Avatar: Bending done almost right

'Long ago, the four nations lived together in harmony. Then, everything changed when the Fire Nation attacked' - Katara

For nearly twenty years since its debut, 'Avatar: The Last Airbender' has remained one of the most beloved animated series among fans. Co-developed by Michael Dante DiMartino and Bryan Konietzko, the original show received widespread praise and expanded into a larger universe. 

So, when Netflix unveiled plans for a "reimagined" live-action adaptation of 'Avatar,' with DiMartino and Konietzko onboard as co-showrunners and executive producers, expectations soared. However, excitement quickly turned to disappointment when the duo departed the project due to reported "creative differences."

Now led by 'Sleepy Hollow' showrunner Albert Kim at the helm of the project, who also serves as a writer, Netflix has at last released its much-delayed version of 'Avatar: The Last Airbender.' While the series avoids the pitfalls of M. Night Shyamalan's poorly conceived and culturally insensitive film adaptation, fans may find themselves yearning for Netflix to have respected DiMartino and Konietzko's original masterpiece by leaving it untouched.

Given the challenge of condensing the animated series' initial 20-episode season into a mere eight-hour format, the live-action 'Avatar' opens with great promise. It depicts the harmonious existence of the world's nations over millennia until the power-hungry Fire Nation, led by Fire Lord Sozin (Hiro Kanagawa), instigates a bid for global dominance.

Through breathtaking CGI and special effects, the series vividly narrates the prologue, delving into the history of the conflict and the early life of the gifted Airbender Aang (Gordon Cormier) before his disappearance.
It serves as an engaging introduction for both the dedicated fans of the show and those new to the series, giving a swift immersion into the era preceding Aang's discovery of his identity as the Avatar—the one who can control all four elements—before his century-long slumber in ice. During his absence, the Fire Nation, empowered by a comet, continues its devastating war, wiping out the Air Nomads and bringing turmoil to the Water Tribes and the Earth Kingdom.

In the initial segment of the series, the story jumps ahead a hundred years. Katara (Kiawentiio), the lone water bender from the Southern Water Tribe, along with her cautious brother Sokka (Ian Ousley), discovers Aang's slumbering location, accidentally triggering his awakening. 

Despite initial hesitations, they warmly welcome Aang as their ally and accompany him on his journey to master the remaining elements, halt the Fire Nation's aggression, and bring back balance to the world.

While the series benefits from its visually stunning presentation and the inclusion of Asian actors and actors from ethnic minorities, lending an air of authenticity, the majority of the cast's performances fail to sufficiently convey the weight of the narrative. Despite their earnest efforts, many portrayals lack the depth of emotion required for a story dealing with themes as weighty as genocide, war, and totalitarianism. 

In terms of tone, 'Avatar: The Last Airbender' aims to match the nuanced sophistication seen in adaptations like the 'Harry Potter' films or Disney+'s 'Percy Jackson and the Olympians.' However, cheesy acting and dialogue reminiscent of Disney Channel productions diminishes what could have been a grand epic adventure into a lackluster experience.

Similar to numerous live-action adaptations of written or animated material, Kim and his team of writers merged and condensed multiple significant narrative elements. However, intertwining Jet's (Sebastian Amoruso) tale of rebellion with the depiction of the Earth Kingdom's vibrant city, Omashu, and the story of King Bumi (Utkarsh Ambudkar) feels rushed and overly convenient, particularly for fans familiar with the original series. 

Also, removing Sokka's comedic role, which added depth to his character in the animated version, is profoundly disappointing and results in a more simplistic portrayal.

Despite these flaws, there are several standout moments within the series. Notably, the opening episode of "Avatar" and its second installment, "Warriors," stand out as the strongest episodes. Additionally, the penultimate episode, "The North," injects much-needed intensity and showcases stunning water bending, revitalising the series in its final stages. 

Despite the uneven performances throughout the series, Elizabeth Yu's portrayal of the cunning and volatile Princess Azula, driven by a desire to impress her sadistic father, Fire Lord Ozai (Daniel Dae Kim), and outsmart her exiled brother Prince Zuko (Dallas Liu), stands out as one of the most powerful performances. 

Similarly, Paul Sun-Hyung Lee's portrayal of retired General Iroh balances the tone of many scenes that might otherwise veer towards melodrama in the hands of less experienced actors.

Reflecting on the original animated 'Avatar' series, it becomes evident that DiMartino and Konietzko possessed a clear vision of Aang and the universe he inhabited. Without their meticulous direction, the live-action series fails to capture the unique and polished aspects that distinguished the animated version. Ultimately, 'Avatar: The Last Airbender' comes across as a mere performance rather than a carefully crafted immersion into the intricately designed world.