Avatar: Another Airbender Creators Brian Konitzko and Michael Dante Dimartino put together the ultimate fan-satisfying art book of 2020, titled Animation series art. It condensed the sweat, hard work and sheer talent that went into the series, and gave a glimpse into concepts that were abandoned or reworked during the creation of the series. Avatar: Another Airbender.
Among the many behind-the-scenes details that have been revealed, there are a few that certainly stand out, and they would have radically changed the series if they were included in the final production.
10 iceberg energy ball
That wasn’t possible in the final production, but creators Konitzko and Dimartino had a clear vision of what they wanted Aang’s suspension in the iceberg to look like. And it wasn’t quite done that way in the end.
According to the technical book, the glowing mass that surrounded Aang and Appa was supposed to represent a ball of swirling energy. They wanted Aang to spin the energy when the iceberg finally appeared, but due to the strict animation schedule, there wasn’t enough time or resources to make it happen. It’s too bad because it really looks like Aang is frozen, which wasn’t the visual they wanted.
9 Avatar “Planet”
Konitzko states that early in the creative process, he initially envisioned the avatar’s soul as a manifestation of the planet. In it, Aang will be the literal embodiment of something similar to “Mother Nature”. In fact, of course, they went in a completely different direction, and ended up paying off a lot of time.
The “Planet” avatar would not fit into the world they created, as the series was more cosmic and intangible. The only perception of Aang’s “spirit” was a white glow, and luckily they left the concept open as Avatar’s spirit became a major plot point in the show. The legend of Korra.
8 Azula Phoenix Shield
Perhaps the fandom was lucky that the concept was never popularized. But for Azolla fans, it probably hurt that they couldn’t see the character wearing this dangerous outfit. With its fiery red color scheme, serrated grooves, and cool helmet, the concept really shines on what she might have looked like if Ozai had allowed her to destroy the Earth Kingdom with him.
It does not fit with the more muted golden tones of Ozai’s phoenix armor, and the creators clearly went in another direction in terms of plot, but at least this graphic is there. It really is a thing.
7 Sefu Iroh
Fans are very lucky that the creators changed their minds on this. Uncle Iroh was one of the series’ most beloved characters, but he started out conceptually as a mentor character for Zuko. He was going to be called “Sifu” Iroh, which is a respectful term for the master, and although his character would be similar, the series would be completely different.
Zuko and Iroh’s relationship was basic symbol picture, was the most complex and embodied in the entire show. Sifu Iroh didn’t have the same ring, and Zuko wouldn’t have gotten where he ended up without his loving uncle. Needless to say, this was an important concept for change.
6 trumpets trumpets
Although Appa’s final design has become iconic and classic in its own right, the creators had a different view of its horns when they were first imagining the show. Konietzko in particular fought hard for this unfettered concept, as he loved the idea that the horns had coiled horns.
Fortunately, the animation would have been very complicated if you followed the initial design. They were forced to change it to the straighter version of the trumpets that aired, but everyone is better for her, because ABBA will never be the same.
5 herd of bison
Apparently, Konietzko and DiMartino had some disagreement when it came to this. Konietzko fought for Aang’s concept of grazing a group of bison along the sky, but, as Di Martino pointed out several times, there wouldn’t be any room to put them in every episode.
They eventually reduced it to a pair of heavenly bison, and then, of course, to just one. Konitzko agrees that the show is much better with the broadcast concept. Ang and Apa’s bond was a huge part of the chain, and there wasn’t that level of intimacy with a group of 20 or so animals, especially considering the strength and size of these animals symbol picture creatures.
4 little ponytail Zuko
Zuko’s character design went through many changes during the conceptual process. His story has always been the same, but his look took on a variety of iterations before his final design in “The Boy in the Iceberg”. The little ponytail was one of them.
The hairstyle makes more sense when paired with his outfit than a non-pilot, as it was meant to accompany the samurai-inspired design of his rudimentary wardrobe. However, in the end, the long ponytail fit more in the style of the series, and provided a more dynamic feel to the animation as it swung in the wind.
3 red spirit
In the art book, Konitzko explains that Zuko Blue Spirit’s alter ego was actually inspired by the Chinese Nuo mask he found, though he simplified the design for animation. And it was revealed that the blue spirit was not always blue. It was originally red.
This was a big shift from the final character design, but the creators have a pretty good explanation for the change. It was just too Zuko. Everything about him from his scar to his armor was some form of red, and they wanted it to be a huge surprise when it was revealed that Zuko saved Aang in the fan-favorite “Blue Soul” story. Blue had more contrast, and the creators agreed that changing the color was the best decision.
2 Momo 3
Momo was one of the first characters imagined by the creators, but his design couldn’t be more different from the final version that aired in “The Southern Air Temple.” symbol picture Originally a science fiction concept, Momo’s original name was fitting for the part, as it was affectionately called Momo 3.
Part robot, part cyclops ape, his design was much more whimsical and more mundane than his last cute lemur himself. He even had an arrow on his head, which Konitzko explained was eventually passed on to Ang, a completely departure from Momo that fans love today.
1 Designed by Aang’s Mecha
on condition symbol picture Designed as a “mica”-inspired show, it stands to reason that Aang’s initial design was more cluttered and tech-based. With an exotic metallic crew, massive boots, and robot-like gloves, it’s a huge shift from the more fanciful Asian style that’s come to characterize symbol picture Globalism.
The creators explain how Aang’s design naturally transformed with changes to their ideas about the series and more Miyazaki-inspired animation they wanted, which makes perfect sense. His final look became iconic for symbol pictureand this unconstrained concept is now foreign compared to the ultimate style of presentation.
Next: The 10 Most Serious Airbender Avatar Themes Ever Explored
The 10 most profound Star Trek quotes, according to Reddit
About the author