EPT
Rule #1: NO ONE PLAYS THE AVATAR.
Seriously though, no player character should be the Avatar. While it’s all well and good for a TV show to focus primarily on a single character, doing this in a tabletop game undermines one of the best parts of pen-and-paper RPGs: teamwork. Since there would be no way to avoid fixating upon a character literally central to the entire setting, it’s best that none of the players acquired such power. Moreover, the Avatar class (which I am planning on writing up regardless of my opinions for its general use) should be incredibly overpowered, much like the Avatar itself. This means there’s even more reason to avoid having a PC Avatar; the only thing worse for a table than players not feeling like they can contribute to the story is players not feeling like they can contribute to the story or the gameplay. Luckily, one can tell plenty of stories that don’t feature the Avatar as a central character, even in this setting. Electing to set your game during the Hundred Years War is the most obvious way to avoid contact with the Avatar, but the first 15 years or so of any Avatar’s life are likely to include little direct influence of the master of all four elements. If the Avatar must appear in your story, he or she can do so as an occasional ally, an NPC teammate, or even an adversary. Perhaps there are some groups with players who will be okay with donating their “stage time” to a fellow player acting as the Avatar. However, if you aren’t certain that this will be the case, don’t bother offering the possibility.
Even without the Avatar as an option, there are innumerable powerful characters that one could play within the Avatar universe. Character creation is where some organization becomes necessary to translate between the world of Avatar and the rules of D&D 5E. Avatar’s setting is one with strict divisions of power, specifically the division between benders and nonbenders and those divisions among the four styles of elemental bending. To make these differences palpable in game, both benders and nonbenders are restricted to specific sets of classes, all of which can be found in the 5E Player’s Handbook. Each bending element comes with a set of classes to choose from, while nonbenders have a few more options that overlap with some of the bending classes. For obvious reasons, primary spellcasting classes are only found within the bending class options, and the magical elements of the nonbending classes (such as the Fighter’s Eldritch Knight and the Rogue’s Arcane Trickster) are unavailable to them. If one chooses to play with non-human races in your campaign (which is obviously not an option in the Avatar canon), those too would be restricted based on the choice of bender, nonbender, and which element.
Each class in this 5E variant will have different archetypes than those that are available in the 5E PHB, and all of these will be detailed in later posts that dive into the selections available to each element and none. You could certainly use the extant archetypes in this setting (for example, a nonbending Champion Fighter or a firebending Vengeance Paladin would definitely fit in), but the ones I will eventually post on the blog should match the flavor of this variant much more closely. I also mentioned above that spellcasting classes were restricted to benders, but what about traditionally “martial” classes like Fighter, Rogue, or Barbarian?* The solution to the lack of magic for martial benders is a weapon variant called “disciplines.” At their simplest, disciplines simply replace weapons. Instead of a longbow, an airbending Ranger would use a wind slice, which that airbender would “equip” like they would a longbow. However, there are several differences between disciplines and weapons. The first is acquisition, though even that is similar. A weapon is found at a smithy, but disciplines come from a master. You pay for both, but the discipline requires time to learn. You could also find technique scrolls detailing rare disciplines instead of magic items in a treasure horde. Secondly, there are more ownership restrictions on disciplines than on weapons. Disciplines have level requirements (to demonstrate the mastery of the element required to learn a discipline) and benders have a limit of disciplines that they can learn and equip at the same time (which also increase with level). Finally, disciplines tend to have effects other than damage, even at low levels. A waterbender’s engulfing ice will do damage and also Paralyze, for example. Of course, benders could use regular weapons, like their nonbending counterparts, but if you’re looking to play a bender, why would you? Finally, if this makes playing a nonbender sound boring, then don’t worry: nonbending weapons and skills will be able to match the incredible powers of the benders.
* As “mundane” as any D&D class gets.
Let’s start our class breakdowns with the nonbenders. Nonbenders can hail from any nation, be any race (if you are using the race variant), and have the greatest number of classes to choose from, though they are restricted to non-magical archetypes within said classes.
- Nonbender Fighters range from brawlers to soldiers to weapons masters, just like their 5E counterparts. Piandao, Sokka’s master and the creator (more or less) of the legendary “space sword” is a Fighter (likely a Champion or a slight variation thereupon) while Sokka himself is also a Fighter, tending more toward the Battle Master archetype. In contrast, Asami is a Machinist Fighter, a custom archetype common to the setting during the Legend of Korra timeline. Machinists make use of Future Industries’ (and other companies’) technology to aid in their fighting, such as the shock gauntlets employed by Amon’s anti-bending movement.
- The prototypical Rogue in the Avatar setting is the Blue Spirit, a cunning and stealthy warrior adept at striking from the shadows. The pirates from The Last Airbender, Book 1, are also classed as Rogues (for the most part), and some of them even seem to be of the Swashbuckler archetype (found in one of WotC’s early Unearthed Arcana for 5E). There are also Rogues among Jet’s crew, such as Smellerbee, not to mention many of the nameless henchmen.
- One could find few more ideal nonbender Paladins than the Kiyoshi Warriors. Powerful, stoic, and bound by codes of compassion and law, the fan-wielding women are as close to 5E’s Paladins (at least in a non-magical sense) as any faction in either The Last Airbender or The Legend of Korra. On the less inspiring side, I can imagine there also being Paladins among the Gan Jin tribe, considering their overarching obsession with order.
- Rangers are surprisingly common among Avatar’s nonbenders. When I think of D&D Rangers, I consider three variants: the ranged-weapon ranger, the two-weapon ranger, and the animal companion ranger. All three of these can be found in the Avatar universe. Representing two-weapon nonbending rangers is Jet (whose weapons were far cooler than he ever was) and, once again, the Blue Spirit (you’ll find that the main characters of the shows tend to be a little overpowered from a D&D perspective). The ranged faction includes Mei, a paragon of an inevitable “thrown weapon” archetype, as well as the Yuyan Archers. Finally, there are a number of human and beast pairs throughout the shows, but the best representation of a nonbending Ranger companionship is that of June the bounty-hunter and the shirshu, Nyla.
- Barbarians as defined in D&D 5E are not particularly prevalent in Avatar, though there are plenty of poorly-armored and brutishly-strong enemies throughout the series. The most obvious candidate for Barbarian is Jet’s friend Pipsqueak because it’s hard to imagine anyone who wields a massive log as anything else. Just based off of appearances, the Zhang tribe may contain some Barbarians, if only because of their weapon and armor choices. Finally, a few of the Rough Rhinos’ nonbending members might fall into the Barbarian camp due to their sheer power and viciousness.
- The Monk is one of the most integral nonbending classes, as only Monk truly captures the fluid movements and deadly strikes of the chi-blockers. One need only look at the fighting style of Ty Lee, the original chi-blocker, to see the similarities: incredible agility, blinding speed, and flurries of foe-wilting fists. Chi-blockers only become more prevalent in The Legend of Korra, as their terrifying skills represent one of the greatest threats presented by Amon’s revolution.
Of course, I expect that most people who are drawn to an Avatar setting will be drawn to the bending classes, so we’ll start by examining the Air Nomads. The Air Nomads are dedicated to tradition, discipline, and the pursuit of enlightenment. They also foster strong connections with each other and the creatures with whom they share their temples and skies.
- The most prevalent class within Air Nomad society is the Monk. Elusive, swift, and eschewing martial weaponry, airbenders such as Aang (ignoring for a moment his other elements) and Zaheer are natural fits for this class. In mastering the powers of the Air, airbending Monks would learn disciplines that coaxed the wind to carry their steps, scattered their foes with the force of a hurricane, or empowered themselves to fly through the sky, empty in heart and mind.
- The quiet reflection and constant study of traditional airbending masters places the Wizard in their domain. Tenzin is a mighty example of the powers that can be gained through a lifetime of discipline and focus. I also see Gyatzo as a Wizard airbender: a wise and powerful sage who serves as a mentor and possesses an oddball sense of humor. As is the case for all spellcasting classes among the various forms of bending, all the spells of airbending Wizards are based in the manipulation of the air. However, this should merely be an exercise for the players and GM to flavor existing spells in such a way that it would make sense for an airbender to use them. The spells of an airbending Wizard (or any bending spellcaster) provide far more versatility and varying effects than the disciplines of their more “martial” counterparts.
- Of the four bending cultures, the Air Nomads seem to be the closest to animals, making Ranger an obvious choice for the third and final airbending class. Certainly The Last Airbender would not have been nearly as wonderful without Aang’s friendships with Appa and Momo, but Jinora and Bumi (Aang’s son) continue the tradition of strong ties between airbenders and pet-like companions (spirits, in this case) in The Legend of Korra. Rangers are also adept at attacking from range, so airbending Ranger disciplines empower their users to strike from afar with great gusts of wind.
The fluid and everchanging nature of waterbending means that the Water Tribe contains the greatest bending variance of all the bending societies. From mighty and martial to holy and healing to chilling and creepy, the waterbending classes cover a lot of ground (or sea, I suppose). Luckily, 5E’s classes are varied enough to encompass all the styles of the mercurial benders of water.
- The Water Tribe warriors are among the most fierce and powerful in the series, but they possess myriad techniques for bringing their element to war, classifying them as Fighters. Master Pakku, Tonraq, and Ming-Hua fit with this class as all are powerful warriors with distinct and deadly arts. Waterbending Fighters might focus on oppressive disciplines to control crushing waves and slicing ice or they might utilize subtler techniques, such as whips of water and bladed snow.
- As members of the Water Tribe are the natural healers of the bending world, it makes sense that the best healer of 5E, the Cleric, is counted among the waterbending classes. The purest example of such healers is Yugoda, the healing master of the North Pole, but Katara, Korra, and Kya all possess the ability to heal to some extent (especially Katara in her old age). On the opposite side of the coin is Unalaq, whose spiritualism, healing, and purification techniques certainly classify him as a Cleric, but one of a dark god and of darker intentions. Clerical disciplines would be simple overall, but their spells would flow and mold to fit whatever crisis besets their caster.
- Of the bending disciplines, I fear waterbending the most, for its malleable and ubiquitous nature is the easiest to shape into darkness. Waterbending’s darker side is represented by the Warlock, in large part due to the demonic threat of bloodbending. Amon, Hama, and Katara fall into this class because their ability to employ that vile art, even if they choose not to, separates them from all other waterbenders. Waterbending Warlocks (or, more simply, water witches) employ the most esoteric of waterbending techniques, bringing the power of the Moon and the Ocean to bear in the most unsettling ways.
When compared to the benders of water and air, earthbenders appear to be far more clear-cut. After all, most earthbenders care little for subtlety and choose force over finesse. Yet this impression belies the incredible variety of earthbending styles, most of which are represented (or straight-up invented) by Toph. While none of us can be Toph (speaking of overpowered), anyone can create a unique earthbending character if we examine the rarely-explored nuances of the Earth Kingdom inhabitants.
- Of course, the prototypical (and stereotypical) earthbender must still be considered, and their personalities and styles are most reminiscent of the Barbarian. Aggressive, stubborn, stalwart: all are readily-acknowledged traits of earthbenders and Barbarians alike. The examples of this faction of the Earth Kingdom are almost too many to count: The Boulder, King Bumi, Xin Fu, Bolin, Ghazan, Kiyoshi, and countless others fall into the category of earthbending Barbarians. As one might expect, the disciplines of these earthbenders cover everything from “throw a big rock” to “bury you in a rockalanche.” The pinnacle of such techniques is magmabending, as the combination of earth and fire comes exclusively with the powerful rage inherent to the Barbarian class.
- When those who have mastered the subtleties and secrets of earthbending arise, they often possess close connections with the earth itself, aligning them with the Druid class. Druids were the most difficult of the D&D classes to place, but their connection to the land and their tendencies toward peaceful neutrality (neutral jing?) compelled me to place them with the earthbenders. Toph is, of course, the primary example of a master Druid earthbender: her connection to the earth is so powerful that she learned her art from badgermoles and invented metalbending (a Druid-only skill) by finding what earth remained in the artificial substance. In her old age, she moves even closer to her class origins by settling within the Foggy Swamp and harmonizing with the land. Other earthbending Druids include Toph’s daughters, Lin and Suyin, Kuvira, and the Canyon Guide.
- As with waterbending, there is an esoteric and occasionally nefarious side to earthbending, which is best represented by 5E’s Rogue. To understand this choice, take a look at the Dai Li, an organization of secretive and subtle earthbenders who use a typically explosive bending art to enforce their dark order and silence dissent with extreme prejudice. From a metagaming perspective, they literally have the legerdemain skill from the Rogue’s Arcane Trickster archetype, so that helped. The sandbenders also fall into the Rogue camp, not merely for their single defining theft, but for the malleable and shifting nature of the substance they bend, which gives me a Roguish impression.
Last but not least are the firebenders. The characterization of firebenders in The Last Airbender is one of the best parts of the show, especially in Books 2 and 3. While the creators of the show could’ve made them unilaterally evil (like Slytherins in Harry Potter), firebenders are shown early and often to be good people, even though they are on the wrong side of a war mired in evil intentions. As such, the goodness and potency of spirit possessed by firebenders is easily identifiable, providing solid foundations on which to build excellent characters. Between those foundations and the obvious connections (literally and metaphorically) to fire itself, firebenders translate smoothly into several 5E classes.
- Honor, devotion, order: the firebenders greatly treasure the defining characteristics of the Paladin. In better times (such as in The Legend of Korra), firebenders direct their efforts to the pursuit of justice, compassion, and service to the greater good. Also, as the Hundred Years War proved, when that burning dedication is misled, utter devastation can be wrought. Zuko, Iroh, and even Ozai are firebending Paladins, albeit ones with extremely different goals and principles. These firebenders strike with disciplines that burn with the heat of their sacred tenets and shield with living bastions of flame.
- Nothing exemplifies Fire Nation better than an adventurer that is draconic, passionate, and innately powerful, so Sorcerer is an obvious choice for the second firebending class. Of course, the firebender’s draconic heritage is limited to one associated with fire, but that’s the only major departure from the vanilla 5E archetype in this variant. Azula exemplifies the ideals of the Sorcerer more than any other firebender: she is ferocious, prodigious, and demanding of perfection. Conbustion Man and P’li are also Sorcerers, as I can’t imagine long-range explosion sniping as anything other than Sorcerous. Jong Jong also feels like a Sorcerer to me, though he probably has some Paladin levels as well.
- The final firebending class took a bit of creative twisting to fit in place. Tenuous as it seems at first glance, I believe that Bard fits best within the Fire Nation. This is at least partially for gameplay reasons: every element should have a healing class and Bard was the last one left. The narrative origin of this placement is a joke: after all, most of the performance art we see in Avatar comes from Fire Nation. Examples include music night with Iroh and his crew, the school band of Fire Nation youth in early Book 3, and the infamous Ember Island Players. While this artistry is mostly played for comedy in the show, these Fire Nation traditions allow Bard to fit within the culture. One other esoteric example, specifically involving the Bardic search for knowledge, is Admiral Zhou during his search for the identity of the Moon Spirit. Admittedly, that’s a bit of a stretch, but it’s enough to secure this class assignment. Firebending Bards would inspire with auras of glorious light, wither with waves of oppressive heat, and heal with invocations of invigorating warmth.
With these basic ideas established, we can dive more deeply into the individual classes for benders and nonbenders in future posts to see exactly how you could create an Avatar character in D&D 5E.
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