The Transmedia Case of Avatar: The Last Airbender
This analysis was initially undertaken as part of a course during my master’s degree in Transmedia Architecture at the Haute École Albert Jacquard in Namur, Belgium.
Introduction
As part of the Communication and Transmedia course, I was tasked with undertaking an individual project analyzing the transmedia case of a chosen work. I chose to focus my analysis on the animated series “Avatar: The Last Airbender”, created by Michael Dante DiMartino and Bryan Konietzko, and produced by Nickelodeon in 2005. For simplicity in this text, I will occasionally refer to this work as “Avatar,” making sure not to confuse it with James Cameron’s 2009 film, which is entirely unrelated to the transmedia case under consideration here.
The primary motivation behind my choice stems from the profound impact this animated series had on my childhood and adolescence, owing to its numerous positive values and the maturity it exhibited compared to other productions targeted at children during that period. Moreover, the well-crafted storyline and intricately developed universe made it an obvious selection for this analysis.
To conduct this analysis, I needed to choose two texts from those covered in class. Consequently, I opted for the following texts:
- “The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling” by Henry Jenkins;
- “Narrative Constellations: What Do Viewers Make of Multimedia Adaptations of TV Series?” by Sarah Sepulchre.
Brief Narrative Summary
“Avatar: The Last Airbender” unfolds in a world divided into four factions: the Water Tribes, the Earth Kingdom, the Air Nomads, and the Fire Nation. Each faction comprises benders capable of bending their respective elements. In this world, the Avatar serves as a peacekeeper and possesses the unique ability to master all four elements.
The story revolves around Aang, a 12-year-old boy who, as the title suggests, is the last of the Air Nomads, his people having been annihilated by the power-hungry Fire Nation. It is revealed that Aang is also the Avatar of his generation, entrusted with the responsibility of restoring balance to the world. With the support of his friends, he must learn to master the different elements to become a proficient Avatar and, ultimately, bring peace to the world.
Text by Henry Jenkins
The Concept of Radical Intertextuality
The principle of intertextuality implies that a narrative is extended by one or more new narratives, whether in the same or a different format. In the case of Avatar, it is easy to enumerate the numerous extensions the original series has undergone. From comics focusing on various characters in the universe shortly after the animated series’ conclusion to the sequel “The Legend of Korra” (created by Michael Dante DiMartino and Bryan Konietzko and aired from 2012 to 2014), which narrates the life of Korra, the young Avatar who succeeds Aang after his death, it can be asserted that the world of the last airbender is quite expansive. There was even a live-action adaptation of the animated series in a film directed by M. Night Shyamalan in 2010. However, this adaptation failed to garner unanimous approval from fans and has since lost credibility.
Emotional Engagement of Fans
In his text, Jenkins extensively discusses the success of the series Ghost Whisperer (created by John Gray in 2005) and how it effectively utilized its fan base. This scenario is also applicable to the Avatar universe. Countless fan arts have been created worldwide, featuring both canonical characters and entirely invented ones. Additionally, numerous forums have emerged, allowing members to discuss the universe and even create a fictional character to bring to life within the forum’s pages, akin to a role-playing game. Lastly, one cannot overlook the countless cosplays inspired by the Avatar universe showcased at fan conventions around the globe.
Spreadability and Drillability
This involves distinguishing between fans eager to delve deep into the universe and those satisfied with surface-level information. The Avatar universe has always been conducive to fan theories. One of the best examples is the mystery left at the end of the original series regarding Zuko’s mother, one of the main characters. Producers capitalized on fans’ enthusiasm by creating a comic titled “The Search”, exclusively focusing on this mystery. Within it, the creators not only delve into the character of Ursa, Zuko’s mother, who had never been named before but also revisit the beloved protagonists from the animated series that fans were eager to see again. (Article regarding the mystery surrounding Zuko’s mother: Link)
Continuity, Multiplicity, and Subjectivity
It is not enough for a transmedia universe to offer a story unfolding across multiple media; it must also develop certain unexplored details or characters through other narratives, a concept known as multiplicity. Hence, the creators decided to release an entire series of comics. The first part, titled “Anthology Collections”, revisits events occurring during the original series. Following that, a second part called “Graphic Novels Trilogies,” explores events that take place after either the Avatar or The Legend of Korra narratives. Finally, the third part, lacking a specific name, comprises stories published during Free Comic Book Days, depicting various and diverse events.
These different continuations also aptly illustrate the concept of subjectivity described by Jenkins. Some focus on unexplored elements of the story, such as “The Lost Adventures”. Others extend the narrative, as seen in comics like “The Promise” or “The Search”, or even in The Legend of Korra series. Some narratives even tell the story from the perspective of secondary characters, as demonstrated by the comic “Rebound”. (Comic books resources: Link)
The Worldbuilding
Through their various mediums, the creators of the Avatar franchise have crafted an exceptionally well-constructed universe where every detail has been meticulously considered. A comprehensive world map has been created, featuring the four factions, each inspired by a real-world culture. For instance, the Waterbenders were conceived based on the Inuit people. Furthermore, the creators enlisted a martial arts consultant to precisely define the choreography for mastering the different elements. For instance, waterbending is portrayed as supple and fluid, hence the decision to associate it with Tai Chi. (Video explaining the creation of the universe by the creators: Link)
Here, the creators have built a genuine universe, consisting of four distinct cultures, complete with its own mythology, including what they refer to as the spirit world. Each character is independently developed with their own story, starting from the original series. An episode in The Legend of Korra is even dedicated to the origin of elemental bending. The universe also features fictional creatures inspired by real animals. Every aspect within the universe has been meticulously thought out, leaving no question unanswered by the creators.
Text by Sarah Sepulchre
A Narrative Constellation
As previously mentioned in Henry Jenkins’ text, the transmedia universe of Avatar has developed its story across various platforms: the two animated series, comics, video games, film adaptation, and the resulting music, among others. However, as Sarah Sepulchre points out in her text, this pattern is more akin to the satellite system described by Richard Saint-Gelais, where the original series serves as the central medium around which other media orbit.
Indeed, the 2005 animated series serves as the key entry point into the universe for consumers. It introduces characters, cultures, mythology, and other foundational elements of the universe. Therefore, it is evident that, ideally, a new consumer should enter this universe through this gateway to avoid feeling completely lost.
The Legitimacy of Narratives
Another argument that Sarah provides to legitimize the central works of constellations concerns the difference in authority among various media. This idea is also derived from the analyst we just discussed, Richard Saint-Gelais. He distinguishes three zones encompassing the various works that constitute a transmedia universe: the canon, the most legitimate zone; the official domain, a zone of lesser legitimacy; and unauthorized productions, lacking credibility in the eyes of the creators.
In the case of Avatar, the canon comprises both animated series. The official domain, on the other hand, consists mainly of comics. Unauthorized productions include other comics, part of what is known as the extended Avatar universe, as well as numerous fan fictions.
Technical and Fictional Immersion
Sarah emphasizes in her text the importance for a constellation to possess both types of immersion in its universe. Role-playing games and video games within the Avatar universe allow consumers to bring fiction into their lives, illustrating technical immersion. Additionally, comics and animated series represent fictional immersion as they emotionally engage consumers strongly, demanding continuous imaginative efforts that create connections between diegetic elements.
Fan Involvement and the Impact of the Universe on Daily Life
In her experimentation, Sarah concludes that certain participants are significantly impacted by their favorite series. She cites the example of Emmanuelle, who identifies so strongly with the series One Tree Hill (Created by Mark Schwann and broadcast from 2003 to 2012) that she becomes envious of her sister, who also listens to the show’s music.
Similarly, fans of Avatar are profoundly affected by the series’ universe. The number of tattoos related to the show is countless, illustrating the extent to which fans incorporate the series into their lives.
Furthermore, fans express their desire to see more romantic scenes between certain characters. They go so far as to give a name to the relationship between specific characters, such as Katara and Aang forming “Kataang” or Zuko and Katara forming “Zukara.” The situation becomes so significant that even the creators find it amusing. (Documentary on the creation of the series: Link)
Moreover, an iconic yet fictional game from the animated series called Pai-Sho has been so well-received by fans that the production decided to create an online game with more elaborate rules. Indeed, when the animated series was released, the creators hadn’t initially thought about complete rules for the game. (Article on Pai-Sho: Link)
Conclusion
Considering all that has been presented, one is prompted to question whether the universe of Avatar: The Last Airbender aligns more with the transmedia system developed by Henry Jenkins or with the narrative constellations described by Sarah Sepulchre.
Personally, I am inclined to view narrative constellations as a sub-genre of transmedia. In the sense that the various components that make it up are independent of each other, even though their importance varies based on the credit given to them by their creators. Thus, I am led to believe that the Avatar universe, showcasing numerous transmedia characteristics such as radical intertextuality, fan involvement, etc., can also be considered a narrative constellation.
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Sources and Bibliography
- Cosplay Central. “10 Cosplays d’Avatar qui vous donneront envie de regarder la série à nouveau”. Link
- “10 : Avatar, le Dernier Maître de l’Air et le Storytelling Transmédia — Édition Numérique”. Link
- ScreenRant. “10 Fanfictions d’Avatar: le Dernier Maître de l’Air à Lire Avant la Sortie de la Série Netflix”. Link
- “21 Créations de Fans d’Avatar : Le Dernier Maître de l’Air Que Nous Aimerions Voir Exister.” Link
- “Avatar, le Dernier Maître de l’Air.” Wikipedia. Link
- “Avatar : The Last Airbender.” Link
- “Ghost Whisperer.” Wikipedia. Link
- “La Légende de Korra.” Wikipedia. Link
- Wiki Avatar. “La Recherche” Link
- “Les Frères Scott.” Wikipedia. Link
- Wiki Avatar. “Liste des bandes dessinées dédiées à l’univers d’Avatar”. Link
- Wiki Avatar. « Pai Sho ». Link
- « Republic City ». Link
- Avatar Wiki. « Spiritual Beliefs in the World of Avatar ». Link
- UltimateKorraTV. Avatar: The Last Airbender Documentary (Full) — Avatar Spirits, 2013. Link