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Avatar: The Last Airbender
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This article is about the TV series. For the comic books, see Avatar: The Last Airbender (comics). For the 2010 film, see The Last Airbender.
Avatar: The Last Airbender
Also known as
Avatar: The Legend of Aang[1]
Genre
Action/Adventure
Fantasy
Comedy-drama
Created by
Michael Dante DiMartino
Bryan Konietzko
Written by
Michael Dante DiMartino
Bryan Konietzko
Nick Malis
Aaron Ehasz
Ian Wilcox
Tim Hedrick
John O'Bryan
Elizabeth Welch Ehasz
Joshua Hamilton
Joann Estoesta
Lisa Wahlander
Andrew Huebner
Gary Scheppke
Katie Mattila
Justin Ridge
Giancarlo Volpe
May Chan
Matthew Hubbard
James Eagan
Directed by
Lauren MacMullan (Seasons 1-2)
Dave Filoni (Season 1)
Giancarlo Volpe
Anthony Lioi (Season 1)
Ethan Spaulding (Seasons 2-3)
Michael Dante DiMartino (The Crossroads of Destiny)
Joaquim Dos Santos (Season 3)
Voices of
Zach Tyler Eisen
Mae Whitman
Jack DeSena
Jessie Flower
Dante Basco
Dee Bradley Baker
Jennie Kwan
Mako (Seasons 1–2)
Greg Baldwin (Season 3)
Mark Hamill
Grey DeLisle
Jason Isaacs
Clancy Brown
Composer(s)
Jeremy Zuckerman, Benjamin Wynn
Country of origin
United States
Original language(s)
English
No. of seasons
3
No. of episodes
61 (list of episodes)
Production
Executive producer(s)
Michael Dante DiMartino
Bryan Konietzko
Aaron Ehasz (co-executive)
Running time
23 minutes
Production company(s)
Nickelodeon Animation Studios
DR Movie
JM Animation ( South Korea)
MOI Animation ( South Korea)
Titmouse (opening)[2]
Release
Original network
Nickelodeon
Picture format
NTSC 4:3 (480i)
Original release
February 21, 2005 (2005-02-21) – July 19, 2008 (2008-07-19)
Chronology
Followed by
Avatar: The Last Airbender (comics)
The Legend of Korra (TV series)
The Legend of Korra (comics)
External links
Official website
www.nick.com/avatar-the-last-airbender
Avatar: The Last Airbender (Avatar: The Legend of Aang in some regions) is an American animated television series that aired for three seasons on Nickelodeon. The series started in February 2005, and concluded with a two-hour episode on July 2008. Avatar: The Last Airbender is set in an Asiatic-like world in which some people are able to manipulate the classical elements by use of psychokinetic variants of Chinese martial arts, known as "bending". The show combines the styles of anime and American cartoons, and relies on the imagery of various East Asian, Inuit, Southeast Asian, South Asian, and New World societies. The series follows the adventures of protagonist twelve-year-old Aang and his friends, who must bring peace and unity to the world by ending the Fire Lord's war against the other three nations. The show is obtainable from various sources, including DVD, the iTunes Store, and Amazon Video.
Throughout its run, the series has been commercially successful, and was universally acclaimed by audiences and critics alike. Praises went to the art direction, humor, cultural references, characters, and themes. The series has been nominated for and won awards from the Annie Awards, the Genesis Awards, a Primetime Emmy Award and a Peabody Award, among others. The first season's success prompted Nickelodeon to order second and third seasons. In other media, the series has spawned a critically panned, but financially successful, live-action film, titled The Last Airbender, directed by M. Night Shyamalan; scaled action figures; a trading card game; three video games; stuffed animals distributed by Paramount Parks and two Lego sets. An art book was also released in June 2010. A sequel series, The Legend of Korra, aired from 2012 to 2014.
Contents
[hide]
1 Premise
1.1 Setting
1.2 Backstory
1.3 Plot
1.3.1 Book One: Water
1.3.2 Book Two: Earth
1.3.3 Book Three: Fire
2 Production
3 Other media
3.1 Books
3.2 Merchandise
3.3 Video games
3.4 Film
3.5 Sequel
4 Reception
4.1 Ratings
4.2 Critical response
4.3 Awards and nominations
5 References
6 External links
Premise
Setting
A map of the four nations. The characters at the top, 群雄四分, mean "Powers are divided into Four". The characters of the four lands are 水善 (Water is Benevolent), 土強 (Earth is Strong), 火烈 (Fire is Fierce), and 气和 (Air is Peaceful). The phrase at the bottom, 天下一匡, reads "The world (all under heaven) is guided by one".
Avatar: The Last Airbender takes place in a world that is home to humans and hybrid animals, adjacent to a parallel Spirit World. Human civilization is divided into four nations: the Water Tribes, the Earth Kingdom, the Fire Nation, and the Air Nomads. Each has a distinct society, wherein select people known as "benders" have the ability to manipulate and control the element of their nation using the physical motions of martial arts. The show's creators based each bending style on an existing Chinese martial art, leading to clear visual and physical differences in the techniques used by Waterbenders (Tai Chi), Earthbenders (Hung Ga Kung Fu), Firebenders (Northern Shaolin Kung Fu) and Airbenders (Baguazhang).[3] In addition to these four types of bending, there are several minor subcategories of bending within them, including but not limited to: Metalbending, Sandbending (Earth); Lightning generation and redirection (Fire) and Bloodbending, Healing, Plantbending (Water).
At any given time, only one person in the world is capable of bending all four elements: the Avatar. When the Avatar dies, the Avatar spirit is reincarnated into the next one of the four nations in the Avatar Cycle: the Fire Nation, Air Nomads, Water Tribe, Earth Kingdom, in order. An Avatar incarnation is born alternating male or female, and is required to master each bending art in seasonal order from the age of sixteen, starting with its native land's element (Fire: Summer, Air: Autumn, Water: Winter, Earth: Spring). Additionally, the Avatar can enter a phase known as the Avatar State: normally a defense mechanism until placed under his/her control through mental discipline, wherein the current Avatar gains the knowledge and abilities of all past Avatars until the phase ends. While it is when the current Avatar is their most powerful, if they were to be killed while in the Avatar State, the reincarnation cycle would end and the Avatar would never again be reborn.[4] The Avatar exists as an international arbiter, maintaining a relative equality among the nations while serving as mediator between humans and spirits.[3][5] The origin of the Avatar and the Avatar cycle is revealed in the sequel series The Legend of Korra, as the result of a young man named Wan combining his soul with the spirit Raava to imprison her opponent, Vaatu. The sequel series also revealed that bending was originally bestowed by the immense Lion Turtles, before these giant creatures renounced their roles as mankind's protectors upon the creation of the Avatar.
Backstory
The backstory of the series (told largely through flashback sequences) extends backward to over 100 years before the time period in which the bulk of the series takes place, but these prelude events are revealed slowly in a fragmented, non-linear manner. More than a century before the opening events of the series, Fire Lord Sozin, ruler of the Fire Nation, planned a world war to expand his nation's territory and influence, but was prevented from carrying out his plans by Avatar Roku, who was born of the Fire Nation. When Roku died, however, Sozin saw his chance and proceeded with his plans.
After Roku's death, the Avatar was reincarnated as an Airbender, named Aang. Because of the threat of Sozin's war, Aang learned of his Avatar status when twelve years old. Aang, frightened of his new responsibilities and of separation from his mentor Gyatso, fled his home on his flying bison, Appa. The two were forced into the ocean by a storm, with Aang entering the Avatar State and encasing them both in an iceberg, in suspended animation, for one hundred years.
Sozin, knowing that the nature of the Avatar's reincarnation cycle mandated that an Air Nomad had become the new Avatar, carried out genocide of the Air Nomads during the passing of a comet that passes Earth every one hundred years and increases the Firebenders' power, with the comet later renamed after him as a result, and spent his remaining days searching for Aang, the eponymous "Last Airbender". As the Fire Nation's hundred-year war continued, Sozin was succeeded as Fire Lord by his son, Azulon, who in turn passed the title to his youngest son, Ozai, who is the primary antagonist of the series.
Plot
Main article: List of Avatar: The Last Airbender episodes
Book One: Water
Main article: Avatar: The Last Airbender (season 1)
This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.
Katara, a fourteen-year-old Southern Tribe Waterbender, and her older brother, Sokka, find and revive Aang and Appa. Aang learns of the war occurring in his absence, and the siblings join him to reach the Northern Water Tribe at the North Pole, so that he and Katara can learn Waterbending from a master. Aang's return attracts the attention of prince Zuko, the exiled son of Ozai, who pursues the three thereafter. Aang is also pursued by Zhao, a Fire Nation admiral who intends to win Ozai's favor and rob Zuko of his redemption.
En route to the North Pole, Aang meets the Kyoshi Warriors (established by an eponymous previous Avatar) and his childhood friend, King Bumi, attempts to learn Firebending from the deserter Firebending master, Jeong Jeong, and gains a traveling companion in a winged lemur he names Momo. Aang discovers the genocide of his people while visiting the Southern Air Temple. During the winter solstice, Aang meets the spirit of his predecessor, Avatar Roku, who was a member of the Fire Nation.
At the Northern Water Tribe, Aang and Katara learn advanced Waterbending from its Master, Pakku, while Sokka falls in love with Princess Yue, the tribal chief's daughter. Zhao lays siege to the Northern Water Tribe, seizing the mortal forms of the Ocean and Moon Spirits, the source of waterbending, and thus causing a lunar eclipse. Zhao kills the moon spirit to render the Waterbenders powerless. Aang uses his Avatar State and combines with the Ocean Spirit to drive off the enemy's fleet while Princess Yue sacrifices her life to revive the Moon Spirit. When Ozai hears of Iroh's resistance to Zhao, he sends his daughter, Azula, to capture Iroh and Zuko.
Book Two: Earth
Main article: Avatar: The Last Airbender (season 2)
After leaving the Northern Water Tribe, Aang continues to master Waterbending under Katara's tutelage as the group searches for an Earthbending teacher. Their search brings them to Toph Beifong, a twelve-year-old blind tomboy and Earthbending prodigy who wants independence from her upper-class family. Pursued by Azula, Zuko and Iroh lead new lives in the Earth Kingdom, first as wanderers and later as refugees in the capital of Ba Sing Se. At a library guarded by the spirit Wan Shi Tong, Aang and his group learn that an imminent solar eclipse could allow them to stop the Fire Nation before Sozin's Comet arrives. Their journey to Ba Sing Se to inform the Earth King of this is complicated when Appa is kidnapped. At the city, they find the Earth King Kuei and Ba Sing Se manipulated by Long Feng, the leader of the Dai Li secret police.
After Aang's group finds Appa and exposes Long Feng, Toph is captured, but escapes by "Metalbending", while Aang attempts to consciously access the Avatar state. The Dai Li join Azula to instigate a coup d'état of Ba Sing Se; and Zuko, having tried to ignore his past obsession, relapses when the Avatar appears to rescue Katara. As Aang tries to enter the Avatar state, Azula nearly kills him. With Ba Sing Se and the Earth Kingdom now under Fire Nation rule, the group escapes thanks to Iroh, who is imprisoned for betraying the Fire Nation, and Kuei goes into hiding.
Book Three: Fire
Main article: Avatar: The Last Airbender (season 3)
See also: Sozin's Comet: The Final Battle
Aang recovers from a long coma to find his friends and allies disguised as soldiers on a Fire Nation ship, preparing invasion of the Fire Nation. Despite receiving credit for the Avatar's apparent death, Zuko regrets his role therein. Although the invasion meets great success at first, Aang and his friends are unable to find Ozai and are forced to retreat with many of their allies captured. At the same time, having learned of his father's intention to destroy the Earth Kingdom at the time of Sozin's Comet, Zuko leaves the palace to teach Aang Firebending.
As the comet approaches, Aang becomes reluctant to kill Ozai, and goes alone to consult his predecessors' spirits. Katara and the others unsuccessfully search for Aang, and find the newly escaped Iroh, joined by the other members of a secret society called the Order of the White Lotus: Bumi, Master Pakku, Jeong-Jeong, and Master Piandao (a master swordsman who taught Sokka). Together, the Order of the White Lotus liberates Ba Sing Se. Sokka, Toph, and Kyoshi Warrior Suki hinder the Fire Nation's airships, while Zuko and Katara prevent Azula from becoming the new Fire Lord. As Sozin's Comet arrives, Aang confronts Ozai, but finds himself in a losing battle until Ozai mistakenly re-establishes Aang's connection to the Avatar State. Thus enabled, Aang strips Ozai of his firebending powers, instead of killing him.
Soon after, Zuko is crowned the new Fire Lord and initiates an armistice. The series ends in a meeting of all the protagonists at Ba Sing Se in Iroh's tea shop, the Jasmine Dragon, where Aang and Katara hug and then kiss beneath the sunset. The camera then zooms up and into the sunset, displaying the words "The End" with their Chinese counterparts above them.
Production
Michael DiMartino (left) and Bryan Konietzko (right), the co-creators of the show.
Avatar: The Last Airbender was co-created and produced by Michael Dante DiMartino and Bryan Konietzko at Nickelodeon Animation Studios in Burbank, California. Animation work was mostly done by three animation studios in South Korea: JM Animation, DR Movie, and MOI Animation. According to Bryan Konietzko, the program was conceived in the spring of 2001 when he took an old sketch of a balding, middle-aged man and re-imagined the character as a child.[6] Konietzko drew the character herding bison in the sky, and showed the sketch to Mike DiMartino. At the time, DiMartino was studying a documentary about explorers trapped in the South Pole. Konietzko described their early development of the concept:
“ We thought, "There's an air guy along with these water people trapped in a snowy wasteland... and maybe some fire people are pressing down on them..." ”
The co-creators successfully pitched the idea to Nickelodeon vice president and executive producer Eric Coleman just two weeks later.[7]
The series was first revealed to the public in a teaser reel at Comic-Con 2004,[8] and aired February 21, 2005. In the United States, the first two episodes of the series were shown together in a one-hour premiere event. A second twenty-episode season ran from March 17, 2006, through December 1.[9] A third and final season, beginning September 21, 2007, featured twenty-one episodes rather than the usual twenty.[10] The final four episodes were packaged as a two-hour movie.
Avatar: The Last Airbender is notable for borrowing extensively from East Asian art and mythology to create its universe. The series' character designs are heavily influenced by Chinese art, history, Hinduism, Taoism and Buddhism,[11] and Yoga.[12] Traditional Chinese calligraphy styles represent nearly all the writing in the series.[13] For each instance of calligraphy, an appropriate style is used, ranging from seal script (more archaic) to clerical script.[13] The show employed a cultural consultant, Edwin Zane, and calligrapher Siu-Leung Lee as consultants for the series' cultural influences.[12][14] The choreographed martial art bending moves were affected by Asian cinema.[6] In an interview, Bryan revealed that, "Mike and I were really interested in other epic 'Legends & Lore' properties, like Harry Potter and Lord of the Rings, but we knew that we wanted to take a different approach to that type of genre. Our love for Japanese anime, Hong Kong action and kung fu cinema, yoga, and Eastern philosophies led us to the initial inspiration for Avatar: The Last Airbender."[15]
All music and sound used in the series was done by Jeremy Zuckerman and Benjamin Wynn, who formed The Track Team. They experimented with use of a wide range of different instruments, the guzheng, pipa, and duduk, to compose background music.[16]
The term "Avatar" comes from Sanskrit (अवतार), wherein means "descent"; its roots are ava, "down," and tri, "to pass". In the Hindu scriptures, avatar signifies the mortal incarnation of a god (usually Vishnu). The Chinese characters apparent at the top of the show's title card mean "the divine medium who has descended upon the mortal world".[13] According to the plot, Aang unknowingly revealed he was the Avatar when by choosing four toys out of thousands, each of which were the childhood toys of previous Avatars. In Tibetan Buddhism, there is a similar test for reincarnations of a Tulku Lama. In Magic and Mystery in Tibet, Alexandra David-Neel writes that "a number of objects such as rosaries, ritualistic implements, books, tea-cups, etc., are placed together, and the child must pick out those which belonged to the late tulku, thus showing that he recognizes the things which were theirs in their previous life".[17] Each successor is born within a week of the previous Avatar, and is expected to show signs of continuity.
Avatar: The Last Airbender draws on the four classical elements for its bending arts: Water, Earth, Fire, and Air. Although each has its own variation, most ancient philosophies incorporate these four elements: examples include the classical Hindu, Buddhist, and Greek elemental traditions. In the show's opening, each element is accompanied by two Chinese characters: an ancient Chinese seal script character on the left representing the element being shown and a modern Chinese character on the right describing some feature of the element. The character 水 (pinyin: shuǐ), which stands for water, is shown with 善 (pinyin: shàn), which means good and benevolent. The character 土 (pinyin: tǔ), which stands for earth, is shown with 強 (pinyin: qiáng), which means strong and powerful. The character 火 (pinyin: huǒ), which stands for fire, is shown with 烈 (pinyin: liè), which means intense and fierce. Finally, the character 氣 (pinyin: qì), which stands for air, is shown with 和 (pinyin: hé), which means peace/peaceful and harmony/harmonious.[18]
In addition to the use of four classical elements in the series, the fighting styles associated with each element are derived from different styles of Chinese martial arts, for which the film-makers employed Sifu Kisu of the Harmonious Fist Chinese Athletic Association as a consultant.[19] Each fighting style was chosen to represent the element it projected. T'ai chi was used for "Waterbending" in the series, which focuses on alignment, body structure, breath, and visualization. Hung Gar was used for "Earthbending" in the series, and was chosen for its firmly rooted stances and powerful strikes to present the solid nature of earth. Northern Shaolin, which uses strong arm and leg movements, was used to represent "Firebending". Ba Gua, which uses dynamic circular movements and quick directional changes, was used for "Airbending".[3][20][21] The only exception to these styles is Toph, who can be seen practicing a Chu Gar Southern Praying Mantis style.[22]
Other media
Books
Main article: Avatar: The Last Airbender (comics)
Several books based on the series had been released. Dark Horse Comics released an art book titled Avatar: The Last Airbender – The Art of the Animated Series, on June 2, 2010, which contains 184 pages of the original art and creation behind the Avatar: The Last Airbender animated series.[23] Several comic book short stories were published in Nickelodeon Magazine, and on June 15, 2011, Dark Horse released a collection of these and new comics in a single volume, Avatar: The Last Airbender – The Lost Adventures.[24]
Dark Horse also publishes a graphic novel series by Gene Yang that continues Aang's story after the Hundred Years' War. Avatar: The Last Airbender – The Promise, published in three volumes in 2012, is about the fate of the Fire Nation colonies that eventually become The Legend of Korra's United Republic. A second set of three comic books, Avatar: The Last Airbender – The Search, focuses on Zuko and Azula and the fate of their mother, Ursa.[25] The third set, Avatar: The Last Airbender – The Rift, shifts the focus to Aang and the process of creating Republic City, as well as Toph's relationship with her family.[26]
Merchandise
Avatar: The Last Airbender's success has led to some promotional advertising with third-party companies, Burger King and Upper Deck Entertainment. Avatar: The Last Airbender-themed roller coasters at Nickelodeon Universe in the Mall of America and one formerly at Kings Island also appeared. During the show's runtime, Nickelodeon published two special issues of Nick Mag Presents dedicated entirely to the show. Various members of the Avatar: The Last Airbender staff and cast appeared at the 2006 San Diego Comic-Con International convention, while Michael Dante DiMartino and Bryan Konietzko appeared with Martial Arts Consultant Sifu Kisu at the Pacific Media Expo on October 28, 2006. Avatar: The Last Airbender also has its own line of T-shirts, LEGO playsets, toys, a trading card game,[27] a cine-manga, and three video games, as well as an MMO.[28]
The Fisher-Price-produced action figure toy line generated some controversy with its exclusion of any female characters.[29] Mattel came to release information stating that they have taken account of Katara's increased role within the program, and that she would be included in the figure assortment for a mid-2007 release.[30] The figure ultimately went unreleased, however, as the entire line was canceled before she could be produced.
Nickelodeon executives have since released optimistic plans for upcoming marketing strategies in regards to Avatar: The Last Airbender. Nickelodeon President Cyma Zarghami openly stated her belief that the franchise "could become their Harry Potter".[31]
Video games
A video game trilogy about Avatar: The Last Airbender has been created. Avatar: The Last Airbender, the video game, was released on October 10, 2006. Avatar: The Last Airbender – The Burning Earth was released on October 16, 2007. Avatar: The Last Airbender – Into the Inferno was released on October 13, 2008. The three games were loosely based on seasons one, two and three, respectively. Players can select characters and complete quests to gain experience and advance the storyline. The games were met with mixed to positive reviews (the ratings improved with each game), and the games did extremely well commercially; for example, Avatar: The Last Airbender was THQ's top selling Nickelodeon game in 2006 and even reached Sony CEA's "Greatest Hits" status.[32]
Avatar: Legends of the Arena, a massively multiplayer online role-playing game (MMORPG) for Microsoft Windows, was launched on September 25, 2008, by Nickelodeon.[33] Each user was able to create their own character, choose a nation, and interact with others across the globe.[33][34][35] Since the 2012 holiday season, the game's servers have been closed.
Film
Main article: The Last Airbender
The first season of the show became the basis for the 2010 live-action film The Last Airbender, written and directed by M. Night Shyamalan. It was intended as the first movie of a trilogy, with each of the three films to be based upon one of the three television seasons, but the film's reception was overwhelmingly negative from both critics and series fans alike, earning it a 6% rating on Rotten Tomatoes and five Razzies at the 31st Golden Raspberry Awards, including Worst Picture.[36] The film originally shared the title of the television series, but it was changed to simply The Last Airbender because producers feared it would be confused with the James Cameron film Avatar. The film stars Noah Ringer as Aang, Nicola Peltz as Katara, Jackson Rathbone as Sokka, Dev Patel as Zuko, and Shaun Toub as Iroh.
Sequel
Main article: The Legend of Korra
The Legend of Korra, a sequel series to Avatar: The Last Airbender, was announced at the Comic-Con in San Diego on July 22, 2010.[37][38] It is written and produced by Michael Dante DiMartino and Bryan Konietzko, the creators and producers of the original series.[39] Initially titled Avatar: Legend of Korra, then The Last Airbender: Legend of Korra, it takes place seventy years after the end of Avatar: The Last Airbender.[40] The first season of 12 episodes aired from April to June 2012, and a second season of 14 episodes aired from September 2013 to November 2013; a third season of 13 episodes aired from June 2014 to August 2014, and a fourth and final season of 13 episodes aired from October 2014 to December 2014.
The series' protagonist is Korra, a 17-year-old girl from the Southern Water Tribe and the incarnation of the Avatar after Aang's death. The character was partly inspired by Avatar Kyoshi of the original series, whom the creators say was popular among fans. To avoid repetition of Aang's adventures during the original series, the creators wanted to root the show in one place: Republic City. A concept drawing of the city, released with the announcement of the series, shows the city's design as inspired by Shanghai, Hong Kong, Manhattan, and Vancouver with a steampunk vibe.[41] In the show's first season, Korra has to learn airbending from Tenzin, the youngest son of Aang and Katara, and contend with Amon's anti-bender revolution taking place in the city.[42] The show's second season also provides the origins of the Avatar Cycle.
Reception
Ratings
The Avatar series was rated the best animated television series in its demographic upon its debut.[43] An average of 3.1 million viewers watched each new episode.[43] It was also commercially successful, garnering 5.6 million viewers on its best-rated showing and receiving high ratings in the Nicktoons lineup, even outside of its 6- to 11-year-old demographic.[44][45] Many people regard it as a major animated series, and it has gained somewhat of a cult following. A one-hour special showing of "The Secret of the Fire Nation" which aired on September 15, 2006, consisting of "The Serpent's Pass" and "The Drill", gathered an audience of 5.1 million viewers. According to the Nielsen Media Research, the special was the best performing cable television show airing in that week.[46] In 2007, Avatar: The Last Airbender was syndicated to more than 105 countries worldwide, and was one of Nickelodeon's top rated programs. The series was ranked first on Nickelodeon in Germany, Indonesia, Malaysia, The Netherlands, Belgium, and Colombia.[47]
The four-part series finale, Sozin's Comet: The Final Battle, received the highest ratings of the series. Its premiere averaged 5.6 million viewers, 95% more viewers than Nickelodeon had received in mid-July 2007.[48] During the week of July 14, it ranked as the most-viewed program for the under-14 demographic.[49][50] Sozin's Comet: The Final Battle also appeared on iTunes' top ten list of best-selling television episodes during that same week.[51] Sozin's Comet: The Final Battle's popularity affected online media as well; "Rise of the Phoenix King", a Nick.com online game based on Sozin's Comet: The Final Battle, generated almost 815,000 game plays within three days.[52] IGN listed the complete series as 35th in its list of Top 100 Animated TV Shows.[53]
Critical response
The series has received mostly positive reviews from critics. Max Nicholson of IGN considers the series as a "must-watch", and describes it as "one of the greatest animated series of all time".[54] Nick Hartel of DVD Talk calls the show very remarkable, and labels it as a "child friendly show"; while saying that its legacy "should endure for years to come".[55] Erik Amaya of Bleeding Cool describes the series as "impressive in its sophistication" and "fantastic".[56] Henry Glasheen of SLUG Magazine calls the series "adventurous and exciting" and a "classic", and irregularly makes him emotional.[57] Brittany Lovely of Hypable assured that the series tells "complex and beautiful" stories.[58] Joe Corey of Inside Pulse calls the series an anime and action hybrid.[59] Chris Mitchell of Popzara describes the series as one of best shows to air on Nickelodeon while praising the background music and the voice actors.[60] D.F. Smith of IGN recommends the series to people who enjoy action-adventure cartoons.[61] Rob Keyes of Screen Rant describes the series as "one of the greatest cartoons ever made".[62] Mike Noyes of Inside Pulse highly recommends the series to people who enjoy "great" adventure.[63] Gord Lacey of TVShowsonDVD.com describes the series as "one of the finest animated shows ever".[64] Todd Douglass Jr. of DVD Talk sees that adults will enjoy the series as much as kids do.[65] Joshua Miller of CHUD.com calls the series a "phenomenal" and "one of the most well animated programs (children’s or adult) American TV has ever had". He argues that the series is heavily influenced by anime.[66] Tim Janson of Cinefantastique describes the series as "one of the most engaging animated shows produced".[67] Dennis Amith of J!ENT described the series to be "one of the best animated TV series shown in the US by American creators". He praised the series for being the type to have creative freedom instead of kid-friendly plots to sell toy merchandise; and for having edginess, humor, and being action-packed.[68] Franco "Cricket" Te of Nerd Society describes the series as "one of the best cartoon[s]" he has ever seen. He considers that everyone should watch the series, as the characters are great and has a compelling plot.[69] Scott Thill of Wired described the series as engaging, and called the Avatar world "fantastic" while arguing it is influenced by the Eastern world.[70]
The writing and its theme has been widely praised by critics. Michael S. Mammano of Den of Geek describes the series' plot as "smartly-written" and compliments how the beautiful animation is brought into each episode.[71] Jenifer Rosenberg of ComicMix praises how the series shows how family, friends, community, and education is important.[72] Hartel comments that the series is able to touch on "genocide and self-doubt" themes while not writing in a way that can scare younger children; and write certain rogue characters as redeemable, while sending an important message that people can change without being bonded to their "destiny".[55] Mitchell calls the story presented in the series "fantastic".[60] Smith compares the series to Japanese action cartoons because it has a story instead of a show where its purpose is to sell merchandise. He comments that tone and dialogue from the series are "very American", and praises the humor that the series presents by calling it smart, and finding it impressive that writers of the series puts "funny gags and quips" in random places the audience would least expect. While he assures that the series has its funny moments, he argued that it manages to "hold up" having an epic and dramatic theme, and argues the series is not just for kids because it is shown in Nickelodeon.[61] Keyes praises the humor and its affecting plot, saying "[it] will capture your hearts" and discuss very dark themes and plot points.[62] Noyes describes the series' plot as epic, and assures that it manages to pull tiny bits of "classic fantasy epics" and mix them together to create new and great stories.[63] Douglass Jr. describes the plot as engaging, well-thought out and meaningful. He finds the concept of the series to be "well-realized", and the story to be consistent. He praises the character development, saying that the characters "[have] a real sense of progression". He praises the writers for nailing the dialogue and plot "perfectly" as it included great humor, extra drama, and a lot of emotions.[65] Miller comments that the series can be surprisingly dark often, while having a "silly" theme. He asserted that the on-going plot is faster than Lost, and similar to the show, the series is centered on character development. He sees the series being more than a kids show, as the writers would do "true adult levels of storytelling" in a sophisticated way.[66] Janson describes the series as more than being fantasy and superhero themed, as he views the characters are the center of the show; where fans of the series can relate to in a personal level.[67] Cricket considers that the series uses Buddhist philosophies as a reference, and comments that it is used perfectly. He views the themes of the series to be bravery and life in a "pretty diverse" way.[69]
Critics have also praised the character development, art, animation, and choreography. Amaya asserted that the characters having a lot of expressions is influenced by anime while later complimenting the animation as it goes well with the writing. He praised the fights, and the visuals of the elements that bender characters use; while considering that it was influenced by Hayao Miyazaki.[56] Douglass Jr. compliments the character development as interesting.[65] Rosenburg praises how females are portrayed in the series, labeling them as "strong, responsible, [and] intelligent".[72] Miller explains that bender characters using their bending on daily activities brings "depth and believability" to the Avatar world. He describes the designs from the series to be "rich and immersive" due to how each nation has their own look, and how the drawers bring more detail to minor things (e.g. designs of a temple). He praises the action scenes as "well rendered". He compares the development of the Avatar world to The Lord of the Rings, where some part of the audience would take a lot of time to figure out why something is there, when in reality there is no importance to it; but admits that it does add sum up to something big. He praised the choreography of the bender characters during fights; calling it "wonderful in its most minor details".[66] Smith compliments how the backgrounds of the series is made, saying the production crew puts effort in it.[61] Cricket compliments how the color palette is used in each episode due to how it matches the theme of it very well. He praises how the directors mix kung-fu movements with elements each bend character uses, making martial arts and magic flow well together instead of alternation between them; he goes further to say that they are inspired from martial arts in Chinese and Hong Kong, and praised the choreography of them.[69] Hartel argues that the animation does not match well with the story or vocal performance from actors; while complimenting it for being an improvement than previous shows that Nickelodeon aired in that time.[55] Mitchell calls the animation in the series fluent.[60] Cricket praises the animation while regarding it is influenced by manga.[69] Lovely praised the magnificent choreography of benders fighting but argues how non-bender characters in battle are "overshadowed" by how benders fight due to their element skill.[58] Corey describes the animation as a "great achievement" for how it captures the action and environments well.[59] Keyes praises the choreography in fights shown in the series.[62]
Awards and nominations
Year
Award
Category
Nominee
Status
Ref.
2005 Pulcinella Awards Best Action Adventure TV Series Avatar: The Last Airbender Won [73]
Best TV Series Avatar: The Last Airbender Won [73]
2006 33rd Annie Awards Best Animated Television Production Avatar: The Last Airbender Nominated [74]
Storyboarding in an Animated Television Production Lauren MacMullan for "The Deserter" Won [74]
Writing for an Animated Television Production Aaron Ehasz and John O'Bryan for "The Fortuneteller" Nominated [74]
2007 Nickelodeon Australian Kids' Choice Awards 2007 Fave Toon Avatar: The Last Airbender Nominated [75]
34th Annie Awards Character Animation in a Television Production Yu Jae Myung for "The Blind Bandit" Won [76]
Directing in an Animated Television Production Giancarlo Volpe for "The Drill" Won [76]
Genesis Awards Outstanding Children's Programming "Appa's Lost Days" Won [77]
59th Primetime Emmy Awards Outstanding Animated Program "City of Walls and Secrets" Nominated [78]
Outstanding Individual Achievement in Animation Sang-Jin Kim for "Lake Laogai" Won [79]
2008 2008 Kids' Choice Awards Favorite Cartoon Avatar: The Last Airbender Won [80]
Annecy International Animated Film Festival TV series Joaquim Dos Santos for "The Day of Black Sun, Part 2: The Eclipse" Nominated [81]
Peabody Awards N/A Avatar: The Last Airbender Won [82]
13th Satellite Awards Best Youth DVD Book 3 Fire, Volume 4 Nominated [83]
2009 36th Annie Awards Best Animated Television Production for Children Avatar: The Last Airbender Won [84]
Directing in an Animated Television Production Joaquim Dos Santos for "Sozin's Comet, Part 3: Into the Inferno" Won [84]
Golden Reel Awards Best Sound Editing: Television Animation "Sozin's Comet, Part 4: Avatar Aang" Nominated [85]
Nickelodeon Australian Kids' Choice Awards 2009 Fave Toon Avatar: The Last Airbender Won [86]
2010 Nickelodeon Australian Kids' Choice Awards 2010 Top Toon Avatar: The Last Airbender Nominated [87]
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External links
Wikiquote has quotations related to: Avatar: The Last Airbender
Wikimedia Commons has media related to Avatar: The Last Airbender.
Official website
Avatar: The Last Airbender on IMDb
Avatar: The Last Airbender at the Big Cartoon DataBase

[show]
v
t
e
Avatar
Created by Michael Dante DiMartino and Bryan Konietzko
The Last Airbender
Episodes
Book 1: Water
Book 2: Earth
Book 3: Fire
"Sozin's Comet"
Comics
The Promise
The Search
The Rift
Smoke and Shadow
North and South
Characters
Aang
Appa
Zuko
Katara
Sokka
Toph Beifong
Iroh
Azula
Video games
Avatar: The Last Airbender
The Burning Earth
Into the Inferno
Other
Lego
Roller coaster ride
Trading card game
The Legend of Korra
Episodes
Book 1: Air
"Welcome to Republic City"
Book 2: Spirits
"Rebel Spirit"
"The Southern Lights"
"Civil Wars"
Book 3: Change
Book 4: Balance
Comics
Turf Wars
Characters
Korra
Asami Sato
Bolin
Mako
Tenzin
Lin Beifong
Zaheer
Kuvira
Video games
The Legend of Korra
A New Era Begins
Film
The Last Airbender
video game
soundtrack
Zuko's Story
Related
Nicktoons Nitro
Nicktoons MLB
Book
Category
[show]
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Three-point field goal
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In American and Canadian football, a field goal happens to be worth three points.
Sara Giauro shoots a three-point shot at the 2005 FIBA Europe Cup Women's Finals
A three-point field goal (also 3-pointer or informally, trey) is a field goal in a basketball game made from beyond the three-point line, a designated arc surrounding the basket. A successful attempt is worth three points, in contrast to the two points awarded for field goals made within the three-point line and the one point for each made free throw.
The distance from the basket to the three-point line varies by competition level: in the National Basketball Association (NBA) the arc is 23 feet 9 inches (7.24 m) from center of the basket; in FIBA and the WNBA the arc is 6.75 metres or 22 feet 1 3⁄4 inches; and in the National Collegiate Athletic Association (NCAA) the arc is 20 feet 9 inches (6.32 m). In the NBA and FIBA/WNBA, the three-point line becomes parallel to each sideline at the points where the arc is 3 feet (0.91 m) from each sideline; as a result the distance from the basket gradually decreases to a minimum of 22 feet (6.71 m). In the NCAA the arc is continuous for 180° around the basket. There are more variations (see main article).
In 3x3, a FIBA-sanctioned variant of the half-court 3-on-3 game, the "three-point" line exists, but shots from behind the line are only worth 2 points. All other shots are worth 1 point.[1]
Contents
1 History
2 Rule specifications
3 Related concepts
4 See also
5 References
6 External links
History[edit]
The three-point line was first tested at the collegiate level in 1945 in a game between Columbia and Fordham, but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.
The three-point shot later became popularized by the American Basketball Association (ABA), introduced in its inaugural 1967–68 season.[3][4] ABA commissioner George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[5] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the NBA; its ninth and final season concluded in the spring of 1976.[6][7][8]
The official scorer's report showing the first three-point field goal in NBA history on October 12, 1979
Three years later in June 1979, the NBA adopted the three-point line for a one-year trial for the 1979–80 season,[9][10][11] despite the view of many that it was a gimmick.[12] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979; the season opener at Boston Garden was more noted for the debut of Larry Bird (and two new head coaches).[13][14] Rick Barry of the Houston Rockets, in his final season, also made one in the same game, and Kevin Grevey of the Washington Bullets made one that Friday night as well.[14][15]
The sport's international governing body, FIBA, introduced the three-point line in 1984, at 6.25 m (20 ft 6 in), and it made its Olympic debut in 1988 in Seoul, South Korea.
The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[16][17] Ronnie Carr of Western Carolina was the first to score a three-point field goal in college basketball history on November 29, 1980.[17][18][19] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference (ACC), and as far away as 22 ft (6.71 m) in the Big Sky.[20][21][22]
Used only in conference play for several years, it was adopted by the NCAA in April 1986 for the 1986–87 season at 19 ft 9 in (6.02 m)[23][24][25][26] and was first used in the NCAA Tournament in March 1987.[27] The three-pointer was adopted in women's basketball on an experimental basis for that season at the same distance, and made its use mandatory beginning in 1987–88.[28] In 2007, the NCAA lengthened the men's distance by a foot to 20 ft 9 in (6.32 m), effective with the 2008–09 season,[29] and the women's line was moved to match the men's in 2011–12.[28] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[30] The NCAA used the FIBA three-point line (see below) in the National Invitation Tournament (NIT) in 2018.[31]
For three seasons beginning in 1994–95, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3-inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[32]
In 2008, FIBA announced that the distance would be increased by 50 cm (19.7 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using the FIBA distance, starting in 2013. The NBA has discussed adding a four-point line, according to president Rod Thorn.[33]
In the NBA, three-point field goals have become increasingly more frequent along the years, with effectiveness increasing slightly. The 1979-80 season had an average 2.2 three-point goals per game and 6.6 attempts (33% effectiveness). The 1989-90 season had an average 4.8 three-point goals per game and 13.7 attempts (35% effectiveness). The 2009-10 season had an average 6.4 three-point goals per game and 18.1 attempts (36% effectiveness). The 2016-17 season had an average 9.7 three-point goals per game and 27.0 attempts (36% effectiveness).[34]
Rule specifications[edit]
A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:
Arc radius
Minimum distance
from sidelines
NBA 23 ft 9 in (7.24 m) 3 ft 0 in (0.91 m) [35]
FIBA, WNBA 22 ft 2 in (6.76 m) 4 ft 1 in (1.24 m) [36]
NCAA 20 ft 9 in (6.32 m) 4 ft 3 in (1.30 m) [37]
U.S. high schools 19 ft 9 in (6.02 m) 5 ft 3 in (1.60 m) [38]
A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.
An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[39] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.
If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.
Related concepts[edit]
Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.
In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).
During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.
The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[40]
The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.
See also[edit]
50–40–90 club, exclusive group of players who have made at least 50% of two-pointers, 40% of three-pointers, and 90% of free throws in a season.
List of National Basketball Association career 3-point scoring leaders
References[edit]
Jump up ^ "Article 5: Scoring" (PDF). 3x3 Official Rules of the Game. FIBA. January 2016. Retrieved 3 September 2017.
Jump up ^ Frazier, Walt; Sachare, Alex (1998). The Complete Idiot's Guide to Basketball. New York City: Penguin Group.
Jump up ^ "ABA playoff plans set". Eugene Register-Guard. (Oregon). Associated Press. July 12, 1967. p. 4D.
Jump up ^ Deford, Frank (November 27, 1967). "Shooting for three". Sports Illustrated. p. 22.
Jump up ^ "4-Point Play Gets Approval By ABA". Associated Press. July 11, 1967. Retrieved June 17, 2013.
Jump up ^ "Four ABA clubs gain NBA okay". Eugene Register-Guard. (Oregon). Associated Press. June 18, 1976. p. 1C.
Jump up ^ "Burial of the ABA a fact; next step a dispersal draft". Eugene Register-Guard. (Oregon). Associated Press. June 19, 1976. p. 1C.
Jump up ^ Deford, Frank (June 28, 1976). "One last hurrah in Hyannis". Sports Illustrated: 64.
Jump up ^ "NBA votes 3-pointer in, 3rd ref out". Reading Eagle. (Pennsylvania). Associated Press. June 22, 1979. p. 24.
Jump up ^ "NBA approves 3-point goal, goes back to two referees". Eugene Register-Guard. (Oregon). Associated Press. June 22, 1979. p. 5D.
Jump up ^ Newman, Bruce (January 7, 1980). "Now it's bombs away in the NBA". Sports Illustrated. p. 22.
Jump up ^ "The History of the 3-Pointer - iHoops". Web.archive.org. 16 December 2010. Archived from the original on 16 December 2010. Retrieved 15 November 2017. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Bird only 'so-so,' but Celts win over Houston". Deseret News. (Salt Lake City, Utah). UPI. October 13, 1979. p. 4A.
^ Jump up to: a b "Celtics, 114-106". Eugene Register-Guard. (Oregon). October 13, 1979. p. 5C.
Jump up ^ "NBA standings (and boxscores)". Deseret News. (Salt Lake City, Utah). October 13, 1979. p. 5A.
Jump up ^ Sanders, Steve (February 9, 1981). "22 will get you 3". Spartanburg Herald. South Carolina. p. B1.
^ Jump up to: a b "Basketball". Southern Conference. Retrieved July 30, 2015.
Jump up ^ "Carr's shot makes cage Hall of Fame". Gadsden Times. Alabama. Associated Press. May 31, 1981. p. 36.
Jump up ^ "Three-pointer turns 25". Eugene Register-Guard. (Oregon). Associated Press. December 3, 2005. p. B3.
Jump up ^ McCallum, Jack (November 29, 1982). "It will be one testy season". Sports Illustrated: 42.
Jump up ^ "Monson not so high on the 3-point shot". Lewiston Morning Tribune. (Idaho). wire services. November 11, 1982. p. 6B.
Jump up ^ "Debate over 3-pointer Continues". Web.archive.org. 26 July 2010. Archived from the original on 5 December 2012. Retrieved 15 November 2017. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "NCAA approves 3-point goal". Pittsburgh Post-Gazette. Associated Press. April 3, 1986. p. 27.
Jump up ^ "3-point goal draws mixed reviews". Reading Eagle. (Pennsylvania). April 3, 1986. p. 42.
Jump up ^ "Three-point basket adopted". Eugene Register Guard. (Oregon). April 3, 1986. p. 1B.
Jump up ^ McCallum, Jack (January 5, 1987). "The three-point uproar". Sports Illustrated: 40.
Jump up ^ Butts, David (April 3, 1986). "NCAA adds three-point basket". Bryan Times Agency=UPI. p. 12.
^ Jump up to: a b "NCAA Women's Basketball Playing Rules History" (PDF). NCAA. Retrieved August 23, 2017.
Jump up ^ "Important Rules Changes by Year" (PDF). NCAA Men's Basketball Record Book. NCAA. Retrieved August 23, 2017.
Jump up ^ Lynch, John (27 March 1987). "High School Basketball Draws Line, Adopts 3-Point Rule". Los Angeles Times.
Jump up ^ Bonagura, Kyle (February 27, 2018). "NIT to experiment with new rules this season". ESPN.com. Retrieved February 28, 2018.
Jump up ^ "NBA & ABA Career Leaders and Records for 3-Pt Field Goals | Basketball-Reference.com". Basketball-Reference.com. Retrieved 2016-05-19.
Jump up ^ "NBA has discussed bigger court, 4-point shot". Espn.go.com. 2014-02-25. Retrieved 2017-03-05.
Jump up ^ NBA League Averages - Basketball Reference
Jump up ^ "Rule No. 1---Court Dimensions--Equipment". NBA Official Rules. Retrieved 19 October 2010.
Jump up ^ "Official Basketball Rules 2010". FIBA. Retrieved 6 July 2018.
Jump up ^ "2009 Court Diagram" (PDF). NCAA. Archived from the original (PDF) on 28 June 2010. Retrieved 19 October 2010.
Jump up ^ "Basketball Court Diagram" (PDF). Nebraska School Activities Association. Retrieved 10 December 2011.
Jump up ^ "Description of the NBA's new instant replay rules". NBA.com. October 23, 2008. Retrieved 16 November 2008.
Jump up ^ Denham, Greg (February 14, 2012). "NAB Cup's ruck and holding rules may run season". The Australian. Archived from the original on March 6, 2012.
External links[edit]
NBA.com's Top 10 three-pointers from past 25 years
Article on Columbia's experimentation with the three-point field goal decades before its official introduction
"Long Live the Three" by Steve Shutt, Basketball Hall of Fame
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