as rob_paterson@hotmail.com and put “Editing” in the Subject line. For eBooks, I’ll edit a single chapter for free as a sample before we discuss prices.

Rob

Star Wars Rebels Premiers!

This past weekend, the new CGI animated series Star Wars:REBELS premiered on the Disney XD app with the first two episodes strung together into a “movie” (which is all of 43 minutes long…). It’s basically the story of how Aladdin comes to join the crew of The Firefly and…err…I mean how EZRA comes to join the crew of the GHOST and fight against the evil oppressive Empire. I wish I was joking, but ever since someone online referred to Ezra as Aladdin, I can’t not see him as Aladdin in space, they even refer to him as a “street rat” during the episode, like they want us to make the connection or something.

As first episode stories go, it’s a confused mess of bad tactics and jumps in logic mixed with lots of action, which means it’s pretty typical and not bad. I’d actually say it’s a better first episode than Clone Wars had, and Clone Wars turned out to be pretty fun series, so I have some hopes for this one. (Having the same creative team from Clone Wars mixed with the creative team for Young Justice gives me extra hope.) On the downside, the core story looks to be another Jedi-Padawan training story, but that can’t be helped since Jedi sell toys and without the Jedi the Star Wars universe is pretty a pretty generic Sci-Fi setting.

I’ll keep watching to see where this one goes. It has real potential, and I trust the people in charge, so it could be a good ride. Rebels premiers on regular TV next week, and with this and the final season of Legend of Korra starting next weekend (officially) it looks like I’m going to have some good weekend TV to look forward to each week!

Rob

Why I Hate Football Plots

I hate Football Plots.

I hate them with the passion of a thousand suns.

What are Football Plots?

Football Plots are when the whole story centers around a piece of information (or item), and the story is basically about the characters trying to get that “Football” to the other end of the “field” while avoiding the people trying to stop them.

Now when you read that, the first thing that might come to mind (if you’re a geek) is Lord of the Rings (Frodo tries to get a ring to Mount Doom while dodging Orcs) or perhaps even Star Wars Episode IV: A New Hope (Luke tries to get the plans to the Death Star to the Rebels) and while yes, those do fit the criteria I list above, real Football Plots take it to a whole other level.

I first noticed Football Plots when I was watching Korean Historical Dramas, and they are masters of the Football Plot. In a typical Korean Historical Drama, very often a character will find out a piece of information (say X is a spy for the enemy) and then the moment they find out that piece of information the whole world turns against them. Why does the world turn against them? Because if the character were able to say a single sentence to the right person, then the whole plot would end there and then. So, as a result, anything and everything has to happen to keep that character from being able to give that piece of information to the right person until the appointed time (or page count) in the plot.

This commonly includes:

  • Being interrupted before they can speak.
  • People falling sick at bad times.
  • Old enemies being in the wrong place at the wrong time.
  • Friends (temporarily) turning against them for plot-convenient reasons.
  • Family members who have known them their whole lives suddenly not trusting them.
  • The people they need being in hard to reach locations at just that moment.
  • The people they need being distracted by something else at just that moment.
  • Nobody believing them.
  • Doing things that they’d know they shouldn’t do if they just stopped and thought about it for a moment.
  • Accidents happening at just the wrong time.
  • Everything they’ve ever done wrong in their life coming back to haunt them at just that time.
  • Amnesia.
  • Being Kidnapped.
  • Misunderstandings with almost everyone around them.
  • Just missing the people they need to see.
  • And every other possible coincidence you can imagine that would prevent them from being able to pass that one piece of information along.

Now, while a few of these in a story is hardly a cause for annoyance (they’re tricks for building drama, and they work) if you use too many of them, it can quickly turn a dramatic and thrilling plot into a silly soap opera where the audience feels strung along, and when it reaches this level I call it a Football Plot because that’s all it is, an endless series of plays and interceptions as Character B tries to stop Character A from talking to Character C. Of course, in a real Football game, a single goal doesn’t decide the whole game, but here it does, which is part of the problem.

Football Plots are inherently weak, because they’re dependent on a single action. To give an example, I’ve seen Korean Dramas where twenty or more episodes of plot could literally have been skipped or avoided if Character A said “I’m sorry” to Character C. Literally skipped, as in it would have made no difference to the story whatsoever overall, and wouldn’t have changed the characters or their relationships. That was twenty episodes (20 HOURS, give or take) of time and events which didn’t need to happen, but did because the writers wanted to pad the show out, thus a Football Plot was used to fill time and create fake drama.

And this is one of my main problems with them, most of the time they’re used there’s no reason to use them at all, except to create fake drama where it feels like something exciting is happening, but in reality there’s nothing important going on. They just serve as filler to keep a story moving that otherwise should have ended a long time ago. Of course, sometimes they really do have consequences, but even then they can run off the rails and into “Why Does God Hate Me?” territory.

“Why Does God Hate Me?” is a type of Football Plot where the main characters are trying to accomplish a goal that is important to everyone involved, but literally everything that can go wrong goes wrong to ridiculous levels, as though God has a hate-on for the main character(s) and is betting on their opposition to win. This is usually the result of the writer taking the old writer’s adage “Put your characters in trees and throw rocks at them” and turning it into “Put your characters in trees and shoot at them with a 50 calibre minigun”.

And, lest you’re thinking “Oh ho! Those silly Koreans and their crazy Dramas” this whole post was inspired by one of the most beloved of American speculative fiction writers- Jim Butcher, author of the Dresden Files and Codex Alera series. For at the moment I’m reading his almost 700 page novel The Furies of Calderon (Book One of Codex Alera), and it is one of the most maddening examples of a “Why Does God Hate Me?” Football Plot I’ve ever seen. One that would make the Korean drama writers point fingers and laugh ironically.

How bad it is?

Well, you see that list up there. The list of crazy weekday afternoon soap-opera plot twists that you were probably mocking a moment ago as you read it? Well, Butcher does ALL of those twists in the first 400 pages of the book, and we’ve still got another 300 to go.

Go back and look at that list.

Then think- ALL of it, to the main characters, in 400 pages.

All because if the main characters spoke to the wrong person for five seconds, the whole story would come to a screeching halt and the heroes would win. So he’s pulling out every single trick he can think of to keep that from happening, while at the same time giving his villains every bit of good luck they can handle.

Actual condensed (non-spoiler) scene from the story:

Villain: This sucks. I’m randomly lost in the middle of nowhere, the heroes will win and have no shoes.
(A messenger carrying the information the villain can’t have get out happens to pass that exact spot out of the whole valley at that moment, and the villain kills him.)
Villain: Hurray! Now I have stopped my enemies, know where I am, and have gained shoes!

This is sandwiched next to a scene where the heroes almost reach their goal, and a literal random act of god knocks them back halfway across the story field for no reason except to keep the plot from stopping there and then.

I swear, I nearly threw the book at the wall at that point. But I like my wall.

It’s a decently written book, with interesting characters and ideas, but my god is it one of the most maddening things I have read in a long time. The heroes get almost no breaks (except in ways which don’t threaten to prematurely end the plot), and the villains get all the breaks they need to keep the plot going and people running around. A good story should have a balance between successes and failures that keep the reader interested and make them believe that what they’re reading is there for a reason, not just to keep a weak plot alive.

Which I guess is why I hate Football Plots so much. They’re usually more flash than substance, and aren’t really giving the reader anything new, just stringing them along until the writer can get their payoff. They’re the opposite of creativity, and a cheat.

Now, as I said before, there’s nothing wrong with using some dramatic twists to keep the reader interested and make the main character’s life interesting, in fact you need to throw a few in, but like a good chef, you need to know just the right amount of spice to use to make the dish nourishing and tasty at the same time. A Football Plot is all icing and no cake, and that makes Rob an unhappy boy.

Rob