Jack Richardson
The last decade has seen massive improvement in LGBTQ+ representation in mainstream children’s animation, from Nickelodeon to Cartoon Network to Netflix, and even Disney who have jumped on the bandwagon now.
LGBTQ+ representation in children’s media matters for a number of reasons. LGBTQ+ youth are statistically far more likely to suffer from mental health issues and almost five times more likely to attempt suicide than their straight cis peers, and as trivial as it sounds, just seeing people like them in the stories they consume (especially stories that are positive and encouraging) tells LGBTQ+ kids that they aren’t alone, gives them role models to identify with and helps fight internalised homophobia.
Beyond that, embracing the reality of growing LGBTQ+ awareness in today’s society breaks down barriers and helps normalise minority identities and sexualities to straight/cis kids. This makes them more tolerant and hopefully will contribute to a decrease in LGBTQ+ hate crimes in future.
The fight to make LGBTQ+ people visible (or even just, y’know, exist) in cartoons has been bitterly fought and its victories hard-won
This normalising aspect is even more important at a time when the POTUS is trying to roll back LGBTQ+ rights in the US and European nations like Poland are becoming increasingly hostile to gay and trans people. We need to be vigilant; we need to teach kids the right lessons.
The fight to make LGBTQ+ people visible (or even just, y’know, exist) in cartoons has been bitterly fought and its victories hard-won. Studios don’t care about isolated kids or progressive movements, they only care about their bottom lines. And up until recently being LGBTQ+-friendly was seen as commercial suicide (and in some cases illegal – remember, gay marriage only became legal in the US in 2015). Each studio has seen its own failures and successes.
Nickelodeon
The Legend of Korra et al & The Loud House
Nickelodeon’s The Legend of Korra (2012-2014) was the sequel to all-time classic Avatar the Last Airbender. Set 70 years later in the same Asian-inspired fantasy universe, it follows the adventures of Korra, the next Avatar after Aang.
This show was groundbreaking in many ways – by the end of its third season Nickelodeon made it a digital exclusive for being too mature and violent for TV – but its final swing-for-the-fences was confirming main character Korra as bisexual, as she walked into the sunset (or Spirit Portal) hand-in-hand with female love interest Asami Sato.
Now, this representation was imperfect: Romance was always LoK’s weakest aspect and even hardcore fans hate the uninteresting, unlikeable love triangle that took up way too much of seasons 1 and 2. Asami and Korra actually began the show as romantic rivals, vying for the affections of brooding pretty-boy Mako.
Nickelodeon forbade a kiss or even explicit confirmation of their romance, so the result was so vague many fans didn’t realise those final shots were meant to be romantically coded
LoK was infamously crippled in production: Initially conceived as a 12-episode miniseries, Nickelodeon greenlit 14 more episodes after season one was finished. Then, halfway through season 2, Nickelodeon greenlit seasons 3 and 4. As a result, LoK’s first two books feel disconnected from each other and the rest of the show, and both characters and relationships suffer from a lack of consistent development or an overall plan.
It was only in LoK’s third and fourth seasons that Korra and Asami’s romance was mooted and then seeded – but even then, creators Michael Dante DiMartino and Bryan Konietzko had to fight for the crumbs of blushing and handholding we got. Nickelodeon forbade a kiss or even explicit confirmation of their romance, so the result was so vague many fans didn’t realise those final shots were meant to be romantically coded.
Anticipating discourse around Korrasami’s relationship status, DiMartino and Konietzko issued a statement after the finale confirming their intentions. Luckily, they’ve had more creative freedom in the sequel graphic novels (Turf Wars and Ruins of the Empire) to flesh out their relationship. Even then, the graphic novels had to retroactively justify their romance with scenes of them explaining to each other when they fell in love. “See?” the creators seemed to be saying. “It really was there, honest!”
Turf Wars also revealed Aang and Katara’s daughter Kya as gay, who gave us a rundown of the universe’s previously ignored queer history (as if you needed more reasons to hate the guy who started the Hundred-Year War, Firelord Sozin was also a massive homophobe). Elsewhere, the novels The Rise of Kyoshi and The Shadow of Kyoshi by F. C. Yee revealed the titular Avatar Kyoshi was bisexual and chronicled both a crush on Yun (a man) and her romance with firebending instructor Rangi (a woman).
Ultimately, co-creator Bryan Konietzko says it best; The Legend of Korra’s representation “falls short” of a “slam dunk victory” but does represent “a somewhat significant inching forward.”
All this is great, and Korra and Asami’s voice actors have been super enthusiastic about the relationship on the convention circuit (see this cute proposal at a panel) but it’s telling that the Avatar universe’s queer reputation exists almost entirely outside the cartoons that founded it, relegated to the safer, more niche expanded materials.
In retrospect, the few hints Bryke snuck into the show itself may seem insignificant and verge on queerbaiting. It doesn’t help that Asami herself, despite having so much potential, isn’t a well-developed character, never really growing past being a romantic object – first for Mako, then for Korra. This isn’t much better in the graphic novels, but at least F. C. Yee did much better with Kyoshi’s girlfriend Rangi.
Ultimately, co-creator Bryan Konietzko says it best; The Legend of Korra’s representation “falls short” of a “slam dunk victory” but does represent “a somewhat significant inching forward.”
More recently Nickelodeon has made strides in LGBTQ+ rep with The Loud House (2016-), a slice-of-life comedy about the adventures of 11 year-old Lincoln Loud, his ten sisters and his best friend, Clyde. The Loud House made headlines in 2016 for featuring the network’s first gay couple, Clyde’s dads Howard and Harold McBride. Then, in 2017 Lincoln’s sister Luna was revealed to be bisexual: Having spent a previous episode crushing on a guy, in the episode ’L is For Love’ she builds up the courage to slip a love note to a girl, Samantha Sharp.
Though Luna and Clyde’s dads aren’t main characters like Korra, and there’s no detailed romance featured, casual representation like this is also super important for normalising LGBTQ+ identities; short and sweet and just part of life.
Stay tuned for part 2 where I’ll explore what Cartoon Network has to offer including Steven Universe and Adventure Time!
Jack Richardson
Images courtesy of Nickelodeon Animation Studios via IMDb.
Image use license found here. No changes made to these images.
For more content including uni news, reviews, entertainment, lifestyle, features and so much more, follow us on Twitter and Instagram, and like our Facebook page for more articles and information on how to get involved.
