Critical response The Legend of Korra

1 critical response

1.1 style , production values
1.2 writing , themes
1.3 gender, race , sexual orientation

critical response

the legend of korra received critical acclaim production values, quality of writing, challenging themes , transgression of conventions of youth entertainment. on review aggregator rotten tomatoes, third season has rating of 100% positive reviews, based on 5 reviews, average rating of 8.5/10.

style , production values

david hinckley of new york daily news wrote visually striking series full of little tricks , nuances true fans notice , savor, nothing prevents civilians enjoying well. writing vulture, matt patches highlighted second season s loose, handheld-style cinematography – challenging animated series – , weird, wonderful , wildly imagined spirits fought korra; kaiju parade beasts mirror velociraptors . max nicholson ign described third season show s consistent season date, delivering complex themes, excellent storylines , unmatched production values. , oliver sava, a.v. club, characterized magnificent season of television, delivering loads of character development, world building, socio-political commentary, , heart-racing action, presented beautifully smooth animation , impeccable voice acting .

writing , themes

before first season s finale, scott thill of wired hailed legend of korra smartest cartoon on tv, able address adults spiritual , sociopolitical concerns while presenting alternately riveting , hilarious ride packed fantasy naturalism, steampunk grandeur, kinetic conflicts, sci-fi weaponry , self-aware comedy. in atlantic, julie beck characterized series of highest quality fantasy of our time , appreciating combining nuanced social commentary avatar: last airbender s warmth, whimsy, , self-referential wit . brian lowry of variety felt series represents bit more ambitious storytelling older kids, , perhaps few adults geek gene.

at tv.com, noel kirkpatrick commented favorably on how second season of 1 of television s best programs handled necessary quantity of exposition, , on introduction of theme of conflict between spiritualism , secularism. covering third season, scott thill @ salon described korra 1 of toughest, complex female characters on tv, despite being in cartoon, , considered surreal, lovely sequel avatar lastingly , accessibly critiques power, gender, extinction, spirit , more — wrapped in kinetic toon lyrical , expansive dreamt hayao miyazaki or george lucas . david levesley @ daily beast recommended series looking beautifully shot , well-written fantasy on television after end of game of thrones s recent season, noting in both series fantastical , outlandish balanced human relationships , political intrigue .

several reviewers noted sociopolitical issues that, unusually animated series on children s channel, run through legend of korra. according forbes, telling of darkest, mature stories ever animated, legend of korra has created new genre, world s first animated television drama . thill proposed equalists cause in season 1 reflected recent appearance of occupy movement, , dimartino responded though series written before occupy wall street began, agreed show depicted large group of people felt powerless against relatively small group of people in power. beck wrote legend of korra used magic illustrate growing pains of modernizing world seeing rise of technology , capitalism, , taking halting, jerky steps toward self-governance , while portraying no side of conflict entirely flawless. alyssa rosenberg praised show examining issues of class in urban setting, , guest post in column argued struggle between korra , amon s equalists reflected of ideas of john rawls luck egalitarianism , praising series tackling moral issues of inequality , redistribution.

writing escapist, mike hoffman noted how series respected younger viewers explicitly showing, giving emotional weight death of major characters, including 1 of brutal , sudden deaths in children s television in case of p li in season 3. portraying korra s opponents not stereotypical villains, human beings understandable motivations corrupted excess of zeal, series trusted in viewers able resolve dissonance between understanding s view , disagreeing methods . and, hoffman wrote, showing korra suffer full-on depression @ end of third season, , devoting of fourth recovery, series helped normalize mental health issues, theme unaddressed in children s television, made them less oppressive viewers.

gender, race , sexual orientation

the series final shot, intended show asami , korra becoming romantic couple, seen pushing boundaries of lgbt representation in children s tv.

summing book four, joanna robinson vanity fair described subversive television event of year , noting how of season , series pushed boundaries of nominally children s television breaking racial, sexual, , political ground : featured brave, strong, brown-skinned female lead character bevy of diverse female characters of ages, focused on challenging issues such weapons of mass destruction, ptsd , fascism, , infused eastern spirituality based on tenets such balance , mindfulness. levesley highlighted many examples of well-written women, predominantly of color in series. oliver sava @ a.v. club noted series had consistently delivered captivating female figures ; considered first , foremost women, , how relate each other friends, family, , rivals in romance , politics .

moreover, according robinson, series final scene, in korra , asami gaze each other s eyes in shot mirroring composition of avatar s final moments in aang , katara kiss, changed face of tv going further other work of children s television in depicting same-sex relationships – assessment shared reviewers tv.com, a.v. club, usa today, ign , moviepilot. mike hoffman, on other hand, felt korra , asami s relationship not intended particularly subversive, writers trusted younger viewers, familiar same-sex relationships, mature enough understand. megan farokhmanesh of polygon wrote portraying korra , asami bisexual, series avoided error of assuming sexual orientation, many other tv series did, strict divide between gay , straight .