- Granted, magis arguably more earth than it is fire, but then again, where there is lava, there is certainly fire, and it's plausible to believe that the Firebenders are more powerful than the Earthbenders, so their control over the substance would be more powerful as well.
- Considering earthbenders are apparently very, very stupid, based on the prison camp, it doesn't seem like the Fire Nation would need anything more than pointy sticks to conquer them.
- Alternately, both the cartoon and the movie are adaptations of the real in-universe events produced many years later, as Liberty's Kids and 1776 come at the same time period and feature many of the same characters. (I would prefer closer analogs, but haven't found them yet.
- After season 4 of Korra, this becomes significantly more plausible. Since the opening of the spirit portals, the ecosystems from the spirit world and human world start to compete. Spirits - both plant and animal - are generally more intelligent and more powerful than most animals, so in time they take over the human world ecosystem, resulting in the weird glowing animals and the huge jungles reminiscent of the Republic City vines. Both the Avatar and Last Airbender planets have a huge "spirit tree" connecting all life. Unobtainium is either spirit world weirdness, or rocks somehow imbued with Guru Laghima's weightlessness. The avatar cycle was broken, and the human population has died out because the ecosystem turned too hostile for them to handle, because they lost a war against sapient spirits (confirmed to exist, via Wan's story), or some other reason, and that's why nobody is using bending. Completely independently from that, humans evolved on the nearby actual planet Earth as well (which lacks spirits, and therefore bending), and traveled to the Avatar world for the precious unobtainium.
- That doesn't quite explain The Legend of Korra, though, which was successful despite also dropping "Avatar" from the title.
- You are awesome, good sir/madam.
- It's more possible evidence with racism and a side of Misplaced Nationalism.
- The characterization of Sokka in the film seems closer to his original characterization in the cartoon's test-pilot, rather than what we got in the official cartoon series.
Before society was established, however, a portal from another dimension suddenly appeared and interdimensional aliens came out of it. Being much more advanced and incomprehensible, humanity fell to these aliens and their technology and intelligence was wiped out, sending them to the Stone Age. The aliens realized their mistakes and decided to look into humanity's past and try to recreate their world as it was back then. However, before the process was complete, they succumbed to the incompatible natures of the reality they were residing in and altogether collapsed into four massive interdimensional-spliced, barely sentient tortoises. They became the landmasses of the modified planet Earth, which the modified (and incomplete) humans have come to live on and procreate. From these tortoises came a colorless, odorless, and tasteless gas that filled the planet and reacts with the tampered DNA of some of the humans that allowed them to control the elements, among other abilities. Humanity has created entire religions and cultures around these miracles, thriving off of their advantages.
And thus sets forth the plot for this movie.
It's a satire of a future Varrick Mover.
You see, M. Night Shyamalan is a Time Lord, and as such he was able to see the future of Varri Movers before we knew movers even existed. Theres a catch though: the mover was based on a remake of the classic Ember Island Players production The Boy in the Iceberg, which flopped in the box office due to its poor quality, just like its real world counterpart. So when Shyamalan was saying that the movie was actually good, he quite literally meant it because he was staying true to, and satirizing a mover adaptation of the Ember Island Players The Boy in the Iceberg.
In Book 2 of The Legend of Korra, Bolin became a mover star when he played with his role in the Nuktuk movers. Like in the ATLA adaptation, our protagonist was miscast. Instead of being played by someone that looked like they were of Southern Water Tribe descent, or instead of actually getting a waterbender to play Nuktuk, Varrick placed Bolin in that role and hired some waterbenders to compensate for Bolins inability to waterbend. Although we do see some light-skinned waterbenders in Nuktuk, with some dark- and light-skinned Northern Water Tribe guardsas well, they were most likely from Republic City and not actual natives of the Water Tribes. In-universe, the debate over Varricks casting decisions are discussed in such film history lectures as Was Nuktuk Racist? National Representation in Movers, and A History of Early Movers.
Fast forward to what in-universe would correspond to our modern times. Varri Movers is now the biggest movie production company in the avatarverse. A young aspiring director, who we will call Lee, travels to Republic City and pitches a new mover to the heads of Varri Movers by the name of The Boy in the Iceberg, based off a classic play by the same name. Varri Movers agree to this proposal, and grant Lee $150 million yuans to make what they think will be the mover of the year
But it flops for almost the exact same reasons its real-world counterpart did. Although the effects were decent as one reviewer put it, the mover was heavily criticized for its terrible writing, its awful casting choices, and its terrible costume design.
Our Time Lord, Shyamalan, instead of actually creating a film adaptation of the show took this future mover and decided to make a movie adaptation of that mover instead which satirized the reasons for its failure tenfold. To properly satirize it, Shyamalan knew that he had to exaggerate every single criticism of the mover. As a result, the actors were even more miscast, the amount of exposition in the film was increased, and the writing remained pretty terrible (most of the bad writing was Shyamalans fault though; lets give some guy some credit at least).
BUT THATS NOT ALL! You see, two other big criticisms of The Boy in the Iceberg was that it made a mockery of traditional bending forms and that it only counted one firebender among its cast: the guy playing Irohthe only person in the entire movie/mover who can create his own fire.
In response to the claim that he was mocking traditional bending forms, Lee claimed that the bending forms were quite accurate even though he was quickly proven wrong by several masters and White Lotus members. Unfortunately, the director persisted in his claims regarding bending accuracy.
Although Lee remained silent ion the issue of firebender casting, one popular theory was that the director was secretly an Ozai apologist who wanted to subtly feed his propaganda into the face of the public. This is why we see the earthbenderr prison surrounded by rockLee wanted to demonstrate the stupidity of earthbenders who had to be saved by their savior the avatar. Some also point to this remark made by lee in an interview following the movers first showing If Nuktuk was allowed to get away with having a non-waterbender playing a waterbending protagonist, why cant I?
Also of note was the alteration of Aangs motives. By saying that Aang ran away because the avatar cant have a family, it was said by some critics that Lee was trying to attack Aang by making him look like a hypocrite and a coward who ran away and ended up raising a family even though his avatar status would have prevented him from accomplishing this. Of course, avatar scholars quickly pointed out that the avatar could raise a family as demonstrated by avatars Kyoshi and Roku. But revisionists persisted anyway, pointing to sketchy revisionist history books like The Untold History of the Avatars, and The Wounded Dragon which tend to claim Avatar Aang was an aggressor and a coward who victimized the Fire Nation until the day he died with the help of Firelord Zuko who is still seen in a few small circles as a usu
The mover, like its real world counterpart, was also said to downplay Avatar Aangs struggle by claiming that the avatar was unable to kill his adversary. Although avatar scholars were again quick to point out this inaccuracy, some less knowledgeable individuals pointed out the fact that Avatar Aang never actually ended up killing Ozai. But here again historians pointed out how plenty of avatars ended up killing people, suggesting instead that Aangs reluctance to kill the Firelord was due to a conflict between his Air Nomad upbringing and his avatar duties. Unfortunately, this didn't stop people from pointing to less pacist Nomads like Zaheer and others who although they were airbenders, were not originally air nomads prior to Harmonic Convergence in an attempt to claim that the avatar himself was unable to kill.
As a result of the movers terribleness, Shyamalan decided that the mover warranted a real-world satire, which eventually manifested itself as The Last Airbender.
Bonus: Seychelle Gabriel was hired to play Yue because M Night Shyamalan knew that she was to meet Bryke so that she could eventually voice Asami.—-