Avatar: The Last Airbender Makes Good on Its Second Chance at Live Action

Since Nickelodeon’s Avatar: The Last Airbender first premiered in 2005, critics and audiences have hailed it as “one of the greatest animated series of all time.” The series, created by Michael Dante DiMartino and Bryan Konietzko, has been praised for its strong narrative and writing, authentic Asian and Indigenous mythology and culture, and for addressing issues related to war, oppression, loss, and gender discrimination. It made sense that studios would want to take this rich story and adapt it into a live-action epic adventure.

Unfortunately, the first attempt at one failed miserably. M. Night Shyamalan’s 2010 drama The Last Airbender was set to be the first of a trilogy of films, but was met with controversy throughout its conception with the casting of white actors to play Asian and Indigenous-influenced characters, convoluted story direction, poor performances, and disappointing special effects. Following the backlash, the planned trilogy was scrapped.

It wasn’t until 2018 when Netflix announced its own live-action Avatar: The Last Airbender series, with DiMartino and Konietzko as showrunners, that fans had a renewed sense of excitement. DiMartino and Konietzko later left the project, citing “creative differences,” and Netflix hired writer Albert Kim as showrunner. Without the support of the creators, Kim was given the daunting task of bringing the world of Avatar to life. He promised to right the wrongs of the past through its appropriate casting choices, updated VFX, and expanding the emotional story arcs from the source material.

From the apt casting to the comprehensive storyline, Kim delivers on this promise and more. Netflix’s Avatar: The Last Airbender is a visual spectacle filled with multi-dimensional characters, inclusive storylines, and authentic production and costume design. The series beautifully weaves what was beloved from the animation with the expectations that come from being remade in live action.

In Avatar: The Last Airbender, nations are divided by four classical elements — water, earth, fire, and air — each with the ability to “bend” these elements at will. In order for there to be balance between nations, an “Avatar” is chosen with the ability to bend all four elements, bridging the gap between the mortal and spirit world. Aang (Gordon Cormier), a young Airbender, bears the responsibility and burden of being the next Avatar.

While traveling on his sky bison, Appa, Aang is caught in a storm, causing his Avatar powers to activate, leaving him and Appa in a cryogenic state for 100 years. When he wakes up, he learns the power-hungry Fire Nation have eliminated all of the Airbenders from existence, making Aang the last of his kind. With the help of his new friends, Southern Water Tribe leader Sokka (Ian Ousley) and his waterbending sister Katara (Kiawentiio), Aang must train to master all four elements in an effort to take on the Fire Nation and bring balance back to the world. Meanwhile, the Fire Lord’s irate son, Prince Zuko (Dallas Liu), and his uncle, Iroh (Paul Sun-Hyung Lee) have been in search of the Avatar for the last three years, determined to capture him for the Fire Nation.

Though the animated series was created for children, the live-action adaptation takes on a serious, darker tone, exposing the harsh realities and trauma of war, as well as showcasing the savage and oppressive nature of the Fire Nation. In the opening scene alone, a man is burnt alive by a Firebender, leaving behind a crisp corpse. Their cruelty doesn’t stop there, as the Fire Nation’s next seen committing atrocious acts of violence, leading to the genocide of the Airbenders.

The repercussion of this tragic event lays the groundwork for Aang’s journey, as he struggles with survivor’s guilt, wondering what he could have done if he was there, and begins to question his place as the Avatar. When the trio encounters a burnt forest, devastated by Firebenders, Aang breaks down, “This is all my fault. It’s the Avatar’s job to protect the natural world. That’s just as important as helping people and fighting Firebenders. How many more forests have died because I wasn’t there? Because I don’t know what I’m doing?”

Despite the number of seasoned actors in the cast, the series heavily relies on the performances of its young actors. While initially stilted at times during the pilot episode, Cormier, Kiawentiio and Ousley’s performances deepen as the series progresses, giving them more opportunity to dig deep into their characters beyond the initial exposition. Cormier plays Aang as if the weight of the world rests on his shoulders, while also maintaining his childlike charm and innocence. Kiawentiio’s own charisma shines through as Katara grows more confident in her waterbending abilities, while Ousley seems to have figured out the comedic cues and instances that bring Sokka to life.

Though the trio’s encouraging dynamic is enjoyable, the real heart of the show is the relationship between Zuko and Iroh. As this adaptation offers more insight into their bond through flashbacks, their chemistry becomes more palpable with every interaction. Liu gives a solid performance as the tormented, rage-filled Zuko, damaged by family trauma. While the character normally releases his fury through outbursts, the somber moments in which he suppresses his emotions speak even louder. Zuko avoids falling into the villainous trope of “hurt people hurt people,” as his softer and more compassionate side is revealed, bringing more humanity into the character.

Undoubtedly, Avatar: The Last Airbender’s greatest strength lies in its authenticity and attention to detail. The world created for the series is simply remarkable. From its vivid production design to episode title card to the accurate casting and costume design, the series takes delicate care in paying its respects to the culture that inspired it. The production and costume design for each nation are a stunning reflection of the traditions they’re based on – Tibetan Buddhist Monks (Air Nation), Chinese Tang Dynasty and Imperial Japanese Military (Fire Nation), Chinese Ming and Qing Dynasty and South Asia (Earth Nation), and the Arctic Indigenous Inuits and Yup’iks (Water Nation). Even the spiritual creatures are given their moments to reflect the mythology they came from. Koh The Face Stealer, a minor antagonist and malevolent spirit inspired by the Japanese Noppera-bō, is given more backstory, lending the scary creature some relatability.

The series, based on fantastical elements and epic battles, requires strong visual effects and precise fight choreography, and it delivers. The VFX team gets the “bending” of the elements right. While “bending” is impressive by itself, the combination of martial arts using these elements elevates scenes to a whole other level. Liu, a trained martial artist, brilliantly displays this in every brawl Zuko is involved in, projecting fire through his punches, flips, and kicks. The VFX also brings the spirits and creatures of the story, like Appa, Momo, and Koh, to captivating life. The only visual misstep is during Aang’s Avatar state, where he looks heavily A.I.-generated, with his blue glow resembling that of Watchmen’s Doctor Manhattan.

There is a lot riding on this adaptation, not just from Netflix, which is hoping to cash in on another franchise, but for the fans who hope to see their favorite animation properly brought to life. The series is already levels above the film version, especially in the casting and grand world-building, while still maintaining the core story from the animation. Though fans have been quick to call out the lack of support from the original creators, Netflix’s Avatar: The Last Airbender proves itself worthy of this second chance at life.

Avatar: The Last Airbender is now streaming on Netflix. Join the discussion about the show in our forums.

Laura Sirikul is a freelance journalist covering entertainment, pop culture, and health. Her work has appeared in Empire Magazine, Entertainment Weekly, Elle Magazine, What To Watch, Nerdist, IGN, Timid Magazine, and more.