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https://avatarnews.co/post/687354302251 ... f-animated

Gotta admit, it's pretty gutsy of the studio to be releasing 3 feature length films over to the course of 3 years. I mean, that is a bold statement that they plan to make three animated films following up on two of the most influential Animated series of all time and a hugely popular novel tie in series which could be either an adaptation of the first novel or a sequel to it.

Tough act to follow doesn't even begin to cover the weight on these films shoulders which is likely only doubled by the fact that two of the 3 have a LOT of gay in their stories and these films are being released theatrically and films are the overall slowest to change when it comes to LGBT inclusion. Which is only more notable here because Korra was the first series to have a bisexual lead who ended up with a female co-star so I'm curious to see how open the films plan to be with Korra and Asami's relationship along with Kyoshi and Rangi's relationship.

This is, of course, assuming the focus is on Kyoshi and Korra as the middle film in this series isn't about Aang but rather Fire Lord Zuko and that I have mixed feelings about. From a marketing prospective it makes sense, Zuko is the most popular character from The Last Airbender and many of the stories told in the comics were more about him then Team Avatar. But that then leads to one of my issues with the original series, the fact that it became more about Zuko with Team Avatar as guest stars.

I've mentioned this before but towards the end of the series Aang got notable less time and focus in the final season with only 5 episodes focusing on him while Zuko got more screen time and development. Hell, in the last episode (which is called Avatar Aang) Zuko has more screen time and dialogue then Aang who gets virtually nothing to do beyond fight Zuko's dad. However, again it does make sense to focus on Zuko as teh last major plot point in the series left unresolved was the fate of Zuko's mom which might very well be the focus of the film but I do hope Aang is given more to do and is treated with just as much importance as his best friend.

Back over to Kyoshi, honestly I do think it makes sense for her film to be an adaptation of her first book as it's a really good story that would be great as a film IMO. Kyoshi is hugely popular and Rise of Kyoshi is, again, hugely popular with fans and critics alike so it does make sense to tell that story especially since it's something fans have been demanding since Avatar Studio was announced.

And over to Korra, this could be either an adaptation of the Turf Wars comics but honestly I would rather see a story that takes place after the second comic arc, Ruins of the Empire. I would want the story to focus mainly on Korra, Asami and Kuvira as well as give some resolution to Zaheer and the Red Lotus. Things I would like to see get less focus, or just flat out NOT appear in the film, would be Mako and Bolin. I don't hate either of these characters but frankly I just don't find them interesting enough to be series regulars like they were in the series proper.

But back over to what this series is excepting to do which is to Sell the new Avatar Studios to Everyone. These films NEED to be successful, both critically and financial in order to sell this idea of a ongoing series that will likely take up the next several years of everyone's lives.

In many ways Avatar has the potential to be the Doctor Who of Animation. A single ongoing series with one central protagonist who is always different yet always the same in a world where magic and steampunk like tech co-exist to tell any kinda of story. The Last Airbender told a story as grand as Star Wars and Lord of the Rings, The Legend of Korra dealt with serious topics like PTSD, Political Drama and asked whether or not the Avatar is truly need and Kyoshi showed us who she truly was and is REALLY Dark (not going into spoilers but these novels get into some really messed up shit).

And because this is a world with established history with countless Avatars, two different worlds co-existing side by side there's so much that can be done with this series. So, here's hoping that these films live up to the hype that fans are already putting into them.

Are these really going to be released theatrically? I would love to see an animated avatar film in the theater but I never really thought it would happen. I expected something like this would be on Netflix or something, more like an OVA or TV movie kinda thing.

phantom000 wrote: ↑Sun Jun 19, 2022 2:17 pm Are these really going to be released theatrically? I would love to see an animated avatar film in the theater but I never really thought it would happen. I expected something like this would be on Netflix or something, more like an OVA or TV movie kinda thing.

From everything I can tell, yes these will be released in theaters, or at least the first film will be. The reason for this, as far as I know, is to make a good first impression with general audience by releasing 3 major films that covers the three major eras of the Avatar series in order to get as many people into the series as possible.

Honestly, I jind of wish they'd let this series rest for a while. Not to seem hyperbolic, but this Airbender is starting to feel like Western Animation's Watchman: a great story that no one can seem to let go and has changed the medium for the worst.

ProfessorDetective wrote: ↑Mon Jun 20, 2022 1:17 am Honestly, I jind of wish they'd let this series rest for a while. Not to seem hyperbolic, but this Airbender is starting to feel like Western Animation's Watchman: great story that no one that no one can seem to let go and has changed the medium for the worst.

I can't agree as both The Last Airbender, The Legend of Korra and Kyoshi have all been really fun and have maintained a largely positive reception in the 20 years of it's life AND I would say that it changed Western Animation for the better. More series are clearly influenced by Avatar in one way or another and that's led to series like Amphibia, The Owl House, She-Ra, The Dragon Prince and even arguably Arcane. Korra was the first "kids" show in Western Animation to address political themes, trauma and included LGBT representation which led other shows to follow suit (see shows already mentioned) and Kyoshi is just a great story that builds on the ideas of the other series.

So, I have to ask, in what way did Avatar change the medium of Western Animation for the worst?

Winter wrote: ↑Mon Jun 20, 2022 4:11 am So, I have to ask, in what way did Avatar change the medium of Western Animation for the worst?

What was that thing Lindsay Ellis said last year...

Also watched Raya and the Last Dragon and I think we need to come up with a name for this genre that is basically Avatar:the Last Airbender reduxes. It's like half of all YA fantasy published in the last few years anyway

Screencap

Or in other words, this:

Winter wrote: ↑Mon Jun 20, 2022 4:11 am More series are clearly influenced by Avatar in one way or another and that's led to series like Amphibia, The Owl House, She-Ra, The Dragon Prince and even arguably Arcane.

Is not a good thing. The same kind of story is being repeated over and over again, and YA television is falling into a rut. For the six or so series that really build on AttL, you have more forgettable shows that are just copying without actually adding anything to it.

Honestly I think the influence it has is greatly overestimated. Other than the Eastern/elemental kingdoms theming AtLA was already following a completely standardized fantasy plot outline when it came out. It told it well and I enjoy it, but it didn't invent it.

Now Raya absolutely was influenced by it, they copied the theming even.

TGLS wrote: ↑Mon Jun 20, 2022 1:08 pm

Winter wrote: ↑Mon Jun 20, 2022 4:11 am More series are clearly influenced by Avatar in one way or another and that's led to series like Amphibia, The Owl House, She-Ra, The Dragon Prince and even arguably Arcane.

Is not a good thing. The same kind of story is being repeated over and over again, and YA television is falling into a rut. For the six or so series that really build on AttL, you have more forgettable shows that are just copying without actually adding anything to it.

I honestly don't see the issue with this. So what if we have a million lazy retreads that no one will remember in a few years. To show what I mean, 2012 was an AMAZING year for films. It gave us Coriolanus, Chronicle, John Carter, The Hunger Games, The Cabin in the Woods, The Avengers, Men in Black 3, Fury, Madagascar 3: Europe's Most Wanted, The Dark Knight Rises, Dredd, Sinister, Cloud Atlas, Skyfall, Wreck-It Ralph, Lincoln (and Abraham Lincoln: Vampire Hunter) and Django Unchained.

That's one or two great movies per-month a decade ago and e honest with me, do you remember any of the other films during that year? Same goes for 1984 which gave us several great films and yet it was pretty much the same thing as 2012, one or two good movies per-month but the rest is pretty forgettable when you get down to it.

There has ALWAYS been more okay and forgettable films then there has been good or even bad films since film was invested. I mean, is anyone going to argue Plan 9 from Outer Space is a good film instead of a so bad it's good film? How many people have read/seen Titus Andronicus and Taming of the Shrew, go check those plays out and tell me that Shakespeare never made a bad play.

Or, in other words, is anyone going to remember stories like The Predator, Prometheus, Ride to Hell: Retribution or Amityville in Space (yes that's a real thing) or will we remember the good and the bad that are likely going to be talked about in the decades to come?

The Elizabeth Taylor version of The Taming of the Shrew is pretty well-regarded. I think you're confusing your personal opinion with dispassionate evaluation.

Frustration wrote: ↑Mon Jun 20, 2022 10:30 pm The Elizabeth Taylor version of The Taming of the Shrew is pretty well-regarded. I think you're confusing your personal opinion with dispassionate evaluation.

This is a scene, word for word, from the play itself.

"Thus have I politicly begun my reign,
And 'tis my hope to end successfully.
My falcon now is sharp and passing empty;
And till she stoop she must not be full-gorged,
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper's call,
That is, to watch her, as we watch these kites
That bate and beat and will not be obedient.
She eat no meat to-day, nor none shall eat;
Last night she slept not, nor to-night she shall not;
As with the meat, some undeserved fault
I'll find about the making of the bed;
And here I'll fling the pillow, there the bolster,
This way the coverlet, another way the sheets:
Ay, and amid this hurly I intend
That all is done in reverend care of her;
And in conclusion she shall watch all night:
And if she chance to nod I'll rail and brawl
And with the clamor keep her still awake.
This is a way to kill a wife with kindness;
And thus I'll curb her mad and headstrong humor.
He that knows better how to tame a shrew,
Now let him speak: 'tis charity to show. "

THIS IS TERRIFYING!!! He is talking about abusing her until she does as he says. And the Elizabeth Taylor version, the overall most faithful, changes key moments from the source material such as her smiling at Petruchio during the whole "Moon and Sun" scene suggesting that she's just playing along for now and the ending has her walk out after her Speech showing that she hasn't been "tamed".

Pretty much every adaptation of the play is altered to work around the rather horrible implications of the text of the play. Again, the Taylor version changes small and big moments to change the next to show that Kate will never be "tamed" which changes the implications of the story.

I'm not regarding adaptations of the work that change the story in anyway, I'm talking about the original source material that glorifies abuse and paints the abuser as the "Good Guy" because Kate is a, well, shrew.

To show what I mean, I HATE the ending of Fingersmith because it glosses over the fact that Maud and Sue were only using each other and that one had planned to turn the other into a insane asylum and only didn't go through with it because the other beat her to the punch. The Handmaiden changes this to both admitting to their part in the con and work together to help each other and outsmart the one who was going to betray them.

This version was well liked by the original author and, IMO, is better then the original book because it made Maud and Sue (or Hideko and Sook-he as they're called in this version) more likeable by having them work together and made them more likeable.

That the Taylor version of Shrew is good does not undo my (and many others) issues with the original play just like The Handmaiden doesn't undo my issues with Fingersmith despite it's strengths.