In 2005, Nickelodeon broke the mold of its traditionally children-focused television series when it premiered, a culturally diverse, family-friendly animated show set in a fantastical world. Created by the imaginative duo of Michael Dante DiMartino and Bryan Konietzko, the story of the young Avatar Aang and his fight against the Hundred Year War brought on by the Fire Nation was a visually splendid adventure that was just as exciting as it was inspirational. Two years after the series wrapped its final season, Paramount released a controversial live-action adaptation from the mind of M. Night Shyamalan that would prove to be one of the most widely criticized movies in recent memory. Taking the colorfully rich world of the show and flipping it on its head, the people of the Water, Fire, Earth and Air nations were horribly miscast and misrepresented, virtually eliminating the beauty of the show. The crew behind the film have since been able to rebound from the atrocious re-imagining, but the movie has undeniably tarnished the credentials of everyone involved.

Although has left an irreparable scar on the hearts of Avatar fans worldwide, there are things about the production that even the most devoted viewers don’t know. So join us as we take a look behind the curtain at the 15 Things You Never Knew About the Terrible Last Airbender Movie. Avatar Creators Hated the Movie. In 2006, Avatar creators Michael Dante DiMartino and Bryan Konietzko sang the praises of director M. Night Shyamalan, who they admitted was a respectable fan of their work.

Enhancements from.hack//G.U. Vol 2 and.hack//G.U. Vol 3 have been applied to.hack//G.U. Avatar Battles. Skeith's standard shot bullet speed has been increased. Balance revisions have been made to enemies' HP, attack power, charge speed, and the like in Avatar Battles. A stun gauge has been. James Cameron’s blockbuster Titanic is coming back to theaters for one week to celebrate the film’s 20th Anniversary. Originally written off as a sure disaster.

By the time the film hit theaters, they had changed their tune, agreeing with the general audience that Nickelodeon and Paramount had disgraced their multi-cultural world with a cast and script that contradicted everything they had made. In 2013, in a response to an online question regarding the color of Aang’s children in the series, Konietzko addressed rumors that his show had purposefully misrepresented a character of a different ethnicity. Speaking to the diversity of the show, Konietzko wrote that Shyamalan’s film was a “gross misinterpretation and misrepresentation” of the show he and DiMartino wished to present.

The duo would later say their involvement in the picture was unwanted and that the whole ordeal was a bad situation which they were forced to make the best of despite never having much say in the adaptation. “Avatar” had to be dropped from the title due to James Cameron’s 2009 Film.

Although the word has since become synonymous with the large, Smurf-like species of Pandora made popular in, the first Avatar was actually the Nickelodeon series of the same name. Derived from Sanskrit, an avatar is a concept in Hinduism which traditionally refers to an incarnation of a deity. Aang, the last surviving airbender, was given the moniker of the Avatar after returning to earth to master all four elements of water, fire, earth, and air and bring balance to the four warring nations. The Host 2013 Download Torrent Ita more. When Shyamalan began writing his first draft for The Last Airbender, he did so with the intention of using the series’ full name as the title, but as the definition of the word gradually shifted in the public’s mind, the marketing crew of Paramount wisely suggesting dropping the first part of the name.

Avatar: The Last Airbender became The Last Airbender to avoid confusion, though the word would be used throughout the film to refer to Aang’s lineage. 13. Over budget and forced to shoot on sound stages. Five years after production wrapped on The Last Airbender, a former worker on the movie took to the fan site AvatarSpirit.net to voice his opinion on the problems with the film, revealing a few hidden facts about what went wrong. Apart from the casting of many white actors in Asian roles, which the source said began with the studio’s casting of Nicola Peltz due to nepotism, it was also revealed that many key scenes were forced to be shot on sound stages after initially being scheduled to shoot on location.

The opening scene of the movie is one of the few highlights of the film. Although the discovery of Aang inside a frozen ball of ice still includes the screenplay’s cringe-inducing dialogue, it is a beautifully shot sequence filmed in the frozen landscape of Ilulissat, Greenland. Due to this opening sequence going over budget, however, the crew were forced to relocate many scenes to rural Pennsylvania with other sequences being shot on sound stages, drastically affecting the movie’s overall look. The word “racebending” has become synonymous with the word “whitewashing,” though the former term may also be applied to actors of color being cast in traditionally white roles. Derived from the Avatar television series where characters are given the ability to bend the elements, the word originated on Racebending.com, a grassroots organization of media consumers that began as fans protesting the casting decisions of The Last Airbender.

In 2010, on the cusp of The Last Airbender’s release, Racebending.com and the Media Network for Asian Americans came together to boycott the release of the film. Although activists still use the term negatively, the opposite effect has also been seen in recent years, where actors of color have been cast in roles that would have otherwise been given to white actors, diversifying ensemble casts and pushing for an increase in racial visibility in Hollywood. Zac Efron, Ben Kingsley, and Gene Simmons almost starred.

In the early developmental stages, M. Night Shyamalan became the source of a lot of fan hate when he was accused by the Media Network of Asian Americans for whitewashing a story which consisted of primarily Asian characters.

Although the director insisted that the show’s universal acceptance of all ethnicities was still a part of his overall vision, he continued to cast all white actors in parts that were not traditionally intended for Caucasians. In the beginning, pop singer Jesse McCartney was sought to play the role of Prince Zuko, but when controversy struck, McCartney dropped out, citing scheduling conflicts as his reason for leaving. When Dev Patel was cast in the part, Shyamalan made the decision to cast all Indian and Middle Eastern actors in Fire Nation roles, giving up on his vision of Ben Kingsley in the part of Uncle Iroh.

Other notable casting decisions such as Zac Efron playing Sokka and Gene Simmons voicing the Dragon Spirit were also reportedly in the works, but neither idea came to fruition. Shyamalan Blamed Transformers for the Film’s Failures. Before adapting Avatar to the big screen, M. Night Shyamalan had never written a movie based on someone else’s work. According to the director, he had always wanted to direct a multi-million dollar fantasy picture in the vein of, but had never had the right material come along – until his daughter introduced him to Avatar. Shyamalan wasn’t just inspired by the story’s franchise potential; he saw the opportunity to bring a child-friendly picture to the big screen. Explaining the movie’s failures, Shyamalan suggested that he was only making the movie for younger audiences and not for the PG-13 crowds that regularly attended movies like.

Despite worsening reviews, the Transformers franchise has remained a financially successful series that’s managed to attract stars like Nicola Peltz, who played Katara in Shyamalan’s movie. Perhaps the director could have learned from the movies he publicly criticized. Dev Patel Regrets Playing Zuko. As the banished son of Fire Lord Ozai, Prince Zuko carried around a reminder of his disgrace in the form of a scar across his left eye. In much the same way, Dev Patel carried his involvement with The Last Airbender around as a reminder to never commit to a project he doesn’t fully believe in. While working on, Patel prepared for the Shyamalan film by watching episodes of the Nickelodeon series.

In December of 2016, he dished out the details behind his biggest career mistake thus far. Discussing his fear of big budget productions, Patel said he was overwhelmed by playing Zuko. Rather than anyone listening to his input during the production, he felt alienated by the film crew, an experience that has since taught him how to say no when a part doesn’t suit him. Since The Last Airbender, the actor has done well for himself, bouncing back stronger than ever with his first Academy Award nomination for his performance in. The Mispronunciation of Characters’ Names Was Intentional. Although fans of the Nickelodeon series were quick to criticize M. Night for whitewashing the cast of their favorite animated show, the director claims it was never his intention to dishonor the Asian influences of the source material.

According to the director, the pronunciation of character names like “Aang” and “Sokka” in the TV series fell victim to Anglicization, a mistake which he fought to change to give his movie a more authentic feel. While Shyamalan’s intentions were good, fans weren’t pleased with the butchering of the names they had become accustomed to hearing. Despite Bryan Konietzko and Michael Di Martino drawing from multiple Eastern cultures to create Avatar’s four nations, there was no single cultural influence which predominantly inspired their fantasy world. Making drastic changes to the series went against everything the original creators had envisioned for their show, which was enough to make every fan of the series cringe when they heard each character’s name mispronounced over and over again.

7. It actually did okay at the box office. When Nickelodeon announced their plans to produce based on one of their more successful properties, it was with the hopes of accumulating a massive amount of interest from both new and old fans alike. From the start, things looked bleak for the troubled production. Intended to be Nickelodeon’s first major tentpole production with an estimated $250 million meant to be spent across all three movies, the film went wildly over budget, costing a total of $150 million.

Paramount then spent another $130 million in marketing. On opening week, The Last Airbender unsurprisingly faltered at the U.S. Big office, debuting second behind despite earning $40 million over the weekend. Only grossing $130 million domestically, the movie was ultimately able to make up the difference overseas, bringing in a grand total of $319 million, making the film a modest success.

Although the earnings were not enough to jump start production on a sequel, it was enough to prevent a complete disaster from the studio. In the early developmental stages, M. Night Shyamalan was tasked with sorting through the first season of Avatar in order to condense a twenty episode arc into a feature-length film. According to the director, the original script was a faithful adaptation which covered all of the first season with an estimated seven hour run time. As production got underway, the necessary cuts had to be made to shorten the length of the film and keep the movie under budget.

The result was a film filled with dry exposition that felt rushed. Although the studio was ultimately responsible for the movie’s shortened script, many of Shyamalan’s changes to the source material were still evident in the original screenplay. Major alterations, including the exclusions of Aang’s child-like sense of humor and Sokka’s comical persona, were reportedly always a small part of the film. In the end, a 103 minute run time and the studio’s overall lack of knowledge about the show left the production in turmoil – and Shyamalan unable to steer the ship back on course.

Thirty Minutes Had to be cut to Convert the Movie to 3D. When Avatar fans first learned of the movie’s 103 minute run time, they immediately reacted with concern. The aforementioned seven hour fantasy epic first written by Shyamalan would likely never have seen the light of day, but at under two hours, there were too many characters who would have to be thrown to the curve in sacrifice to the central story. In the end, around thirty minutes of material was deleted from Shyamalan’s film, but the real kicker was why many of these scenes were scrapped in the first place. Three months prior to the film’ release, Paramount announced it would spend an additional $5-10 million to convert the movie to 3D, an obvious last ditch effort to boost ticket sales. In order to complete the conversion in time for the movie’s Independence Day weekend release, the thirty minutes were left behind. According to Shyamalan, the biggest scenes involved a meeting between Aang and the Kyoshi Warriors as well as many slapstick moments left over from the original script.

The Technology Did Not Exist to Create Realistic Bending Effects. In order to create a faithful Avatar adaptation, the crew of The Last Airbender would have to master the elements of earth, water, fire and air, creating realistic movements from all four which would result in special effects unlike anything seen on the big screen. In order to achieve the bending effects of the film, Shyamalan turned to Industrial Light & Magic.

Headed by the likes of effects supervisor Pablo Helman and associate supervisor Craig Hammack, the VFX crew didn’t have the right technology to render realistic effects for the film. Rather than using software, computer graphic cards had to be used to bend the elements, which allowed Shyamalan to preview each effect more quickly, but also led to more than sixty takes being filmed before the right look was achieved. In the end, ILM admitted to the difficulty of the challenge, saying firebending was particularly hard to capture due to the inability to accurately capture the unpredictable movements of the element. The Dragon Spirit Was Created Specifically for the Movie. In the live-action film, Aang enters the spirit world and he encounters the ancient Dragon Spirit. This character was created specifically for the film with multiple characters from the animated series in mind. Taking the form of a dragon, the Dragon Spirit’s design was largely influenced by Fang, Avatar Roku’s animal guide who followed Roku into the Spirit World after his death.

Similarly, the Dragon Spirit’s wisdom was inspired by Avatar Roku, who was the Avatar that preceded Aang and taught him with lessons from his past experiences. Similarly, the character was based on Guru Pathik, a friend of Monk Gyatso who helped Aang to tap into his Avatar state.

Rather than being a former being from the physical world, however, the Dragon Spirit is a malevolent spirit that’s always existed inside the Spirit World, much like Koh from the original series. Milla Jovovich Is a Big Fan.

At the moment, The Last Airbender sits at an excruciatingly poor rating of 6% on Rotten Tomatoes, an all-time low in a string of failures that plagued M. Night Shyamalan’s career for many years, but according to one action movie heroine, the heavily vilified fantasy flick may not be as bad as everyone claims.

In 2010, Milla Jovovich, star of the franchise, brought up her love for martial arts flicks, specifically singling out The Last Airbender as a recent addition to the genre that she enjoyed. Jovovich was so entertained by the picture that she even hinted at wanting to star in the sequel.

The reveal was such a surprise, but sometimes even the worst of movies manage to establish a fan base. A Script for a Sequel Exists.

In July 2010, in the wake of The Last Airbender’s scathing reviews, Shyamalan addressed his original vision to create a trilogy of films and admitted to the future of the franchise being uncertain. Ayumi Hamasaki Midi Download. Later, producer Frank Marshall would cast further doubt on a sequel, stating that while the other two films had not been cancelled, he was not sure if they would ever be made.

Avatar creators Michael Dante DiMartino and Bryan Konietzko would throw their own opinion into the arena when they said they hoped to someday make their own live-action adaptation. Now, seven years after the theatrical release of The Last Airbender, a sequel is unlikely to happen, but that doesn’t mean Shyamalan isn’t trying. According to him, there’s already a draft which includes both Toph and Zuko’s sister, Azula.

With the cast now significantly aged and no longer endorsing the franchise, we’ll never know whether the second film would have improved upon its predecessor, but luckily this is one sequel we’re happy never saw the light of day. — Do you have any The Last Airbender trivia to add? Leave it in the comments!

An example of what avatar could look like, using an -like style In, an avatar is the of the or the user's. An icon or figure representing a particular person in a video game, Internet forum, etc.

It may take either a form, as in or, or a two-dimensional form as an in and other online communities. Avatar images have also been referred to as 'picons' (personal icons) in the past, though the usage of this term is uncommon now. It can also refer to a text construct found on early systems such as. The term 'avatar' can also refer to the personality connected with the, or handle, of an Internet user. Common avatars may be.

See also: The word originates in, where it stands for the 'descent' of a deity in a terrestrial form (deities in India are popularly thought to be formless and capable of manifesting themselves in any form). The earliest use of the word avatar in a was the 1979. The use of the term avatar for the on-screen representation of the user was coined in 1985 by Richard Garriott for the computer game. In this game, Garriott desired the player's character to be his earth self manifested into the virtual world. Garriott did this because he wanted the real player to be responsible for the character's in game actions due to the ethical parables he designed into the story. Only if you were playing 'yourself' Garriott felt, could you be judged based on your character's actions. Because of its ethically-nuanced, story-driven approach, he took the Hindu word associated with a deity's manifestation on earth in physical form, and applied it to a player manifesting in the game world.

The term avatar was also used in 1986 by in 's game. Another early use of the term was in the role-playing game (1989). [ ] Popular fiction [ ] Norman Spinrad [ ] In 's novel Songs from the Stars (1980), the term avatar is used in a description of a computer generated virtual experience. In the story, humans receive messages from an alien galactic network that wishes to share knowledge and experience with other advanced civilizations through 'songs'.

The humans build a 'galactic receiver' that describes itself: The galactic receiver is programmed to derive species specific full sensory input data from standard galactic meaning code equations. By controlling your sensorium input along species specific parameters galactic songs astral back-project you into approximation of total involvement in artistically recreated broadcast realities. From the last page of the chapter titled 'The Galactic Way' in a description of an experience that is being relayed via the galactic receiver to the main characters: You stand in a throng of multifleshed being, mind avatared in all its matter, on a broad avenue winding through a city of blue trees with bright red foliage and living buildings growing from the soil in a multitude of forms.

Neal Stephenson [ ] The use of avatar to mean online virtual bodies was popularised by in his novel (1992). In Snow Crash, the term avatar was used to describe the virtual simulation of the human form in the, a fictional virtual-reality application on the. Within the Metaverse was often based on the quality of a user's avatar, as a highly detailed avatar showed that the user was a skilled and while the less talented would buy off-the-shelf models in the same manner a beginner would today. Stephenson wrote in the 'Acknowledgments' to Snow Crash: The idea of a 'virtual reality' such as the Metaverse is by now widespread in the computer-graphics community and is being used in a number of different ways. An avatar used by an providing on a web page Avatars can be used as virtual embodiments of, which are driven more or less by rather than real people.

Are examples of avatars used in this way. Such avatars are used by organizations as a part of in order to interact with consumers and users of services. This can avail for enterprises to reduce their operating and training cost. A major underlying technology to such systems is. Some of these avatars are commonly known as 'bots'. Famous examples include 's Anna, an avatar designed to guide users around the IKEA website. Such avatars can also be powered by a which provides a little more structure than those using NLP, offering the user options and clearly defined paths to an outcome.

This kind of avatar is known as a Structured Language Processing or SLP Avatar. Both types of avatar provide a cost effective and efficient way of engaging with consumers. Video games [ ].

Main article: Avatars in are the player's representation in the game world. The first video games to include a representation of the player were (1974) which represented players as humans, and (1974) which represented players as eyeballs.

In some games, the player's representation is fixed, however many games offer a basic character model, or template, and then allow customization of the physical features as the player sees fit. For example,, the avatar from, can be dressed in a wide range of clothing, can be given and, and can even or become depending upon player actions.

One video game in which the avatar and player are two separate entities is the game, where the player controls both themself in a 3-dimensional world and the avatar in a 2-dimensional world. Aside from an avatar's physical appearance, its dialogue, particularly in, may also reveal something of its character. A good example is the crude,,. Other avatars, such as from, who, reveal very little of themselves (the original game never showed the player what he looked like without the use of a console command for third-person view). (MMOGs) are the source of the most varied and sophisticated avatars.

[ ] Customization levels differ between games; For example, in, players construct a wholly customized portrait, using a software that allows for several changes to facial structure as well as preset hairstyles, skin tones, etc. However, these portraits appear only in in-game chats and static information view of other players.

Usually, all players appear in gigantic spacecraft that give no view of their pilot, unlike in most other RPGs. Alternatively, offers one of the most detailed and comprehensive in-game avatar creation processes, allowing players to construct anything from traditional to aliens, medieval knights, monsters, robots, and many more. 's 2007 book 'Alter Ego, Avatars and their creators' pairs photographs of players of a variety of MMO's with images of their in-game avatars and profiles; recording the player's motivations and intentions in designing and using their avatars. The survey reveals wide variation in the ways in which players of MMO's use avatars., creator and star of, created a song called ' which satirizes avatars and. Game consoles such as the,, and (shown here) feature universal animated avatars. 's console allows for the creation of avatars called ' that take the form of stylized, cartoonish people and can be used in some games as avatars for players, as in. In some games, the ability to use a Mii as an avatar must be unlocked, such as in.

On November 19, 2008, released an Dashboard update which featured the introduction of as part of the console's. With the update installed users can personalize the look of their Avatars by choosing from a range of clothing and facial features. On August 11, 2009, the Avatar program was updated with the inclusion of an Avatar Marketplace feature that allows users to purchase additional product and game branded clothing, jewelry, full body suits, and animated props. On initial release of the update, game branded content included items from,,,,, and special edition.

The Xbox LIVE Avatar Marketplace is updated weekly with new items. For 's console also features the use of avatars, but with a more realistic style than Nintendo's Miis or Microsoft's Avatars. Non-gaming online worlds [ ] Avatars in non-gaming are used as two- or three- human or of a person's inworld self.

Such representations are a tool which facilitates the exploration of the virtual universe, or acts as a focal point in conversations with other users, and can be customized by the user. Usually, the purpose and appeal of such universes is to provide a large enhancement to common online conversation capabilities, and to allow the user to peacefully develop a portion of a non-gaming universe without being forced to strive towards a pre-defined goal. In non-gaming universes, the criteria avatars have to fulfill in order to become useful can depend to a great extent on the age of potential users. Research [ ] suggests that younger users of put great emphasis on fun and entertainment aspects of avatars.

They are also interested in the simple ease of use of avatars, and their ability to retain the user’s. [ ] Meanwhile, older users pay great importance to an avatar’s ability to reflect their own appearance,, and personality.

[ ] Most older users also want to be able to use an avatar’s expressive functionalities (such as showing emotions), and are prepared to learn new ways of navigation to do it. [ ] Surprisingly, some evidence suggests that avatars that are more anthropomorphic are perceived to be less credible and likeable than images that are less anthropomorphic.

Social scientists at 's Virtual Human Interaction Lab examine the implications, possibilities, and that occur when people interact via avatars. Avatar-based non-gaming universes are usually populated by age groups whose requirements concerning avatars are fulfilled. [ ] For example, most users of, and are aged 10 to 15 years, while users of and are 13 to 18. [ ] The reason may well be the properties and functionalities of the avatars of these virtual communities, as well as what the games are able to give to their players. In contrast, and target users aged 22 to 49 and their avatars allow for a wide range of social interactions, including the expression of emotions: laughing, waving, blowing kisses, and rude gestures.

[ ], most of whose users seem to be older, [ ] allows users to use their own images as avatars. This turns the avatar into a direct reflection of users' real-life appearance, as desired by older users. Lisa Nakamura has suggested that customizable avatars in non-gaming worlds tend to be biased towards lighter skin colors and against darker skin colors, especially in those of the male gender. In avatars are created by residents and take any form, and range from lifelike humans to robots, animals, plants and mythical creatures. Is one of the most important entertainment aspects in non gaming virtual worlds, such as,, and.

Many virtual worlds are providing users with tools to customize their representations, allowing them to change shapes, hair, skins and also genre. Moreover, there is a growing secondary industry devoted to the creations of products and items for the avatars. Some companies have also launched social networks and other websites for avatars such as, Myrl, and.

Customization [ ] Early examples of customizable avatars include multi-user systems, including. Most forums use a small, (PNG) or (GIF) file to display a small image next to posts from a user. Has a customizable avatar where users can dress it up as desired.

Users may earn credits for completing sponsored surveys or certain tasks to purchase items and upgrades to customize their avatar. 's Second Life creates a in which avatars, homes, decorations, buildings and land are for sale. Less-common items may be designed to appear better than common items, and an experienced player may be identified from a group of new characters before in-game statistics are seen. Described a middle-aged man who played an aggressive, confrontational female character in his online communities, displaying personality traits he was embarrassed to display in the offline world. Research by Nick Yee of the Daedelus Project demonstrates that an avatar may differ considerably from a player's offline identity, based on gender.

However, most players will make an avatar that is (proportionately) equal to their height (or slightly taller). Sherry Turkle has observed that some players seek an emotional connection they cannot establish in the real world. She described a case in which a man with a serious heart condition preventing him from ordinary socializing found acceptance and friendship through his online identity. Others have pointed out similar findings in those with making difficult, such as those with or similar disabilities. Academics [ ] Avatars have become an area of study in the world of academics. The emergence of online avatars have profound implications [ ] for domains of scholarly research such as studies, which is concerned with all aspects of human identity in a technological society and also the and its effects upon the psyche.

Paul Hemp has written an article for the Harvard Business Review, where he analyses the effects of avatars on real-world business. He focuses on the game 'Second Life', and shows that the creators of virtual avatars are willing to spend real money to purchase goods marketed solely to their virtual selves.

The Journal of Computer-Mediated Communication published a study of the reactions to certain types of avatars by a sample group of human users. The results showed that users commonly chose avatars which were humanoid and matched their gender. The conclusion was that in order to make users feel more 'at home' in their avatars, designers should maximise the customizability of visual criteria common to humans, such as skin and hair color, gender, hair styles and height. Researchers at York University studied whether avatars reflected a user's real-life personality. Student test groups were able to infer upon extraversion, agreeableness, and neuroticism, but could not infer upon openness and conscientiousness. Social media [ ] Another use of the avatar has emerged with the widespread use of platforms.

There is a practice in social media sites: uploading avatars in place of real profile image. Profile picture is a distinct graphics that represent the identity of profile holder. It is usually the portrait of an individual, logo of an organization, organizational building or distinctive character of book, cover page etc. Using avatars as profile pictures can increase users' perceived level of which in turn fosters reciprocity and sharing behavior in online environments.

According to MIT professor Sherry Turkle: '. We think we will be presenting ourselves, but our profile ends up as somebody else - often the fantasy of who we want to be'. In popular culture [ ] Cartoons and stories sometimes have a character based on their creator, either a fictionalised version (e.g.

The character in some episodes of ) or an entirely fictional character (e.g. In the has been said by to be based upon herself). Such characters are sometimes [ ] known as 'author avatars'. Generators [ ] To meet the demand for millions of unique, customised avatars, generator tools and services have been created. Portals [ ] As avatars grow in use, services to centralize design, management and transportation of digital avatars start to appear. [ ] They can offer to deployed in virtual worlds, online games, social networks, video clips, greeting cards and mobile apps, as well as professional animation and pre-visualization projects. For example, seems to be the first solution to bring together complex 3D modeling, consumer ease of use and fully interoperable avatars.

See also [ ] • • • - 1977 novel • • • • References [ ]. Code and Other Laws of Cyberspace. Basic Books, 2000.

• Fink, Jeri. Cyberseduction: Reality in the Age of Psychotechnology. Prometheus Books, 1999. • Blackwood, Kevin.

Casino Gambling For Dummies. For Dummies, 2006. • Kinzler, Steve.. Picons Archive.

Retrieved 24 May 2014. • In Mulligan, Jessica; Patrovsky, Bridgette (2003). Developing online games: an insider's guide.

New Riders., Randy Farmer is quoted (p.454): 'It is important to realize that the term 'avatar' was used in another game later [??] in that period (Ultima IV) and that the concept of an 'avatar' was in several works of fiction prior to the development of Habitat including 's and 's.' • Jordan, Tim. Cyberpower: The Culture and Politics of Cyberspace and the Internet. Routledge, 1999.

Insights from the greatest minds in video games. Retrieved 2017-12-15. • Morabito, Margaret.

'Enter the Online World of LucasFilm.' 1986: 24-28 • Spinrad, Norman.

Songs from the Stars. New York: Pocket Books, 1981. • • Stephenson, Neal. New York: Bantam, 2003 (reissue). • ^ • October 24, 2006, at the. • ^ Authors: Alisa Kongthon, Chatchawal Sangkeettrakarn, Sarawoot Kongyoung and Choochart Haruechaiyasak. Published by ACM 2009 Article, Bibliometrics Data Bibliometrics.

Published in: Proceeding, MEDES '09 Proceedings of the International Conference on Management of Emergent Digital EcoSystems, ACM New York, NY, USA.,: •, The Golden Age Arcade Historian (November 22, 2013) • (1974), Arcade Flyer Museum • Damer, B. Exploring and Building Virtual Worlds on the Internet. Berkeley: Peach Pit Press, 1997. • • •, Brain Pickings, December 14, 2011, • Damer, Bruce. Avatars: Exploring and Building Virtual Worlds on the Internet.

Peachpit Press, 1997. • Nowak, Kristine L.

Journal of Computer-Mediated Communication. • • Nakamura, Lisa. Cybertypes: Race, Ethnicity, and Identity on the Internet. Routledge, 2002. • I, Avatar, Mark Stephen Meadows, New Riders, Berkeley, 2008 • Sterling, Bruce (September 28, 2007)... • ^ Bear, Amy (27 April 2010)..

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• ^ McCorduck, Pamela.. Retrieved 15 December 2012. • ^ Yee, Nick (17 February 2008).. The Daedalus Project. Retrieved 15 December 2012. • Harris, Stephen (23 April 2010).. Online Conference on Networks and Communities.

Retrieved 15 December 2012. • Brunskill, David (December 2013). 'Social media, social avatars and the psyche: is Facebook good for us?' Australasian Psychiatry. 21 (6): 527–532.. • Hemp, Paul.

'Avatar-based marketing.' Harvard business review 84.6 (2006): 48-57. (2005), The Influence of the Avatar on Online Perceptions of Anthropomorphism, Androgyny, Credibility, Homophily, and Attraction. Journal of Computer-Mediated Communication, 11: 153–178.: • ^ Gregoire, Carolyn (14 January 2015).. The Huffington Post. Retrieved 17 January 2015.

• Teubner, T.; Adam, M.; Camacho S; Hassanein K. Retrieved 23 March 2015.

• Turkle, Sherry. 'Alone Together: Why we expect more from technology and less from each other' Basic Books (2011): 153. • • Pariah S. Burke, Macworld.com (September 21, 2009).. •, by Rob Lewis, techvibes, 02 dec 2009. Further reading [ ] • Holzwarth, Martin, Janiszewski, Chris, Neumann, Marcus: 'The Influence of Avatars on Online Consumer Shopping Behavior' in: Journal of Marketing, October 2006, Volume 70, Issue 4 • Meadows, Mark Stephen (2008) 'I, Avatar; The Culture and Consequences Of Having A Second Life,' Peachpit / New Riders, • Cooper, Robbie 'Alter Ego: avatars and their creators'.

London:, 2007. • Sloan, R.J.S., Robinson, B., Cook, M., and Bown, J. Dynamic emotional expression choreography: perception of naturalistic facial expressions. Blastland, editors, SAND Conference Proceedings, Swansea, UK 24–28 November 2008. Swansea Metropolitan University: Swansea • Wood, Natalie T, Michael R. Solomon and Basil G. Englis (2005) 'Personalization of Online Avatars: Is the Messenger as Important as the Message?'

International Journal of Internet Marketing and Advertising, 2 (1/2), 143-161. External links [ ] Look up in Wiktionary, the free dictionary. At Curlie (based on ).