The idea that an adult male watches cartoons often provokes a good bit of laughter and social ostracism. It also raises a few eyebrows when that same adult male writes about 19th century Europe and the 1820s American political system. But it isn’t as strange as it seems, and actually makes a good bit of sense. A good cartoon can be just as thought-provoking as any show on AMC, and more often than not, the writing is better than anything that appears on the broadcast networks.
Ultimately, animation, like comics, is a medium, with its own unique potential that can be utilized to maximum effect. What a creator does with any medium determines whether or not a story is good. As a fellow contributor to Curiata.com likes to say, good writing is good writing, it doesn’t matter if it’s in a book or portrayed on a screen. The prejudice people have toward cartoons is based on the assumption that all cartoons are aimed at kids, or are using the cartoon medium to add to the joke of shocking humor for adult comedies like South Park. That is a painfully simple view that ignores all of the great cartoons released every year, particularly by the Japanese, which offer thought-provoking and imaginative takes on real questions.
Using a cartoon allows the storyteller unlimited creative freedom. Like comics, the visual aspect of the show is only limited by its creators’ imaginations. Unlike comics, cartoons can be made to illustrate epic, flowing action scenes and sprawling, panoramic shots of fictional worlds. Cartoons can then use these tremendous new worlds to tell us stories about our own, in ways that even the best movie director can’t. The right combination of inventive animation and meaningful writing can result in some of the best shows on television. Among these shows, which I enjoy just as much as Mad Men or Hell on Wheels, is The Legend of Korra.
The Legend of Korra is a sequel to the popular Nickelodeon show Avatar: The Last Airbender. Both Avatar and The Legend of Korra are about a world in which some of the population has the ability to manipulate or “bend” certain elements. Benders are only able to control one element, usually depending on what nation they belong to: Fire, Water, Earth, or Air. The Avatar is the only person in this world who can bend all four elements. This person acts as the bridge between the human and spirit worlds and is reincarnated after death in the way that the Dalai Lama is said to be. Korra is the next incarnation of the Avatar after Last Airbender’s protagonist, Aang.
Avatar was an incredibly well-written show that was aimed at a younger audience. When Korra was given the green light, the creators had to decide whether or not to continue aiming for the young demographic, or to follow the path of anime, which inspired the art style of Avatar, and age with its audience to produce a show targeting older viewers. The decision was made to create a show that can continue to appeal to new viewers while giving older fans more complex storylines containing allusions to politics, social justice, and world history.
The first season of The Legend of Korra reintroduces the audience to the world of the Avatar — greatly changed since the days of Aang’s adventures. The four warring nations have come to peace and a new government has formed in Republic City: a steampunk-esque city modeled after both feudal Japan and the United States in the 1920s, complete with radios, film reels, and crude automobiles. Fans of The Last Airbender can see the changes of the world in the last 70 years instantly. The city, which was founded, in part, by the previous Avatar, contains many of the problems of the modern metropolis. A constant battle exists between crime syndicates, which usually contain several element benders, and the police force, all of whom are a special breed of earth benders: metal benders. The result is a plethora of intense and unique scenes.
The show takes the premise of Avatar and places it in a modern context. In a realistic world, the police and the crime syndicates would obviously make use of bending abilities to further their goals, whether noble or sinister. But the realism of the new industrial era of Avatar isn’t limited to criminals. The show includes a social movement — one that begins with noble intentions but also takes a violent and aggressive turn.
Upon entering Republic City, Korra is met with resentment from a group of marginalized people calling themselves the Equalists. The Equalists address an issue that goes largely ignored through Aang’s journey. Only some people on this planet have the ability to bend the elements. How does that affect the common people? What prevents benders from using their powers to subjugate the masses? In fact, the world of Avatar often shows that benders are in positions of power. Does their world actually operate under an oligarchy of the bending class?
The Equalists are a group of radicals, led by the enigmatic Amon, that demands the equality of all persons. Amon, who wears a mask to hide scars supposedly given to him by a fire bender, has the ability to take away a bender’s abilities — a power that had only been seen once before, from Avatar Aang. Amon’s ability and his uncanny knack for manipulating the masses gives him immense power and makes him a great threat to the status quo of Republic City and the Avatar.
Amon argues something reasonable but offers an answer that goes beyond what may be morally acceptable. The Equalists believe it to be unfair that only a select few have the ability to manipulate the elements. We can understand their feelings on this issue, but what right do the disgruntled have to take away a gift that has been given to others? Amon also uses the story of a single fire bender to propagate the idea that all benders are naturally a threat to the good, freedom-loving folks of Republic City. It’s Demagogue 101 — determine an “other,” attribute terrible qualities to them, use a single instance of truth to give your claims credibility, and appeal to the base prejudice in the people. By telling them that he will be their guide and their savior, Amon uses real feelings of powerlessness in others to empower himself.
The Equalists were also used as an “other” to further the goals of Republic City councilman Tarrlok, a water bender. Tarrlok’s lust for power rather than any desire to do good clearly colors his political decisions. This often puts him at odds with Aang’s son, Tenzin, also on the council, who seems to subscribe to the philosophy of noblesse oblige. As someone who was born into a position of importance, Tenzin sees his status as both a burden and a gift that must be used to help others in the world. He uses this philosophy to positively influence Korra to do the same. Korra may not have asked for her status, but she should use it as well as she can to help the less powerful.
Korra’s sense of social justice is important to her development as a character. As the Avatar, she is the embodiment of a world of privilege by birth. The entire society is centered around her. But Korra’s parents are simple people from the southern water tribe. Being the Avatar has made her arrogant, but she is still human and, ultimately, she believes in fairness.
The Equalists challenge her outlook on the world. Perhaps it is unfair that a select few have been given such great gifts while others have to work much harder to find relevance in life. But the Equalists’ philosophy drives them to terrorism. Amon uses his highly trained forces and electrified weaponry to make theatrical displays of power against benders, and the Avatar in particular. Korra and her friends are thus put to the test against these skilled fighters who prove that you don’t need to be a bender to be a force in their world.
Tarrlok, like any good power-seeker, uses the terrorist actions of Amon and the Equalists to further his own agenda. Average people protesting the decisions of the City Council are put under arrest by Tarrlok, who labels the protesters Equalists. While not taken to that extreme, Tarrlok’s actions bring to mind the Guantanamo Bay detention camp and the idea that simply labeling someone a terrorist or enemy combatant removes any rights they have as human beings to be fairly tried.
Korra has to navigate this world of political intrigue and social upheaval while also protecting herself from Amon’s personal vendetta, leaving her completely uncertain who she can trust. And she must do this while her own morals are being put to the test. Korra, though a proponent of social justice, is quick to fight and reacts violently to people she views as evil. It is the duty of Tenzin, who was raised by the much more pacifist Aang, to show Korra the better path: There are men out there who would harm innocents for personal gain, or for a grander vision. We can’t be quick to pull the trigger, and we should evolve with the changing times. Those with whom we disagree don’t deserve violence. They should be heard and understood. Only when all other options have been exhausted should one resort to physicality.
The people of Republic City have a reason to be disgruntled. Despite the promise of its name, the ruling class of the City are hardly representative of the population. The council is made up of a representative from each of the elemental nations. Tenzin, whose nation consisted of only his own family, held equal power with the Earth councilmen, whose people were large and expansive. The Legend of Korra’s first season shows us how this system can change into something more democratic, as the season ends with the election of Republic City’s first president. Moving into a more presidential system shows how political movements can make a difference. But it was done through peace and negotiation, not brought on because of the violent actions of a few terrorists.
Despite its influence from Japanese art and storytelling, The Legend of Korra is ultimately a work of strong American allegory. It shows us the good and the bad with democratic systems, focusing on the problems that come with rapid progress and social change. And it does it all in a way that is eye-catching, interesting, and appeals to both children and adults. It is a show aimed at kids that still challenges adults. Yes, it is a cartoon, and it is one that I am proud to enjoy.