Share all sharing options for: The Rise of Kioshi by F.C. It’s about writing a new entry in the Avatar canon
Avatar The Last Airbender Kyoshi Books In Order
, the latest entry in the Canon Avatar: The Last Airbender , following the origin story of the legendary Avatar Kyoshi. The story takes place more than 300 years before the original timeline
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Cartoon, and describes not only the background of its main characters, but also the history of the Avatar universe as a whole.
Solving the story of Avatar is no easy feat. One of the most difficult undertakings of the 21st century, the franchise’s canon runs deep: between two animated series (
) and tons of graphic novels, comics, and animated shorts, there’s a lot of history to rely on. While previous Avatars, including Kyoshi, have appeared in both series to give advice on their current incarnations, little is known about their individual lives.
Kyoshi’s origin story is somewhat unconventional: abandoned by her parents in the Earth Kingdom coastal city of Yokoya, she works as a servant on the Avatar’s estate under Janju, the political master of the Earth Kingdom, and Kelsang, a sky witch , both former followers. of Avatar Kuruk. However, no one knows that Kyoshi is the Avatar, and instead believes that the current reincarnation of the spirit is an Earthbender named Yun.
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After Jianzhu (and Kyoshi) discovers Kyoshi’s true identity, she escapes with Rangi, a fire votary sworn to protect the Avatar. While searching for bending masters, Kyoshi ventures into the Flying Opera, a group of criminals with unique bending skills. Along the way, she learns more about her parents and picks up her signature look—battle gear, fans, face paint, and all.
, for inserting complete novel information into the wider Avatar canon, adapting a highly visual story for the page, and solving the origin story of a fan-favorite character.
F.C. Yee: I would say, for narrative constraints, everything definitely has to make sense within the current universe. [
Co-creator] Mike DiMartino was very helpful in striking a balance between what made internal logical sense and where we could push the boundaries of that. So with certain things like what bending can do, what it can’t do – those are things that I’ve just done well within the balance in the current universe, obviously.
The Rise Of Kyoshi, Volume 1 (avatar The Last Airbender: The Kyoshi Novels) By F. C. (author) Yee
I would also say that the precedents set by the shows themselves — relying on source material and drawing on the comics — are really important. They kind of sent us constraints that were actually quite freeing in terms of where we could find things creatively. For example, there’s this scene that I originally wrote and Mike said on the draft, “You’re not really showing Kyoshi moving here. And we found that she still needed to move to bend.” So I went back and rewrote it so that she was making a motion to support actual actions. So that’s an example of the kind of interaction where my property owners intellectual helped me a lot to find out what they are.
As for what was scary about putting more canon in the universe: whatever I put as canon had to have an internal logic. I was trying to make things happen imaginatively in world history.
As for the second part of your question about what was scary about throwing more canon into the universe: again, it was like the physical logistics of the timeline, the lore, and the history as established by the shows and the comics. It was a very similar situation where everything I put as canon had to have an internal logic, which makes sense given the fact that it was all supposed to appeal to people, oh, we saw in the current content.
It was an attempt to make it happen in a world history where there could be changes over time – some things could stay the same and things could probably end up where they are at the time of the show.
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Given that Avatar previously existed mainly in the visual medium between the graphic novels and the two shows, what were some of the challenges of adapting the style of the series to the novel format?
The visual nature of the show is something I’ve really called out in places where I’ve talked about the story. It was a big challenge trying to get that sense of kinetic energy that the show has on the written page. There’s my own personal theory: maybe a more skilled writer could have done the impossible on this one and tried to describe every single stroke of everything. It would be difficult to get that liveliness and excitement from the show over the page. Instead, I looked for more moments that were easier to capture in the new format, especially when the plot suddenly turns on a dime. I rely on a few very good examples, one outside the Avatar universe and two inside the Avatar universe.
I could try to capture everything that happens in the original show word for word during, say, the part where Azula is chasing Aang through Omaha – I just like it because there’s a lot going on there. However, narratively what the novel can capture very well is the moment in the show where Zuko at the North Pole says to Katara, “Are you here for rematch?” and that Katara, in this context – it’s night, they’re surrounded by water, Zuko is really tired – says: “Oh, trust me.” it won’t be much of a rematch.” And she drops it in one shot that a novel can describe and reach through context because you can describe the events that led up to that. So, I would say that I lean more towards that kind of example that the show offers.
It would not be easy to describe every strike or every time Thor swings his hammer. what will you say “Thor swings his hammer.” But the perfect moment of the novel is the part where Hela asks Thor like, “What are you a god again?” And then it lights up with lightning and the biggest lightning bolt in history. That’s the kind of thing I felt I could capture in the text. So I tried to include as many of them as possible and describe the action in terms of those key moments rather than every punch and stab thrown in.
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I like your initial idea that Kyoshi is the hidden Avatar. What was your general approach to taking on Kyoshi, especially since she’s such a larger-than-life figure in the Avatar universe?
My attitude was, in a way, shaped by that original idea. There’s an essence, like, “What if everything goes wrong?” As far as we know, it’s the Avatar, and like the examples we’ve seen of the Avatar’s journey. What happens if everything goes wrong and not the way anyone in the entire universe expects? That would be a hell of a challenge and something that would be really interesting to see. It really matched the way I interpreted Kyoshi. See her in [
] with a larger than life personality, but what exactly could have caused her to become such a person? It seemed to fit the whole concept that things were pretty dire for her and her early Avatar, both on a personal and political level.
It really fit the way I interpreted Kyoshi – even though we see her in the shows with her larger than life personality, what exactly could have caused her to become that person and it seemed to to go along with that whole concept of things being awfully beautiful for her and her early Avatar, on a personal and political level.
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I think I mentioned elsewhere that I tried to make it feel a bit like history. And if you read, if you dive deep into history in times of crisis, you get the sense of, “Oh my God, how did people pull themselves together to get where we are? ” That kind of desperation on the edge is something I tried to capture in the book and hopefully it will lead to those inner skills where people can go through it, see Kyoshi’s struggles, and understand that it makes sense why she is’ the way we see her as an adult.
I was re-reading the end of the novel today and there is a bit near the end where she talks about calling on some of Jianzhu’s trademark. She wasn’t necessarily a fan, but it got the job done. That seemed like a nod to me
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