Gone is the Air Bender’s endearingly playful and goofy nature.
Water. Earth. Fire. Air. Long ago, the four nations lived together in harmony. Then, everything changed when the Fire Nation attacked.
For many fans of the beloved Nickelodeon animated series Avatar: The Last Airbender, this iconic opening monologue will certainly prove a welcome return.
Following M Night Shyamalan’s much maligned 2010 live-action film, Netflix is looking to right the wrongs of the previous adaptation with the latest reimagining, which joins its growing slate of live-action adaptations including One Piece, Cowboy Bebop and a second stab at Death Note with the Duffer Brothers.
But with the series’s original creators, Michael Dante DiMartino and Bryan Konietzko, parting ways due to creative differences, does this spell more doom and gloom for the franchise?
The Fire Nation’s Hundred Year War has ravaged the other elemental nations as they look to conquer the world. Only one remaining being can put an end to their destruction – the Avatar, the master of all four elemental powers. And yet, they haven’t been seen since the destruction of the Air Nomads.
However, following the discovery and subsequent awakening of a young Air Nomad, Aang (Gordon Cormier), by Southern Water Tribe siblings Katara (Nicola Peltz), a Water Bender, and her brother, Sokka (Ian Ousley), the pair soon learn he is the current iteration of the Avatar.
The trio set off on an action-packed journey to help Aang master the three other elemental powers and bring about the end of the Hundred Year War, hoping to restore peace and balance to the world.
Showrunner and writer Albert Kim kicks the series off with a bang, reintroducing long-term fans and newcomers alike to the four nations and their central conflict in a more linear and accessible way.
Nevertheless, it quickly becomes clear throughout the eight full-length episodes that Kim and co often forego the humour and heart for a darker and much more serious tone – closer to other expansive fantasy shows such as Game of Thrones and The Wheel of Time.
This reimagining is clearly aimed at a much more adult audience than the animated series, with a greater emphasis on the politicking, military strategy and family drama.
Similarly to George RR Martin’s HBO adaptations, certain scenes also have the tendency to be bogged down by heavy exposition and darkly-lit battle sequences.
Fans of the animated show can expect significant changes, with characters thrown together from differing episodes, a penchant for melodrama and a substantially contrasting tone.
None so is this more evident than in the characterisation of Aang. Cormier impressively looks the part and excels in the physicality of the role, but he’s been tasked with an uphill battle due to the core changes to the titular character and his subsequent arc.
Gone is the Air Bender’s endearingly playful and goofy nature (there’s no penguin sledding or airball and little use of his signature air scooter technique), along with the tendency to shirk his responsibilities and run away from his destiny, taking team Avatar on random adventures and side quests.
Removing this core element feels like a disservice to the character’s growth and development, particularly as he quickly acknowledges his failings and accepts his destiny. It’s like the showrunner forgot that he is a 12-year-old child.
However, despite some niggles with slightly stilted performances and overly dramatic delivery, there is a lot to enjoy from the performances.
The dynamic between the Fire Nation’s royal family is by far the most captivating element, particularly throughout the outstanding sixth episode, Masks, as we watch the tragedy gradually unfold.
While Daniel Dae Kim sizzles as Fire Lord Ozai, Dallas Liu is undoubtedly the standout as fan favourite Prince Zuko. His character arc and transformation is known to be one of the best in an animated series, so it’s no mean feat to say Liu brings further depth and a greater empathy to the role. His acrobatic fight choreography is also a marvel to watch.
Prey star Amber Midthunder shines as Princess Yue, too, and there’s a fun nod to the original animation as James Sie reprises his iconic Cabbage Merchant role.
It’s also fantastic to finally see a predominantly Asian and Indigenous cast leading such a beloved fantasy series with such strong cultural influences, heavily drawing on Asian folklore and legend throughout.
With a healthy budget courtesy of the streaming service, the core elemental bending effects, and Aang’s beloved sky bison Appa, are incredibly brought to life – with fire the most impressively realised form of bending.
The climactic battle in the final episode, Legends, is also an outstanding sequence – and certainly one fans should look forward to.
There’s also an impressive amount of artistry and craft poured into bringing this expansive world to life, with excellent practical costumes, weapons and environments clearly depicting each nation.
Nonetheless, a lot of the practical sets have been built in front of the Volume’s clearly digital backdrops, which at times takes you out of the action. Like the recent The Lion King remake, certain sequences also sacrifice emotion and vibrant environments for realism and grittiness.
Just like the slew of recent Disney live-action films, there are always going to be question marks over reimagining beloved animated properties in a completely different medium.
While it’s bold that the showrunners have attempted a differing tone and direction for this latest outing, it feels like part of the essence and artistry has been lost in the process.
Comparisons aside, the series proves a decent fantasy entry, setting up a compelling showdown between Aang and his allies against the fearsome Fire Nation. No doubt this will also bring a whole new raft of viewers to the beloved animated series, too!