For this special anniversary reunion, we're joined by members of the creative team behind the series to revisit how KaBlam! got its start and hear the stories that happened behind the scenes.
From the original concept for Henry and June (which almost involved a laundromat!) to the unconventional animation techniques behind Life with Loopy, there's plenty to unpack. We also get the story behind Prometheus and Bob's found-footage format, the wonderfully destructive world of Action League Now!, the show's unforgettable music, and why some of its most beloved segments never got the chance to become full-fledged series.
Plus, we hear about a certain chicken belonging to Neil Young, the show's surprising connection to Burger King toys, the campaign to bring KaBlam! back for another season, and what it was like working on such an unconventional show during Nickelodeon's golden age.
And stick around for our KaBlam!-themed This or That segment!
Whether you grew up watching Henry and June turn the pages or spent your afternoons cheering on the Action League, this is a celebration of the people, creativity, and wonderfully weird ideas that made KaBlam! special.
Be sure to check out Mark Cooper's The Orange Tape to check out his song on KaBlam as well as a send up to Nickelodeon's History:
💬 QUESTION FOR YOU: If you could create your own short for KaBlam!, what would it be about, and what animation style would you use? Tell us in the comments!
Animation fans can measure their viewing habits against the most popular titles with the help of the new Nielsen animation TV & streaming report, “Drawn to Watch: Animation’s Hit Makers,” released timed to International Animation Day (October 28). From Bikini Bottom to Quahog, the survey reveals what folks watched in the 2025-26 season across broadcast and streaming (which accounted for 58% of the minutes viewed for the 15 most-watched series), and the creative voices and characters that draw them back again and again.
Nielsen's special Animation Day 2026 report shows the most-watched toons include 'SpongeBob SquarePants,' 'Family Guy,' 'South Park,' 'Bob's Burgers' and 'Bluey' | Composite by Animation Magazine.
Per the report, the 15 most-watched animated series are:
Seth MacFarlane emerged as the most-watched animation creator, with 92.7 billion minutes combined across Family Guy, American Dad! and The Cleveland Show. These adult comedy titles are chased up by kids’ (and kids at hearts’) favorites from Stephen Hillenburg, whose SpongeBob SquarePants and its spinoffs remain a swimming success with 73B minutes. Nipping at SpongeBob’s heels is Australian hit Bluey, securing the No. 3 creator’s spot for Joe Brumm with 71.5B minutes.
The output of these three creatives collectively logged 237.2B minutes watched over the 2025-26 TV season, more than the next five creators on the list combined (202.1 billion). Among the 15 most-watched animated series, 44% of all minutes came from the “big three’s” shows. Nielsen’s list also includes Keith Chapman (PAW Patrol), Trey Parker & Matt Stone (South Park), Matt Groening (The Simpsons, Futurama), Loren Bouchard (Bob’s Burgers) and Chris & Shane Houghton (Big City Greens).
Classic franchises touched by many creative hands also remained strong, with Mickey Mouse titles racking up 30.7B minutes viewed. Hanna-Barbera classics like The Flintstones (18.5B min.), Looney Tunes (16.3B min.) and Scooby-Doo (16B min.) also performed exceptionally well across their catalogs.
When it comes to generational preferences, Kids 2-17 account for 29% of the minutes watched for the Top 15 shows, viewers 18-34 for 28%, viewers 35-49 for 23% and viewers 50+ for 20%. On linear TV (broadcast and cable), viewers 50+ drive 36% of the Top 15’s minutes. On streaming, kids (34%) and viewers 18-34 (35%) drove the numbers, with the 50+ accounting for just 9% of minutes watched across these toons.
Per the study, Peppa Pig leans youngest, with kids making up 59% of its minutes — adults account for the other 41%. Bluey splits almost exactly in half, at 51% kids and 49% adults, including 14% from viewers 50+, signally strong co-viewing appeal for these shows. South Park is the oldest-skewing show in the Top 15, drawing 42.3% of its minutes from viewers 50+ and kids viewing just 5% of its minutes (time to check those parental controls…). And The Simpsons is the most evenly balanced, with every age group between 17% and 34%. SpongeBob, launched as a kids’ show in 1999, gets 47.9% of its minutes from adults 18-49 today.
Among the many exciting panels planned for this year’s LightBox Expo in Pasadena, California next month is a special look a the beautiful art created for Paramount’s critically-acclaimed new feature Avatar Aang: The Last Airbender, which premiered on Paramount+ in late July. “The Art of Avatar Aang: The Last Airbender” panel will take place 4-5 p.m. on Sunday, October 25 in the Civic Auditorium, and Animation Magazine has revealed that the discussion will be followed by a special screening of the movie as a thrilling conclusion to LBX.
Avatar Aang: The Last Airbender - Animation Magazine exclusive production art [c/o Paramount]
Featuring art director Aaron Loftis, production designer Jake Panian and VFX supervisor Jerry Huynh, this inspiring hour will delve into the process for crafting the unique 2D/3D style for the movie, breaking down the visual pillars for the films art style, early explorations and paintings all the way through the production art and the cinematic compositing style of the movie.
Animation Magazine was fortunate enough to get a special exclusive sneak peek at the panel from the very talented Aaron Loftis, whose credits include My Dad the Bounty Hunter and Trollhunters: Rise of the Titans:
Animation Magazine: Congrats on delivering the beautiful Avatar Aang: The Last Airbender movie. We are very excited about your special LightBox panel. Can you tell us a bit more about what you’ll be unveiling at the event?
Aaron Loftis: We are very excited about our talk at LightBox, where our production designer Jake Panian and visual effects supervisor Jerry Huynh are going to be discussing the art of the movie. We will have whole section dedicated to early development of the art and the look of the movie. We’ll talk about how Jake worked with creators of the show Bryan Konietzko and Michael Dante DiMartino and director Lauren Montgomery to come up with what ended up with the final look of the film.
That is going to be transition into my section, which will be mainly geared toward how we implemented all of those findings and direction into actual production, focusing on how we put in place things that I did and how we worked with our team to get the actual visuals that we hoped to be on the screen.
Then, our VFX supervisor will talk about the massive compositing undertaking that they had to do where they had to take all of those rules and goals that we had for everything and put it all together at the very end like the bow on top.
So, the presentation will feature a nice range for people to see how things go when it’s just you and the director trying to swim around and find the answers to these questions, and how to get everyone to do it and how it all came together. A nice full circle from start to finish of how the team worked together to realize the visual goals for the movie.
Can you tell us about the visuals that you plan to share at your panel?
We have all these incredible early paintings that show the range of the visuals created for the movie. Our production designer Jake sat with the creators of the show and showed them something like 200 images early on. So, he has a really nice chronology of those images and how he got to the final versions for the movie. I think it’ll be cool for people to see the ones that didn’t make it as well as seeing just how granular we had to get as we went on to build this world. I think it will be interesting to learn about all the problems and challenges regarding the art and also about the story and how we had to be faithful to both the original shows.
Hopefully we will offer more insights as to the amount of work that went into this work, which audiences get to see only 85 minutes on the screen — but there are thousands of images that did or didn’t get used eventually.
Just looking back at the whole experience of working on this movie, what made it special for you?
In terms of the big animation landscape, seeing a 2D animated film being made at that scale and quality was very exciting to me, especially as someone who grew up during the Disney Renaissance of the ’90s and also is huge love or anime as well. After witnessing 30 years of CG animation, to see that this skill is still respected, loved and celebrated was really exciting.
This opportunity gave me everything and more than I could have ever hoped for because I got to work on something that people love and cherish. I didn’t even understand the full extent of how much people really love this show and franchise before. I’ll never be able to thank the people that gave me the opportunity enough; and how wonderful they were to give me space to grow and to make this amazing movie together.
I recall meeting Jake when I just 23 years old, and asked him to look at my work and hoped that one day I’ll be able to work in animation too. So, it was one of those opportunities that won’t come around again.
So, you mentioned meeting Jake who was one of your heroes. I’m sure many of your fans will be excited to meet you at LightBox. Can you talk about the importance of events like this for the community?
I think all of us work so hard, and we’re so used to creating on our own and feeling maybe … not necessarily isolated, but just very heads down, doing the thing that we love most. But when we’re all able to lift our heads up from our computers and go spend some time with all these amazing people that we looked up to — just enjoy being around, maybe commiserating and talking about the things that we all love together.
LightBox is one of those events that are so special not only for the people that already work in animation, but also for people that are aspiring to do it to make those connections. I remember meeting our production designer Jake Panian more than a decade ago and then getting to work with him was very special.
I also recently got to do a talk at Disney about our movie, and it was a full circle moment for me. When I first came to L.A. 14 years ago for a convention, I had a picture taken of me in front of Disney Animation. So, I got to recreate that same photo as I had arrived at the other side of the kid’s dream. I wanted to be part of this community, and with all the hard work, it was nice that I was able to do that.
I am sure like everyone else working in animation, you have your own thoughts and perspectives about the future of the medium and new technologies.
As for the broader animation landscape, I am genuinely excited about where we are heading. Major studios are competing to elevate visuals and storytelling across the board in an “iron sharpens iron” kind of way. At the same time, an independent wave of animation projects is gaining real steam and support online. Seeing success thrive outside the traditional studio system is just as thrilling to me.
When it comes to AI and its impact on our work in animation, there are many unknowns. One positive takeaway is how aligned the artist community is against generative AI and its implementation in our work. I can only control what is directly in front of me, so on the projects I lead and contribute to, I am doing my part to make sure my stance against using it is known.
Why do you think fans have embraced the new Avatar Aang movie? As an art director, what made it special for you?
I think one of the things that was interesting to me is that I was working with our production designer [Jake Panian] — he is a true powerhouse of an artist. He had this quality bar that was set so high. What was exciting to me is that I wanted to match that and I wanted to inspire myself to reach those levels of quality and have it reflect across the board in the entire movie, through all the hundreds of shots.
We were trying to help inspire people all across the world who worked on this movie with us. We all wanted to push our craft forward to make something we’re all going to be really proud of. I think the art was really inspiring to me, and we all wanted to put something really cool on the big screen.
In terms of mixing 2D and CG, we had to come up with an interesting process. A lot of the time those two processes don’t necessarily gel well together. In a CG animated film, you can light the CG set and move the camera, and move the characters or tweak them a bit. But in 2D animation, you have decide what the shot is going to be early on and commit to that because the character layout has to be correct, the camera layout has to be correct; and you can’t move the camera, because then you’d have a whole different shot and the perspectives won’t line up of.
So, the processes that we learned for getting it right took time, and we had to kind of unearth some of those old tricks from back in the day that we had maybe forgotten about, and we had to make this all those pieces come together. But that challenge was exciting for all of us because we all love 2D so much.
I’m immensely thankful for Paramount for the opportunity and the whole creative team. Flying Bark in Australia absolutely put their flag in as one of the elite animation studios in the world after this film. I think not only did all the teams I got to interact with did an incredible job in terms of CG layouts, background paint and background layout, the 2D animators were also absolutely world class and they deserve that credit. Korea’s Studio Mir and Studio Ppuri also came on board and gave everything they had to make sure the film got across the finish line. We were lucky to meet them and work with them, and they did an incredible job as well, and we’re immensely grateful for everything that they gave to us.
LightBox Expo will take place October 23-25 at the Pasadena Convention Center. “The Art of Avatar Aang: The Last Airbender” panel and film screening are scheduled for Sunday, Oct. 25. Visit lightboxexpo.com for more information.
Avatar Aang: The Last Airbender is now streaming on Paramount+. The movie will be released on DVD/Blu-ray on Nov. 3 and on 4K UHD SteelBook on Feb. 9.
Update (10/28): The "Confronting Tagah" scene in Avatar Aang: The Last Airbender by Aaron Loftis won the Color Keys award in the "Animation Feature Film" category at the 2026 Concept Art Awards, presented by the Concept Art Association!
Confronting Tagah – Avatar Aang: The Last Airbender (Paramount Animation) by Aaron Loftis – Paramount Animation
Update (10/23) - Nickelodeon has renewed The Loud House for season 12! The series received a last-minute renewal, Jessica Borutski, the show’s head director since Season 4, confirmed on a recent podcast [watch here].
However, season 12 (technically season 10) will bring about some big changes to the show, production wise. Production has now moved from the U.S. to Canada, with the entire production crew replaced while the voice cast remains.
Update (2/13) - Nickelodeon has confirmed to us that The Loud House has NOT been canceled!
The Loud House staff writer Kevin Sullivan also confirmed the news in a post on Facebook, saying:
Thanks to all my friends who reached out over my last post regarding me leaving Nickelodeon. Just to clarify: I didn't quit, and Loud House has not been canceled. We're still waiting for word on a possible season ten, but in the meantime, season nine is done and despite my best efforts I wasn't able to convince the execs at Nick to pay me to sit around and do nothing. Drat drat drat. Hopefully there will be good news to report soon.
The Loud House debuted on Nickelodeon in May 2016 and centers on 11-year-old Lincoln Loud and his ten sisters as he gives an inside look at what it takes to survive the chaos of a huge family.
The news follows the recent announcement that The Loud House had been renewed for season 11, which will be comprised of the episodes originally produced to be part of the second halve of season nine. In 2024, Nickelodeon started to to split seasons into two to keep their sizes more consistent with the season lengths currently consumed on streaming services where all shows ultimately get added.
About The Loud House:
Ever wonder what it’s like having a big family? Well, in The Loud House, 11-year-old Lincoln Loud gives viewers an inside look at what it takes to survive in the chaos of a huge household, especially as the only boy with 10 sisters - Lori, Leni, Luna, Luan, Lynn, Lucy, Lola, Lana, Lily, and Lisa! The trick to surviving is to remain calm, cool, and collected. But most importantly for Lincoln, you’ve got to have a plan. With all the chaos, and craziness, one thing is always for sure: there is never a dull moment in the Loud house.
As one of the longest-running animated series on Nickelodeon, the property also has been translated into a comic book series, which continues to roll out new stories, chapter books, a digital album, and a podcast, Listen Out Loud, along with companion series The Casagrandes and multiple movies. The series is executive produced by Michael Rubiner. Kyle Marshall serves as co-executive producer, and Ashley Kliment-Baker is the art director.
Getting a Character Named After You in Avatar: Seven Havens | Braving the Elements S5 Ep 8 | Avatar Legends
How did the father of the Avatars get his name? Studio coordinator at Avatar Studios Pramodh Manian has all the answers about Avatar: Seven Havens. He's been hard at work on various Avatar projects for years and now he's finally able to start talking about them with us! And don't miss our chat with the inspiring and hilarious Anjali Bhimani, the voice of Tala as well as more Seven Havens characters to come on our special Korraspondence segment! This is Seven Havens Episode 6: Night of the Afflicted!
Avatar: Seven Havens is an all-new series from creators Michael Dante DiMartino and Bryan Konietzko. Set in a world shattered by a devastating cataclysm, a young Earthbender discovers she's the new Avatar after Korra. In this dangerous era, that title marks her as humanity's destroyer, not its savior. Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization’s last strongholds collapse.
Meet the Secret Member of the White Lotus in Avatar: Seven Havens | Braving the Elements | Avatar Legends
You may know Darren Barnet as Paxton Hall-Yoshida on Never Have I Ever, Dr. John Frost on Chicago Med, or Taigen on Blue Eye Samurai. But did you know he is now the voice of Daemin the waterbender on Seven Havens? We talk to Darren Barnet about how there's more to this character than meets the eye...
Twenty-five years ago, I created a blue octopus named Oswald. The animated series Oswald premiered on Nickelodeon in 2001 and ran through 2003. I had no idea I’d still be talking about him in 2026.
I’m not someone who tends to rest on my laurels or look back much at my career. I’m usually thinking about what I’m working on now and what I want to do next. Like any creator, I love hearing from people who have connected with my work. But over the past two years, the messages I’ve received about Oswald have a recurring thread. The original fans, now adults, aren’t simply telling me they remember the series fondly. Again and again, they talk about returning to it for comfort. Some use the words “regulate my nervous system.” Others remember Oswald as a place where they could relax and feel safe. Some are now showing it to their own children, while new fans are discovering it for the first time.
Dan Yaccarino [ph: Boris]
I’m overcome with happiness when someone tells me that something I created gave them comfort or helped teach them empathy. But all these messages have also made me wonder: Why now? Why is a quiet animated series made a quarter-century ago connecting with people again at this particular moment?
I don’t know that I have the answer, but I understand that children are growing up in a world that asks for their attention constantly. Parents see it in their children because they’re feeling it themselves. We’re all overstimulated, and there seems to be a pushback from people who want to slow down and enjoy life again. You can see it in the renewed interest in vinyl records, film cameras and printed books. I don’t think people are rejecting technology. I think we may be questioning what we gave up in the rush toward faster, newer and more.
That makes the resurgence of Oswald particularly interesting to me because people are often rediscovering him through the very technology that didn’t exist when I created him. The series wasn’t designed around engagement or retention or an algorithm. We were trying to make a world children would want to spend time in. There is a difference between temporarily capturing someone’s attention versus creating something they want to return to, and that distinction matters to me.
Oswald [Nickelodeon]
When we were making Oswald, I wanted to create a different kind of animated series. I wanted it to be slow-paced, a little surreal and whimsical, but also sweet and kind. That was partly my intention and partly just who Oswald was. He was thoughtful and sometimes unsure of himself. He cared about his friends. His world was populated by disparate characters who lived together regardless of their differences. There were no villains or bad guys. The focus was much more on relationships and the underlying emotional story than on action or, in some cases, even plot. The overwhelming energy I wanted the series to have was safety, peace and kindness. We weren’t trying to make what we would now call “low-stim” television. I don’t remember anyone using that term. It was simply the kind of experience I wanted children to have when they entered Oswald’s world.
A lot of other decisions came from that same instinct. I wanted the series to feel timeless, so I kept technology out of Oswald’s world as much as I could. We chose the right voice actors for the characters, and were fortunate to have an extraordinary cast. We recorded the music with real instruments because I thought that had value, and because for some children it might be one of the few places they would hear them. I pushed for the characters to be drawn without black outlines because that reflected my illustration style and made the show feel different. I wanted Oswald’s Big City to exist in its own universe.
For years, some of those choices could have seemed old-fashioned: the slower pace, real instruments, an emphasis on emotional stories and relationships, a world without much technology. Now I hear terms like “low-stim” used to describe some of those same qualities. Maybe the lesson isn’t that everything old eventually becomes new again. Maybe it’s that certain human needs never went away.
I Am Murphy and I Am Waiting
As a creator, all of this makes me interested in what comes next. How do you create an emotional experience within today’s platforms? The original 11-minute format worked well for Oswald, but I’m intrigued by other formats too. A shorter story could allow me to concentrate on a smaller action, relationship or emotional idea. I’m interested in what new technology makes possible as a tool that can give creators new ways to reach an audience. The challenge is knowing what should change and what shouldn’t. A story can be shorter without becoming frantic. The platform can change without changing the character.
That question feels especially relevant with my current work. My characters and worlds always begin in books, where there is time to slow down, build a world and let a character reveal itself. I Am Murphy and I Am Waiting, my new picture book, is about a French bulldog waiting, not very patiently, for his boy to come home from school. It’s funny, but underneath the humor is a story about separation, big feelings and love. This fall also brought Piccolo and the Chicks, the second book featuring a little Italian shrew named Piccolo and the animal friends of Bella Città. The interest I’m starting to see from studios in these newer characters and worlds, along with the response I’m getting directly from readers, has me thinking about exciting new ways a world can grow.
These books are different from Oswald, but seeing this new work alongside the resurgence of interest in the series has helped me recognize a thread running through my work. I create characters with empathy at their center and worlds I hope children will want to return to. I want those worlds to be funny and visually distinctive, but I also want children to feel safe there. That was true then. It’s true now.
Piccolo and the Chicks spread
I feel a massive sense of responsibility when I create books or television for children because we carry these early impressions for the rest of our lives. I believe children’s content is the most important content we create, and it has to be the best work I can make. We also shouldn’t underestimate our audience. Children are far more sensitive and intelligent than I think they’re sometimes given credit for.
If a young creator asked me how to create a character that audiences might still care about 25 years from now, I’d tell them to begin with what they needed as a child. Somewhere inside that answer is the emotional truth of the character. If you’ve lived it, you know it intimately, and that knowledge can become empathy on the page or screen.
The screens will keep changing, and I’m excited to see what comes next, but I don’t think the things children need from us have changed very much. The primary message behind all of my work has always been peace, kindness and love. It’s pretty simple.
Nickelodeon
Dan Yaccarino is a children’s book author and illustrator, and the creator and producer of several animated series based on his books — including Oswald (Nickelodeon), Doug Unplugs (Apple TV), Willa’s Wild Life (NBC & Qubo) and was the character designer behind The Backyardigans (Nickelodeon). His work has been recognized by the Bologna Ragazzi, New York Times 10 Best Illustrated books list, Parents Choice Award and ALA Notable Children’s Books. See more of his work at danyaccarino.com.
Oswald Creator Dan Yaccarino Pens Heartfelt Response to Fan’s Essay About the Comfort the Series Brought Her as an Adult
Though short-lived, ‘Oswald’ was a beloved Nick Jr. fixture
NEED TO KNOW
Oswald aired on Nickelodeon from Aug. 2001 to Sept. 2003
The animated preschool series was a peaceful way for kids to explore and though it aired for just 26 episodes, it had a significant following
Creator Dan Yaccarino has recently spoken out about what it means to him to hear from fans who are all grown up about how the show still impacts them, over two decades later
Oswald is still touching the hearts of its viewers, over 20 years later.
The animated children’s series, which aired on Nickelodeon from Aug. 2001 to Sept. 2003, followed a blue octopus named Oswald and his dog, Weenie, as they spent time and learned with friends in Big City. Fred Savage voiced the titular character, with the cast also including David L. Lander, Laraine Newman, Richard Kind, and more.
Creator Dan Yaccarino addressed Oswald fans in a recent post, sharing a Substack essay by an author named Shamika G., who opened up about rediscovering the show as an adult. In his Instagram post, Yaccarino praised Shamika’s discussion of how the show still feels like safety, all these years later.
“I created Oswald to be a gentle, kind, and comforting show for children. I never imagined that, years later, it might still be bringing that same sense of comfort to people who have grown up and become adults. This beautiful Substack essay by Shamika G. explores how returning to Oswald as an adult helped calm her nervous system and reconnect her with the feeling of a simpler time,” Yaccarino wrote.
“As a creator, there is no greater compliment than knowing something you made has stayed with someone... and can still bring them a little peace years later,” he continued, concluding, “Thank you, Shamika, for sharing this. It means more than you know.”
In June, Yaccarino shared his gratitude for the love around Oswald after a ranking video where Dr. Arif Khan celebrated the show’s emotional intelligence and what it provided young viewers.
“As a creator, you never really know what kind of impact your work will have on people. So it was incredibly gratifying to come across Dr. Arif Khan’s thoughtful video praising Oswald, and highlighting its gentle storytelling, kindness, empathy, and positive messages,” Yaccarino wrote.
“When I created Oswald, my goal wasn’t simply to entertain children; it was to create a world where compassion, friendship, patience, and understanding were at the heart of every story,” he continued. “It’s wonderful to see those qualities still being recognized and appreciated years later. Thank you, Dr. Khan, for your kind words and for reminding me why creating Oswald was such a special experience.”
Oswald has the unique distinction of also bringing one of Hollywood’s most beloved duos back together on one project. Lander, who voiced Henry the penguin on the show, was reunited with his Laverne & Shirley costar Michael McKean, who voiced Maestro Bingo Bunny, as well as Henry the penguin’s cousin, Louie the penguin.
Lander died in Dec. 2020 from complications related to multiple sclerosis.
We Found Classic Avatar Storyboards | Braving the Elements S5 Ep 7 | Avatar Legends
You've seen their names in the credits of Avatar for years. Kenji Ono and William Niu were instrumental in bringing Avatar: The Last Airbender and The Legend of Korra to life, and now they're back for Seven Havens! Since Kenji Ono is Book One Director and Current Supervising Producer and William Niu is Art Director, they both ensure that everything you see in Seven Havens helps tell the story and contributes to the unraveling mystery. For example, did you notice Jae and Datu's matching hair ties? And we've got to talk about those Korra and Asami dolls! There's so much more to discover in Seven Havens Episode 5: The One Left Behind!
Mr. Meaty is one of Nickelodeon's wildest shows, filled with puppets and nightmare fuel at a fictional fast food restaurant. 17 years after the show ended on Nickelodeon, Mr. Meaty co-creator Jamie Shannon reveals that he wants to make more.
How Avatar: Seven Havens Ties Back On Aang & Korra Explained By Cast And Creators | ScreenRant Plus
While at NYCC, Avatar: Seven Havens EPs Michael Dante DiMartino, Bryan Konietzko, Sehaj Sethi, and Ethan Spaulding were joined by stars Saheli Khan (Pavi), Aishu Devan (Nisha), and Major Curda (Ja) to introduce the new generation of characters and lay out the multi-season plan for the show.
New episodes of Avatar: Seven Havens drop Fridays on Paramount+.
Avatar: Seven Havens Showrunner Cut a Zip-Line Element of the Story
Showrunner Ethan Spaulding also reveals which renowned anime films inspired Avatar: Seven Havens' design and animation.
Before people in Avatar: Seven Havens walked, they zip-lined.
That's right, an early concept for Avatar: Seven Havens involved zip-lines in the city of Ellora, one of the seven "havens" that make up the world after an apocalyptic event. According to executive producer and showrunner Ethan Spaulding, the offbeat transportation method would've been too much to animate for a television series. He clarified further to CBR's Katie Doll in an exclusive interview:
"There was a script that Sehaj [Sethi] had. In Ellora, all the characters were going to be going around by zip lines. I was like, 'There's no way we can produce this.' It was awesome, but they had written how everything's transported in the city with all these cables everywhere. I was like, 'That'll just be a nightmare.' Maybe for a movie or something, but there's no way on TV we could do that justice. That was an early one that was taken away early."
Zip-lining was cut altogether from Avatar: Seven Havens, but the show was still determined to look like a dream inside a terrifying nightmare. The series follows twins Pavi and Nisha, who are the first twins to be Avatars. Living in a post-apocalyptic world, they must keep their identities as the Avatars a secret to avoid scrutiny, while also learning the truth about their mysterious past.
Speaking more about the animation style behind Avatar: Seven Havens, Spaulding identified specific eras of the anime genre that helped define the colorful, fantastical look of the series' environment.
"Art direction-wise, which flows into the animation also, there was a wish list up top from Michael [Dante DiMartino] and Bryan [Konietzko], not a mandate, that it was going to be post-cataclysm," Spaulding revealed. "There's going to be all this weather phenomenon. We knew it was going to be kind of a reset that's more fantasy-based. That kind of informed the look, and then there was also talk about simplifying the designs. It really comes from early anime — '70s, '80s, '90s anime."
The character design also somewhat departs from the visual identity of Avatar: The Last Airbender and The Legend of Korra. Japanese animator Hayao Miyazaki, known for his Studio Ghibli films, and French artist Moebius were inspirations for Seven Havens' new stylistic direction.
"The use of color in this is more... I don't know if it's more expressive or not, but there was a thought of having no shadows on the characters at one point," Spaulding remarked. "Early Hayao Miyazaki Ghibli films didn't really have shadows on the characters, like heavy shadows. Therefore, we thought it would be easier for the animators to handle the characters without a lot of extra lines and stuff. I think a new look was welcome. It was very, very much steeped in anime and fantasy, like Moebius, if you're familiar with that artist. A lot of Nausicaä [of the Valley of the Wind]. [That film] has hallmarks and a Moebius vibe, too."
Avatar: Seven Havens Episodes 1–3 are currently streaming on Paramount+. Episodes 4–6 premiere October 16.
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