i'd love something sparkly!

Anonymous said to prospails: here’s a thought: allura sharing milkshake with romelle and won’t tell her where it comes from to protect her gf????

keith, at the breakfast table: i like your jacket

adam: yeah? you can have it in a few years, once you’re a little bigger

keith: (pouting) i’m never gonna get bigger. i’m gonna be a shrimp forever.

adam: aw, don’t say that! we’re just a family of late bloomers, that’s all. i didn’t hit puberty until i was like, 14, and shiro was a twig until we were 16.

keith: why does that matter? i’m adopted.

Not… really? 

The one episode that sticks out to me as having been well-written was an episode in season 3–the one where Keith is leading them into that planet and all their tech gets screwed to hell. It works on a lot of levels because it introduces Lotor as a scary villain, establishes Allura as inexperienced while giving her the chance to learn, and shows Keith learning a lesson while Lance gets to stretch his legs as an actual competent member of the team. What I loved about it though was the lesson Keith learned onscreen and how he learned it–we got to see actual development as well as him opening up to another member of the team other than Shiro. It’s one of the best episodes in the series and really goes to show what Voltron could have been if the writers actually knew what they were doing. I assume, at this point, that the episode was merely a happy accident. 

Now that isn’t to say Voltron doesn’t have memorable moments for other reasons–the scene where Keith and Shiro fight was wonderfully animated and probably the most beautiful looking scene in the whole series, but that doesn’t mean how we got there was as good by comparison. 

One of Voltron’s biggest problems (among other glaring issues) is that it relies heavily on concepts, but pretty much fails to expand those concepts into actual narrative development. We’re told via Hunk’s one episode in the Galra empire that he’s become quite the diplomat, but we never see that in action or see him struggling with that arc at any other point in the series. We’re told Lance has become a great member of the team by seeing his sword form during training, but we rarely get to see those skills in action. And yeah, Lance takes up giving commands when Keith and Shiro are busy, but it’s never highlighted. He’s never given his moment to truly prove himself to the audience. Which makes it all little different than telling the audience that development is happening offscreen, which you should NEVER do. Which brings me to Keith. Not only was Keith’s path through “development” poorly concocted, but we didn’t even get to see it. Why was he such a great leader after having spent time with his mother? What did that do for him? Fans can speculate all they want, but at the end of the day, Keith is one character when he left and another when he comes back, and WE DIDN’T SEE IT HAPPEN! 

This leaves me with one of two conclusions: Either the writers were too lazy to put any effort into telling a proper character arc OR they simply don’t know how. And seeing how poorly every other character in the series is handled, I’d bet on the latter. The Voltron writers don’t know how to do their jobs on the most basic level. Even Shiro, the second-shining child of the series after Keith, doesn’t get any development. He’s got PTSD, sure, but he’s literally the exact same character he was in the beginning as he is now, much like the rest the cast. What would have made Shiro’s character really great would maybe be some regret on his end, or some self-doubt following his PTSD issues, or maybe a loss of confidence he had to overcome or literally ANYTHING! Instead he’s relegated to a plot device. 

Which brings me to another glaring issues with Voltron alongside the character development–they’re taking what should be a character-driven narrative and pretending it’s a plot-driven narrative. 

You want to know why Voltron was so promising from the start? Because it had a perfect premise for character building. It was like Avatar the Last Airbender but in space. You had a big baddy in the distance that the characters had to work their own skills up to in order to face. It gave the characters time to explore both themselves and the world around them, while still retaining a goal that implemented a sense of urgency. Which is why the originally episodic storytelling of Voltron in the first season worked so well and why the series seemed so promising. Each episode had a different character or couple of characters that had a problem they needed to overcome before the resolution of the episode, or a couple of episode as they sometimes did them in twos. This is a good format for storytelling with a big cast because it gives each character the turn they deserve, while still giving time for things like comedic relief and problem solving/conversations between characters, which is the FOOD of character development. Being able to have two character sit down and simply chat is the main course of character development and interpersonal relationships, hence Shiro and Pidge’s relationship was so precious in the first season, and why people latched onto Keith and Lance so hard, because they were constantly snarking at one another. 

The problem comes with season 3, where the writers tried to change Voltron from an episodic format into a serial format while trying to retain the same tone. Serial storytelling has an overarching pot that the characters work toward the whole season–like all of a season is a single episode. Yes, Voltron already had an overarching plot, but it was secondary to the character story-telling. That was, until season three, when the writers decided that they wanted the story to be “epic all the time” instead of sticking to what was originally good. 

Avatar the Last Airbender isn’t good because it’s epic all the time. It’s good because it’s well-balanced. Because the characters got the time to build themselves up so that when those epic moments finally happened, the audience actually cared. Voltron decided that they wanted to be edgy and took all of that away from us to make the show serial and focus more entirely on the end plot instead of each individual character’s struggles. They tried to retain a bit of this, but in contrast with the more serial episodes, it feels like whiplash. This is why season 3′s tone is so vastly different from season 1 and 2, and why so many people were so shocked. And why it feels so fast. 

But the problem is that the writers clearly want to write an episodic show, they just don’t realize they do, which is why we’re getting TOLD character development instead of shown in favor of over the top battles and other “intense” mumbo jumbo that falls flat when anyone takes a moment to sit and think about what they’re watching. 

This is why I got so infuriated when all those new characters were introduced in season 7–we don’t even know the characters we got originally and now I’m expected to care about these new ones? No, absolutely not. And this is also why I get angry every time we get a “filler” episode. Avatar had filler episodes, but Avatar was also episodic and used that filler to develop the characters, with the exception of Tales of Ba Sing Se, which was amazingly done for other reasons entirely. 

Voltron made itself serial, which means we don’t have time for filler. It’s jarring and takes the viewer out of the experience. I don’t care about a stupid gameshow episode because the writers have made it overly clear that the situation is dire and serious and now I feel like I’ve been slapped. Especially when that filler does nothing for the characters. It’s a waste when they could have been using the time for something more worthwhile. Instead, they just wanted a Q episode, or a D&D episode, as if their storytelling had been good enough prior to earn them that wasted time. 

Which brings me to yet another glaring issue that Voltron has–pacing. Not only did the change in storytelling alter the pacing in a way that was jarring for everyone, but they can’t keep up with the pace they decided to set, nor do they know how to keep tension going in the story so as to take advantage of that faster pace they forced on themsleves. Pidge, Lotor, and Zarkon are prime examples of characters whose arcs were slaughtered by this incompetence. Why was Pidge’s search for her brother concluded at the beginning of a season in a standalone episode that is so far outside the serialized plot? Well I can tell you why–because they didn’t know how to integrate it properly with the rest of the story. Which is why it feels like filler. Like fan service. Why it’s so out of the blue. Why is Zarkon’s death so lackluster? Because we’d been told that Zarkon was the big baddy the whole time and then they ended his reign in the middle of a season. Not only do we see Zarkon suddenly in the daylight outside his scary space darkness, but his entrance is lame and lacking impact. And then Lotor, a newer character by contrast, is the one to take him out. Suddenly, the show is without the big baddy that had been pushing it from the beginning, which is glaringly obvious in how disorganized the plot becomes after his death and Lotor’s subsequent defeat. Sorry, but by default of the role she had previously, Haggar is not as scary as Zarkon was, nor is Sendak. It’s like we’re supposed to now watch Voltron clean up the leftovers instead of fight a war, which is fucking stupid. And don’t even get me started on Lotor’s arc. They wanted to make him seem like Zuko and then pull an Azula? Well, sorry hons, but your storytelling capabilities aren’t strong enough to accomplish either. 

Lotor was not made sympathetic or psychotic enough to pull off either act, which just makes him fall rather flat. The most interesting thing about him was his relationship with Allura, which was only interesting because we hadn’t gotten any romance yet in the show so everyone was super paying attention to how it’d unfold. 

This pacing issue is continuous from season 3 onward. The story regularly takes detours it shouldn’t and focuses on things we don’t care about and interjects important plot-points at the wrong time while completely leaving out others. Like Haggar coming back in season 7. If we’d actually seen a bit of what she was up to, the addition of the last robot to the final fight might have been a little less stupid, but we didn’t see that, so it’s still just regular stupid. 

So the characters in Voltron suck, the plot sucks, and the pacing sucks. The only thing that’s saving Voltron is the fact that it looks nice and that the fandom is happy to take concepts and run with them in fan works. There’s a reason the fandom is so happy to explain away everything in the series, because expanding the series for themselves is the only option they have. Voltron itself doesn’t do it on but rare occasions, and if the fan creators didn’t give the characters depth, no one would. Every piece of “character” we get in Voltron is a concept, not actual storytelling. They set up what could be something amazing and then dash it at the last moment by completely ruining everything. People say Voltron never ceases to surprise them, but this isn’t because they’re great storytellers, it’s because of the exact opposite. Voltron rarely follows through with minor plot points set up previously, instead settling to just tell you about them later in favor of laser battles. Lance is insecure? Just give him a sword, he’s fine. Hunk has no development? Give him a short, five minute moment about his family–a family he talked about one other time and a plot point that should have rightfully gone to Lance. Pidge’s “arc” is over? Just have her say a whole bunch of nonsense in the next scene. Need someone to do something cool? Better get Keith since that’s all he’s good for anymore due to his character being so inconsistent. Need some of that quality angst? Throw in Shiro too, because god forbid Keith relate to any of the other characters on a personal level and actually break out of the isolated existence that caused all his character problems in the first place. Oh, and don’t forget Allura, whose overpowered abilities have become such an expected norm and so unexplainable at this point that she’s nothing more than a bore-fest to watch. 

Voltron had everything going for it–it could have been great, on par with Avatar the Last Airbender by sheer default of how the original premise was set up and how interesting the characters were to start with. And then the writers screwed it up because they didn’t know how to properly tell the story they’d set up in the first place. 

This is why people who don’t watch Voltron or who don’t see anything special about it don’t understand why it’s such a big deal (and why comparing it to Avatar the Last Airbender is such an insult). Why it’s plain toast in comparison to other, better shows. Because anyone who actually takes a step back and looks at the show with more thought than “oh I like this character because of what they could have been,” they’d realize just how badly concocted Voltron is. 

I know. I was once one of these people that had faith in the concepts that I eventually realized would never come to fruition. I was happy to ignore the faults in the show because I kept hoping it would get better. But then it never did and all that was left were the faults. 

Voltron is not a good show. Like, it’s just literally not well done. The visuals are nice, which is part of the reason it’s gotten so popular. But even if the art is nice, at the end of the day, the writing has been and always will be the heart and soul of any narrative, and if that’s a pile of trash, the entire show will end up that way.