Anime live-action adaptations are often hated by (Western) fans. But are they being too harsh?

By Emerald L King, University of Tasmania

Between Netflix’s 2023 live-action version of One Piece, and its latest take on Avatar: The Last Airbender, fans are once again asking: why are live-action anime adaptations so tricky to get right?

Despite the ongoing debate about whether Avatar (2005–08) is indeed an “anime” (since it’s made by US creators), the series has nonetheless gone down as a favourite among Western anime fans.

Netflix’s new rendition has been rated highly by fans and critics alike. Viewers have flocked online to share their opinions on everything from the casting choices, to the sets and costumes, to changes in the story.

But while this is being praised, that makes it an outlier in live-action anime adaptations. What is it about such adaptations that leads to them being so closely scrutinised? And why are they so often met with disappointment?

https://youtu.be/ByAn8DF8Ykk?si=RpdMatdjong_pAKz

'Anime’ is evolving

Before the original Avatar came out, defining “anime” or “Japanimation” was straightforward. Anime were cartoons made in Japan, often based on manga or Japanese comics.

However, Japanese studios are outsourcing more and more of their background and scenery animation to studios in South Korea and South-East Asia, creating only the main character animation in house. As such, anime purists – who often seem to be Western viewers – may argue the above definition is no longer sufficient. (It’s also helpful to remember that in Japanese, “anime” refers to all animated material, regardless of country of origin.)

Avatar has been noted for its anime-inspired themes and action, and for laying the path for other US-made series such as Voltron (2016–18) and She-Ra and the Princesses of Power (2018–20). Both of these shows mix 1980s nostalgia with 2010s storytelling and a hybrid animation style. While they may not technically be considered anime, depending on whom you ask, the overlap can’t be ignored.

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