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Share All sharing options for: Author of The Rise of Kyoshi F.C. Yee wrote a new entry in the Avatar canon
The Last Airbender The Rise Of Kyoshi
, the latest entry in the Avatar: The Last Airbender canon, traces the origin story of the legendary Avatar Kyoshi. The story takes place over 300 years before the original timeline
Avatar, The Last Airbender Boxed Set: The Shadow Of Kyoshi / The Rise Of Kyoshi
Cartoon, providing not only the background of its main characters, but the history of the Avatar universe at large.
Tackling the story of Avatar is no easy feat. One of the most strenuous world-building efforts of the 21st century, the canon of the franchise runs deep: between two animated series (
) and numerous graphic novels, comic books, and animated shorts, there’s a lot of history to count. While previous avatars, including Kyoshi, have appeared in both series to give advice to their current incarnations, little is known about the lives of each.
Kyoshi’s origin story is somewhat unconventional: abandoned by her parents in the Earth Kingdom coastal town of Yokoya, she works as a servant on the Avatar estate under Jianzhu, the Earth Kingdom’s political mastermind, and Kelsang, an airbender, both former companions of Avatar Kuruk. However, neither of them know that Kyoshi is the Avatar, and instead believe that an Earthbender named Yun is the reincarnation of the current spirit.
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After Jianzhu (and Kyoshi) discovered Kyoshi’s true identity, she escaped with Rangi, a firebender sworn to protect the Avatar. In search of a bending master, Kyoshi falls in with the Flying Opera Company, a group of trash criminals with unique bending skills. Along the way, he learns more about his parents and picks up his signature look – battle suit, fan, face paint and so on.
, about incorporating a full novel’s information into the larger Avatar canon, adapting highly visual storytelling for the page, and tackling fan-favorite character origin stories.
F.C. Yee:I would say that for narrative constraints, surely everything has to make sense in the existing universe. [
Co-creator] Mike Dimartino was very helpful in creating balance and what made logical sense internally and where I could push those boundaries. So with certain things like what bending can do, what it can’t do — those are things that I think work well in balance in the existing universe, of course.
Rise Of Kyoshi / Shadow Of Kyoshi, Hobbies & Toys, Books & Magazines, Fiction & Non Fiction On Carousell
I would also say that the precedents that the show itself sets – pulling from the source material and drawing from the comics – are very important. They sort of send us boundaries that actually become quite free in terms of where we can take things creatively. For example, there’s a scene that I originally wrote and Mike commented on the draft, “You’re not really showing Kyoshi doing the moves here. And we’ve decided that he still needs to move to bend.” So I went back and rewrote it so that he was doing moves to support the plot itself. So that’s an example of the kind of interaction where the IP owner really helped me figure out what it was.
As for what’s scary about releasing more canon into the universe: anything I release as canon has to have internal logic. I am trying to understand that something is happening in world history.
As for the second part of your question about what’s scary about getting more canon into the universe: again, it’s related to the physical logistics of timelines and history and history as it’s made up of the show and the comics. It’s a very similar situation where anything I put as canon has to have some internal logic, which makes sense given the fact that everyone thinks, oh, we’ve seen the existing content.
It kind of tries to understand it in the story of a world where things can change from time to time – some things can stay the same and things that make sense can end up where they are at the time of the show.
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Given that Avatar previously existed primarily in the visual medium between the graphic novel and the two shows, what were the challenges of adapting the style of the series to a novel format?
The visual nature of the show is something I actually mention on occasions where I give talks about the story. It is a huge challenge to try to feel the kinetic energy that the performance has within the written pages. There is my personal theory: maybe a more skilled writer could do the impossible on this and try to explain every movement of every thing. It would be difficult to convey that spirit and action of the show across the board. So instead I see more moments that are easier to capture in a novel format, specifically those where the plot suddenly turns into a crown. I used some really good examples, one outside the Avatar universe and two within the Avatar universe.
I could try to capture everything that happened in the original show verbatim during, say, the part where Azula chases Aang all over Omashu – I love that because there’s so much going on in there. But what a novel captures so well narratively is the moment in the show where Zuko at the North Pole says to Katara, “Are you here for revenge?” And that Katara in this context – it’s night, they’re surrounded by water, Zuko is really tired – says, “Oh, trust me. there’s no revenge. And he drops it in a blow that the novel can describe and understand through the context because you can describe the events leading up to it.So, in my opinion, I lean more towards the kind of examples that the show gives.
It’s not easy to write every explosion or every time Thor swings his hammer. What would you say? “Thor strikes his hammer.” But the perfect novelization moment is the part where Hela asks Thor like, “What god are you again?” And then he flashed with lightning and the biggest lightning strike in the history of lightning strikes. That’s the kind of thing I feel I can capture in the text. So I’ve tried to include as much of it as I can and describe the action in terms of these defining moments rather than every blow and thrust.
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I like your initial conceit about Kyoshi being a hidden avatar. What’s your general approach to dealing with Kyoshi, especially considering he’s such a huge figure in the Avatar universe?
My approach is somehow dictated by the original conceit. There’s the essence of, like, “What if everything goes wrong?” For us, it’s Avatar, and like every other example of Avatar’s journey we’ve seen. What happens when things go awry and aren’t what anyone in the entire universe expects? It will be a great challenge and something very interesting to watch. It really fits how I interpret Kyoshi. We see it in [
] with a larger-than-life personality, but what exactly makes him that kind of person? It seems to fit the whole concept of things being pretty dire for him and the early Avatar on a personal and political level.
It really fits with how I interpret Kyoshi – even though we see her on shows given her larger than life personality, what exactly could make her that kind of person and it seems to fit into the whole concept of beautiful things. terrible for him and the early Avatar on a personal and political level.
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I think I’ve mentioned elsewhere that I’ve tried to make it feel like history. And if you read, if you dive deep into history during times of crisis, you get the feeling of, “My God, how did people survive to get to where we are?” That kind of desperation is something I’ve tried to capture in this book and hopefully it leads to an internalized skill where people can move past it, see Kyoshi’s struggle and realize that it makes sense why he is the way we see him. an adult.
I reread the end of the novel today and there’s a bit towards the end where he talks about implementing some of Jianzhu’s trademark attitudes. He’s not necessarily a fan, but it gets the job done. It feels like a nod to me
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