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Elizabeth Midgley

Portfolio of Work

Visual Effects proposal

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Introduction
Earth
Fire
Air
Water
Conclusion

Visual Effects Proposal

by Elizabeth Midgley

Introduction

Inspirations:

I have been primarily inspired by Avatar: The Last Airbender and Avatar: The Legend of Korra for this project. I really enjoyed watching both of these animated shows and particularly enjoyed the introduction sequences showcasing each element’s bending abilities. My idea is to create a VFX sequence in Unreal that would be an introduction to an Avatar game, themed the same as these Avatar anime introductions, but with VFX that could be used as in-game attack animations. 

(BRT Videos, 2021)

(Jared Koh, 2023)

( The Amagi, 2021)

Basic Setup:

To get started with my VFX tests in Unreal, I added a Level Sequence and set up my window to show the Sequencer. I then added and positioned a Cinematic Camera, a wall and floor, and a cylinder to represent the character; providing a layout similar to some of my references. I set up a track for the camera and the wall so that I could change the colour of the wall as the sequence goes through each element. To start with, the wall is green for Earth, then it becomes red for Fire, orange for Air, and blue for Water.

The Camera setup in Unreal, added to the sequencer so that the coloured background can be adjusted over time.
Earth
Fire
Air
Water
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Earth

Earth Kick:

This is the most common attack produced by an Earthbender, and involves levitating a piece of earth or stone and propelling it at foes with punches or kicks. (Earthbending, n.d.)

This ability has three main elements: first, a large rock is lifted into the air and kicked away; second, small rocks fall beneath the larger rock; and third, there is a gathering of disrupted ground underneath. In other variations there are sometimes smaller floating rock fragments that get kicked with the larger rock and dust clouds.

Avatar: The Last Airbender S1 E1

Orange: The central element, a large jagged rock, composed of multiple fragments; the main focus of this earthbending technique. This rock is launched into the air, hovers for a moment, then is kicked away.

Pink: Surrounding the main orange rock are smaller rocks, which will also be floating, adding a small detail to the composition following the design theory of big, medium, small (Teo, 2023).

Green: Small shards of rock dropped or disturbed while the main orange piece was being lifted. These are a medium sized compositional element.

Blue: A dust cloud is produced when the rock is lifted, this serves the dual purpose of giving a slightly more life-like look, while also helping to tie the elements all together.

VFX Component Breakdown:

A Static Mesh from the Unreal Starter Content, animated using the Sequencer.
Static Meshes are emitted in a fountain with initial velocity, gravity, and collision.
Using the same velocity and gravity as the emitter above, a light dust cloud is emitted.
A burst of dense dust is emitted in a spherical shape, with gravity.
The small instances of the Rock Static Mesh are emitted in a burst, velocity is applied on a timer based on emitter age; first up, then across.
Static Meshes are emitted in a fountain with initial velocity, gravity, and collision.
Using the same velocity and gravity as the emitter above, a light dust cloud is emitted.

Final VFX Composition:

The complete animation showing a rock being levitated, then kicked out of frame. In the final animation I intend to replace all of the Starter Content assets that I've used. I will go for a more stylised look with the fog by drawing a set of 2d cartoon cloud shapes to be emitted as sprites.

Earth Ridge:

This ability is inspired by an Earthbending ridge ability showcased by King Bumi. This ability is composed of many shards of rock which protrude from the ground in a forward motion towards the target. It also causes smaller shards to be thrown up into the air as the larger pieces of rock appear. (Earthbending, n.d.)

My composition will slightly differ from this, as it will get larger as the animation goes on, and I will also include a dust cloud to help tie the whole thing together.

Avatar: The Last Airbender S1 E5

Orange: The largest compositional element are the rocky ridges. These shards of rock are jagged in shape. They protrude out of the ground one after another in a forward pattern disrupting the ground as they go.

Pink: Surrounding the larger orange rocks are smaller rocks, which get thrown up with a small amount of velocity and then fall. These add a medium sized detail to the composition.

Green: Small shards of rock break away from the larger shards and take longer to fall due to being thrown higher in the air. These pieces could also be mixed with particles of dirt for a slightly different effect.

Blue: The dust cloud produced when the rocks disrupt the earth, which helps to tie the other elements together.

VFX Component Breakdown:

The same Static Mesh from the Unreal Starter Content emitted from 5 seperate emitters each in a burst of 1 with gradually increasing size, velocity, and drag.
Another fountain emitter animated with the sequencer emits a medium density scattering of fog sprites, with gravity.
A fountain emitter has been used to create a steady stream of static meshes with collision which follow the primary shape's sequence using movement animated with the sequencer.

Final VFX Composition:

The complete animation shows a line of rocks raising in incrementing order out of the ground. The interaction between the smaller secondary shapes and the larger primary rocks gives a dynamic look to the animation. The assets will be replaced with a set of jagged low-poly rocks in the final.

Earth Barrier:

This technique involves manipulating the earth to form walls, which can be used defensively to protect against incoming attacks, offensively to challenge opponents, and even for practical applications such as construction. The process is somewhat similar to the previous two abilities and can also be seen being used by King Bumi. (Earthbending, n.d.)

In my composition, as the barrier emerges, a dust cloud will envelop the formation, providing an extra visual to tie the three abilities together and making the act of raising an earth barrier more dynamic.

Avatar: The Last Airbender S1 E5 & S2 E1

Orange: The main structure is a large rectangular pillar of rock made of large shards of dense rock. I would like it to have a jagged yet stylised appearance. This structure is pulled from the ground in one movement. Camera shake may be added to sell the weight of the pillar more.

Pink: These small shards are debris thrown up by the large pillar. As the pillar collapses when the animation is complete it will break into similar sized chunks.

Green: –

Blue: The dust cloud which ties the elements together. In this case, the dust cloud should be quite sparse and should settle within a matter of seconds but then get kicked up again when the pillar collapses.

VFX Component Breakdown:

A burst emitter generates thousands of randomly scaled static meshes in a cube/box shape. This entire component is then animated through the sequencer to rise from the floor. Gravity and curl noise is applied on a timer based on emitter age to cause the formation to collapse.
Following the same trajectory, a fountain emitter produces a light covering of fog/dust sprite particles.
A fountain emitter follows the trajectory of the primary rock wall emitting static meshes with collision as it goes. These static meshes quickly drop due the gravity and curl noise spreads them out.
A burst of medium density fog is emitted in a box/cube shape giving a slight gradient effect to the fog. This fog has lower gravity than the other emitter creating a more dynamic fading effect in the final animation.

Final VFX Composition:

The final animation could be improved by being a large solid shape initially, which breaks into parts. I don't really like how the primary shape looks as a wall and I intend to research how to create a fracturing mesh for the final animation.
Earth
Fire
Air
Water
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Fire

Fireballs / Fire-Jabs:

One of the foundational skills of Firebending is the creation of fireballs, also known as “fire-jabs”. This technique involves the Firebender executing jabs and punches to launch small fireballs and flames towards their opponent. These elemental projectiles can be enhanced to form larger, more potent bursts of fire, a strategy known as “charged attacks.” Alternatively, Firebenders may opt to release these fireballs rapidly in succession. (Firebending, n.d.)

Avatar: The Legend of Korra S1 E1

Orange: This ball makes up the core of the fireball. This would be a textured ball with some kind of moving texture that allows the ball to blend with the particle elements. The ball is mostly present to help keep the particles to form.

Pink: These dots represent large particles of stylised flames. These will be lit brightly with an emissive material set high enough that it gives a stylised glowy look.

Green: These speed lines may be added for a stylised effect and to add to the sense of fast motion. They would be created using a ribbon renderer.

Blue: These dots represent embers flying out from the primary shape. They would be created using a vortex and sprite emitter.

VFX Component Breakdown:

A polyhedron with a slightly opaque and emissive texture is animated in the sequencer to move in a linear motion with some rotation, this forms the root for the rest of the components.
Another fountain emitter follows the polyhedron; but, this one has a point attractor creating a defined tail which follows behind. This is a variation of the same material with the emissive property multiplied significantly.
A fountain emitter follows the polyhedron, emitting the same polyhedron static mesh which get smaller dynamically based on particle age. These have the same texture as the base polyhedron applied to give slightly more depth to the final animation's colouring. The texture was created from scratch in Unreal using blueprint noise generators.
This dynamic material uses a texture based noise generator and a panner to create a flickering ember or fire-like effect. This material is then applied to the polyhedron meshes emitted within the Niagara system.

Final VFX Composition:

I am really pleased with the look of the final animation and likely won't change much going forward into the final sequence, as I have already created all of the assets used in this animation from scratch. Though, I may consider adding even more emission or some ribbons for stylised effect.

Fire Arc:

Firebenders have the ability to create blazing rings and arcs. This skill involves using spinning kicks or sweeping arm movements. These actions create fiery shapes that can cut through larger targets, those spread out or moving away. A notable use of this technique was by Zuko. During a crucial battle, known as the Comet-Enhanced Agni Kai, he executed a circular motion with his feet. This motion generated an expanding ring of fire. (Firebending, n.d.)

Avatar: The Last Airbender S3 E18

Orange: These strikes make up the primary shape of the arc. They could be made using a repeating ribbon renderer or some type of fluid simulation. The arc should be created from left to right and be oriented horizontally to the ground.

Pink: These dots represent large particles of stylised flames. These will be lit brightly with an emissive material set for a stylised, glowy look.

Green: These speed lines may be added for a stylised effect and to add to the sense of fast motion. 

Blue: These dots represent embers flying out from the primary shape. They would be created using a vortex and sprite emitter.

VFX Component Breakdown:

This is a spherical object mesh with a material applied. The material warps the normal map into an arc shape and emits an emissive light.
The Arc's Material blueprint
The Noise and Panner nodes which make some elements of the texture move, creating a flickering effect
The dynamic material which is applied to a sphere. The sphere moves across the stage when animated, and the Parameter Collection shown in the timeline also changes dynamically to make it look as though the arc is building. In this GIF you can see these parameters being adjusted and how they dynamically affect the material.
One layer of the texture effects, these get overlaid multiple times to create a slight fade in the material. The width is also adjusted from here via a Collection Parameter, allowing the width of the arc to be adjusted from within the sequencer.
The Normal Depth material section, linked to a collection parameter which enables adjustment of how much the arc protrudes
The first emitter, called Thin_Ring in the Niagara System. This emitter spawns particles within a Torus shape, which are affected by Wind and degrade in Scale and Colour over time. Included in each of the emitters is a point force, which prevents the particles from gathering in the centre of the effect as they move across the stage, forcing them instead to trail along the edges of the arc.
Arc_Sparks_Ring
The third emitter, called Sparks_Ring in the Niagara System. This emitter works the same as the others but more volatilely, with the sparks flying out in random directions creating a more organic looking flame effect.
The second emitter, called Transparent_Shade in the Niagara System. This emitter spawns particles within a torus shape, but with a different texture applied and slightly different sizing and degradation rates, giving an overlapping fade effect.
The three emitters within a Niagara System.

Final VFX Composition:

I am very pleased with the final effect, having achieved an organic arc shape which I had feared would be very difficult to create. I will likely leave this VFX as it is for the final animation since I'm very pleased with the stylisation and appearance overall. Because I've used the same mesh components originally created for the Fireball, I won't need to create any new components for the arc for the final animation.

Fire Lash:

The Fire Lash is an advanced bending technique built upon the Fire Whip or Fire Stream. This ability enables the bender to wield a long lash of fire, which they can then strike down upon their foes. This technique was demonstrated by Azula in her battle with Aang. Some firebenders like Zuko have shown the capability to create not just one, but several smaller fire lashes. (Firebending, n.d.)

This ability may prove to be one of the most difficult to create in Niagara as I will need to learn how to make the effect follow a spline.

Avatar: The Last Airbender S2 E8

Orange: These strikes make up the primary shape of the lash/whip. They could be made using a repeating ribbon renderer or some type of fluid simulation. This effect begins almost vertically and must protrude from the arm or leg of the bender. As the bender swings their limb down to the ground, the lash responds reflexively. This will likely have to be created to follow a spline.

Pink: These dots represent large particles of stylised flames. These will be lit brightly with an emissive material set for a stylised, glowy look.

Green: These dots represent embers flying out from the primary shape. They would be given motion using a mix of noise generators and velocity.

Blue: –

VFX Component Breakdown:

The first step to creating the Fire Lash was duplicating the Niagara System used for the Fireball. Following this, a blueprint was created containing a Spline and the Niagara System as the spline's child component. In the Event Graph of the new blueprint, the spline's vector points were set to update every tick.
Unfortunately, at this point, there was a roadblock. Because the editor doesn't tick in the same way that the engine does during run-time, the spline was not updating within the editor and, therefore, did not follow the vector point's animation within the sequencer. To fix this, I followed a tutorial by SiLi on creating an Editor Utility component that would cause the editor to tick (SiLi, 2021).
The colour depth layer of the Fire Lash particles.
This Scratch Module, which is added to both of the duplicate emitters, causes the particles to determine their spawn point using a random point along the spline.
Finally, the vector points were editable in the sequencer and could be adjusted live using the sequencer curve editor.
The emissive colour layer of the Fire Lash Particles.

Final VFX Composition:

I'm not entirely pleased with the movement of the final animation. However, as this is just a practice and I am still determining how tall the character wielding the Fire Lash will be, I decided not to spend too long perfecting the animation. I'm pleased, however, with how the spline has turned out; with such a significant roadblock in the middle, I wasn't sure for a while if I could make this effect work. I may look to add an additional emitter producing sparks for the final video.
Earth
Fire
Air
Water
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Air

Air Ball:

An Air Ball is a staple of the Avatar: The Last Airbender universe, with Aang regularly using it to move around, as well as seeing many other functions. Benders can create this ability By drawing their hands together in a circular fashion, compressing air into a spherical form. Although mostly used for ensnaring objects, fun and games, or movement, the Air Ball can also be used offensively. When launched with force, they have the power to disrupt an opponent’s stance, sending them reeling backwards. (Airbending, n.d.)

Avatar: The Legend of Korra S3 E1

Orange: This represents the dense inner swirling ribbon. This is what gives the sphere its primary shape. This will be created using one or more ribbon renderers and will be given rotation around a point or axis. 

Pink: This pink swirl accents the denser orange one and would move at a slightly slower pace. This just gives a stylised look to the composition.

Green: These dots represent low-density particles, which give an airy look and tie the composition together. 

Blue:  These dots represent high-density particles, which are used to fill the centre of the sphere. 

VFX Component Breakdown:

Dense soft sprite particles are emitted in a sphere shape that starts small and increases in size as the Niagara System's life cycle progresses. The Niagara System, containing two emitters, is then given rotation from within the Sequencer.
Four ribbons are rendered within a single Niagara System, each with unique vector curves causing the ribbon to rotate around a single point over time (creating the unfurling animation). The opacity of the ribbon is also controlled through a Dynamic Material Parameter. Two ribbons are bound to each half of the sphere to allow the ribbon to unfurl in both directions from the centre.
The secondary emitter, paired with the dense soft sprites, produces more defined particles in a larger sphere but rotates at the same speed due to being within the same Niagara System. These particles cause the sphere to appear less uniform, adding to the wind-like effect.
Here, you can see a top and bottom ribbon being rotated within the sequencer to create a spinning effect.

Final VFX Composition:

The final animation turned out well, though it could be more stylised. I may make minor tweaks before the final sequence, such as replacing the sprites.

Air Vortex:

The Air Vortex is a swirling funnel of air that can be adjusted in size. Smaller versions can be seen throughout the series with uses such as catapulting small items, funnelling objects, or deflecting projectiles. However, the full power of the vortex creates a large whirlwind-like towering funnel of air. (Airbending, n.d.)

This ability is very similar to the Air Ball in terms of animated components and should be a reasonably easy follow-on from the Air Ball.

Avatar: Legend of Korra S3 E13

Orange: This represents the dense inner swirling ribbon. This is what gives the vortex its primary conical shape. This will be created using one or more ribbon renderers and will be given rotation around a point or axis. 

Pink: This pink swirl accents the denser orange one and would move at a slightly slower pace. This just gives a stylised look to the composition.

Green: These dots represent low-density particles, which give an airy look and tie the composition together. 

Blue: These dots represent high-density particles, which are used to fill the centre of the vortex, with a particular focus on the very centre column, or eye. 

VFX Component Breakdown:

The Air Tornado uses duplicates of the Air Ball emitters in a cone shape to create this dense fog effect. In this instance, three emitters are layered on top of one another to create a slightly denser core.
Using the same setup as with the Air Ball, particles rotate around a point across time based on the emitter's age. This creates the ribbon, which follows the line of particles in a cone-like shape. The ribbon's appearance is then adjusted using the same dynamic material properties as with the Air Ball, and each of the two sets of cone-shaped ribbons can be subsequently animated within the sequencer to give them movement.
Again, these defined fog particles are the same as within the Air Ball. However, they spawn in a larger cone shape which is then given rotation and translation movement from within the Sequencer.
The ribbons created are given rotation and translation within the Sequencer, causing a tornado-like animation.

Final VFX Composition:

Unfortunately, as this is, in some ways, an edited duplicate of the Air Ball, it suffers from the same issues. The animation is not stylised enough for my liking to fit with my final sequence themes, so this animation may need tweaking later. However, I am quite pleased with this as the foundational groundwork.

Air Blast:

An air blast is a particularly aggressive tactic for an Airbender to use, involving the emission of a concentrated stream or burst of air from the hands, feet, or mouth. This derives its strength from the bender’s own inherent power rather than relying on external momentum. It’s capable of reaching targets over great distances, making it particularly effective against large, far-away enemies. (Airbending, n.d.)

Air Blasts can also be sustained over time, allowing Airbenders to exert continuous force. This was demonstrated when the Airbenders of the new Air Nation joined forces to confront Kuvira’s mecha suit, using synchronized air blasts against it.

Avatar: Legend of Korra S2 E12

Orange: These orange lines represent both the bounds of the primary cylindrical form and stylisation lines which will run along the cylinder. This will likely be created using a dynamic, animated material. 

Pink: This pink swirl accents the cylinder, and would rotate giving a sense of motion. 

Green: These dots represent high-density airy particles at the tip of the animation; as the blast is sent off-screen, this will disappear. This effect acts almost like a loading blip on a loading bar. 

Blue: These dots represent low-density particles, which will expand away from the central cylinder. This will be done using a vortex effect.

VFX Component Breakdown:

Particles are emitted from a fountain emitter with no gravity, they are given a random velocity and move left until they reach a box particle killer which destroys the particles.
Two ribbon emitters are rendered using curve floats which change dynamically based on the age of the emitter to create the drawn in and out effect. Each ribbon has a slightly differing frequency of rotation.
Particles are emitted from a fountain emitter with velocity shooting them out in many directions from a single point. The particles are reduce in size over time dynamically based on particle age.
This is a copy of the other ribbon emitter with the directions reversed. Both ribbon emitters are made to rotate using the sequencer to create the spiralling effect.

Final VFX Composition:

I'm very pleased with the final animation and how dynamic it is while still looking somewhat stylised. I would like to replace the simple fog particles that I've used with 2d stylised sprites to make the animation even more cartoon-like.
Earth
Fire
Air
Water
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Water

Water Knives:

A Water Knife is a swift moving piece of water which uses its speed to create a slicing motion. This skill turns water into a sharp edge capable of slicing through materials or being fired at enemies. The precision afforded by this move is greater than that of the Water Spout or Water Bullet. However, the water knife is usually only appropriate for small-scale battles or out-of-combat activities. (Waterbending, n.d.)

This may be a difficult animation to produce due to it requiring controlling many instances of the VFX at one time.

Avatar: The Last Airbender S2 E12

Orange: These orange shapes show the expected bounds of these small water knives or daggers. They should be fairly sharp in form and will be created using liquid simulations.

Pink: The pink dots represent the sprites used in liquid simulation, and any outside of the bounding lines represent white water foam.

Green: These green speed lines are a stylisation effect. These could be added using ribbon renderers, but may be unnecessary depending on the final outcome and desired amount of stylisation.

Blue: –

VFX Component Breakdown:

Using an inverted spherical particle kill volume and spawning the water particles in a cone; I was able to create the water knife shape. Although this was tedious and a bit of a workaround, I couldn't find any other way while working with fluid simulation to create the cone tip I was looking for.
Here you can see a GIF showing how the inverted kill volume works to hide the tip of the cone while the emitters are stationary. Since the volume's radius property is controlled by a public parameter it can be edited from within the Sequencer ensuring that it is precisely timed with the dagger's movement.

Final VFX Composition:

The final animation features several daggers; each is an instance of the Niagara System controlled individually from within the Sequencer. I am quite happy with the result; aside from that I envisioned them as being ice rather than water. I think for the final animation, I will create some kind of drawn effect using sprites. However, this was really excellent for practising using water simulation.

Water Wave:

Moving a large mass of water, waterbenders can create a wave of nearly any size. They require a water source to create a wave and the wave often stays connected to the water source throughout its movement. Waves can be used offensively, defensively, or for utility such as propelling boats. The animation shows Pakku using this technique against Katara in their duel in the Northern Water Tribe. (Waterbending, n.d.)

In my final animation I will need to find a way to provide a water source for the wave to develop from; preferably the source should be utelised for the other water animations as well. 

Avatar: The Last Airbender S1 E18

Orange: This orange border shows the curling bounds of the wave. This will be created using liquid simulation within a cubic simulation area. 

Pink: These pink lines are a stylistic addition and will render from base to tip of the wave to show the movement up and over.

Green: The green lines are also a stylistic addition; they will ripple out and across as the wave builds.

Blue: The blue dots represent the sprites used in liquid simulation, and any outside of the bounding lines represent white water foam.

VFX Component Breakdown:

This emitter spawns a continuous emission of points in a cylinder which is rotated and animated using the sequencer. A line attractor drags some of the points away from the cylinder, creating the tail of the wave.
This emitter is a copy of the liquid one, without the liquid renderer. Instead I raised the animation slightly and added opaque sprites to create a white-water effect.

Final VFX Composition:

I'm not completely happy with this final animation, the liquid renderer is difficult to work with and often has errors. I may end up revisiting how I've created these animations for the final submission.

Water Rings:

Skilled Wanterbenders can conjure rotating rings of water, holding large volumes, that spin around their bodies. In this animation Kya can be seen using water rings during her fight with Zaheer. This ability has both defensive and offensive capability, and once rotating around the body the water within the rings can be used as a water source for other abilities. (Waterbending, n.d.)

Avatar: Legend of Korra S3 E5

Orange: This orange border shows the bounds of one of the water rings. These rings will be created in a 360 swirl and will continue to rotate around the bender.

Pink: This pink border shows the bounds of the second one of the water rings. These rings will be created in a 360 swirl and will continue to rotate around the bender.

Green: The green dots represent the sprites used in liquid simulation, and any outside of the bounding lines represent white water foam.

Blue: The blue dots represent the sprites used in liquid simulation, and any outside of the bounding lines represent white water foam.

VFX Component Breakdown:

The first water ring originates from a point close to the centre of the stage. The movement of the ring is animated by emitter age through controlling the U position of a Torus shaped emitter.
This ring is a copy of the first, which begins its sequence after a short delay. The rippling spinning effect of the water is created with vortex velocity and curl noise, the ring is actually stationary.

Final VFX Composition:

I'm fairly happy with the final animation. I need to delve further into researching Niagara fluids to work out how to add white water to the textures as that's something I haven't been able to do yet. In my final animation I may end up switching these liquid emitters out for sprites with more stylised textures as I have encountered some errors while running the liquids in real-time and wonder if it would be easier to work with sprite emitters due to these errors.
Earth
Fire
Air
Water
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Conclusion

Final Thoughts:

I am pleased with the outcome of my VFX tests. Each effect provides a solid base for my final animation. Although some effects could use more stylised elements, I now have a clearer idea of what to change to create a solid final sequence.

One challenge that I encountered while working on the water effects was a bug, which unfortunately remains unfixed. During playback, the simulations often experience an error that causes the entire simulation zone to emit bright white light. This error made the editing process very tiresome, as I had to refresh the simulations to reset them constantly. Controlling the liquid simulation is challenging, and it has few customisation options without delving deep into Niagra’s liquid rendering settings. I believe that replacing these water effects with sprite effects will make my work much more manageable while finishing up the final sequence.

Another unique challenge was working out how to animate the spline within the Sequencer. It took me a few days to figure out that the issue was only in the editor and even longer to figure out how to resolve it. Thankfully, I was able to persevere through these issues, and with a lot of research, I came upon a solution to add in-editor ticking.

I certainly learned a lot while creating these VFX tests, and I will be able to take everything that I have learned forward into the final sequence—hopefully with much improved stylised effects!

References:

Airbending (no date) Avatar Wiki. Available at: https://avatar.fandom.com/wiki/Airbending.

BRT Videos (2021) All Three Avatar Intros Comparison- Aang Intro vs Korra Intro vs Avatar Legends Intro, www.youtube.com. Available at: https://www.youtube.com/watch?v=NpQCcwqc2mU.

DiMartino, M.D. and Konietzko, B. (2005) ‘ Avatar: The Last Airbender’. Nickelodeon.

DiMartino, M.D. and Konietzko, B. (2012) ‘Avatar: The Legend of Korra’. Nickelodeon Animation Studio.

Earthbending (no date) Avatar Wiki. Available at: https://avatar.fandom.com/wiki/Earthbending.

Firebending (no date) Avatar Wiki. Available at: https://avatar.fandom.com/wiki/Firebending.

Jared Koh (2023) Avatar Element Animation 2, www.youtube.com. Available at: https://www.youtube.com/watch?v=T5vdPy7nbRQ.

SiLi (2021) Unreal Engine | editor Tick Tutorial using blueprint, YouTube. Available at: https://www.youtube.com/watch?v=HDFvh-CYIGA.

The Amagi (2021) Every Bending Ability In Avatar, www.youtube.com. Available at: https://www.youtube.com/watch?v=9RpzGl92PJI.

Waterbending (no date) Avatar Wiki. Available at: https://avatar.fandom.com/wiki/Waterbending.

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