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❣ Chile in a Photography ❣
YOU ARE THE REASON
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if i look back, i am lost

@theartofmadeline
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@drmohammadart
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My first ever official Self-Portrait of this year.
Elsa looking at Arendelle through her ice magic with her weasel pet concept art for my fanfic, one with shadows and the other without. I tried to add Olaf too but couldn't find a space for him.
Inspired by this Wish concept art:
Crystals study
i'm so tired
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Maturing is realizing Ariel never looked bad in her pink dress and her red hair didn't ruin shit, if anything these specific shades of red and pink really compliment each other.
That maid is standing there, menacingly....
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Remember how "Elsa loses her powers" F3 theories were popular last year? What if it happened and the sisters are going to time travel find the Castle to rediscover the deeper level of her Source and restore her magic?
In frozen 3 and 4, Elsa's powers will continue to grow, so it's very unlikely that they will make Elsa powerless temporarily...
But I liked the concept😊
First piece of concept art for Frozen 3 (2027) by Brittney Lee revealed at D23 Expo 2024
Seems like the franchise will take an even more mythological route, and hopefully they will make some of F2's concepts clearer, such as the fifth spirit concept...
I personally think it's too early to judge what the plot, and the characters, new and old, will be like, considering the movie's new release year, which is in 2027, instead of 2026.
Delaying the release of a rather expansive and large-scale story is a very appreciating move. This will give the writers, artists, directors, and etc, more time for development... I just hope they won't rush things out or make last minute changes that look out of nowhere in the plot, heh.
I absolutely love this masterpiece done by the incredible Brittney Lee, and it gives off Eyvind Earle's artstyle vibes, another great artist who worked on Sleeping Beauty. I also like the Wish's vibes from it as well, just look at the foliage! The ethereal color palette is astonishing too...
As for Elsa and Anna's costumes here...
Anna seems to wear a dress that looks so much like her mother's, and her hairstyle is the same as in F2, but there's a high chance she will have a different hairstyle, not this one.
Elsa, on the other hand, look almost the same as Frozen 2, except the high knee boots and.... pants?
Some fans hopes for Elsa to have a different hairstyle as well... but what, how, and why, exactly? In Frozen 2 she finally knew her true self and have her full freedom, right? and It's shown through her letting her hair loose, so I'm not entirely sure if they, the artists, will give her a new hairstyle to represent a change in F3 or F4.
The shadow in the bottom right corner is likely a viking, or some armored dude.. There's a high chance this man is a villain, much like the seemingly new antagonist, Matangi, from Moana 2's trailer. But knowing Frozen and how they deal with villains, he could probably be either a twist villain, redeemable villain, or perhaps not a villain at all... he may even be just a concept, and who knows if he will make it through the final product.
Is he after Elsa? does he want her powers? What if he is.... Runeard? *insert audience dramatic gasps*
Last but not least, the heaven aurora borealies sky castle.... It looks so much like one of the early versions of Elsa's ice palace, and there are 2 figures coming to enter it. Who are they, Agnarr and Iduna? the ancestors of Arendelle? What is going on there?
Will this story be about... immortality and resurrection?
Who knows.
More AATFH's Elsa concept art...
The first art showcases her powers... well, the dark side of her powers and what she can do...
A monstrous army of snowmen, magical evil hands, and snowflake spies. Also, she has the ability of shapeshifitng into... A snowflake.
This is because in the original material, the Snow Queen appeared at the beginning as a snowflake (I didn't read the story but I just knew the facts.)
Also, it helps for story purposes.
All Is Found au: Elsa watches another version of the Ahtohallan Multiverse, sees a totally good and noble Hans in it and falls in love.
@puryartist
#They even have the same eye color (green.)
One of my favorite characters. Unpopular opinion I think frozen 3 should not exist 🙂 frozen 2 was pushing it, Frozen one is alright but the musical …🥰 the musical is the best for me
Sisters? More like strangers! (Some quote I just invented rn)
Anna expression sheet finished!
I hope I got her right :) And sorry for taking too much time, I'm kind of a perfectionist.
Next is Olaf (Should be easier.)
Edit: Uploaded the 17th one :)
Elsa gradually became more humanized and sympathetic as the development of Frozen progressed. She had gone from being classically evil (2011), into more complex and morally ambiguous (2012), then finally good while retaining her complexity (2013).
Credits to @theartoffrozen for the pics!
Art by Bill Schwab for Frozen.
So has anyone talked about the parallels between Magnifico and Elsa yet?
(Spoilers for Frozen and Wish.)
The obvious: they're both magic-users and monarchs of fictional kingdoms. They both have a traumatic incident in their past which left a profound impact on them and led to maladaptive coping mechanisms. Both are prone to emotional withdrawal when under stress. Both have power but also have a fraught and complicated relationship with their power. Both end up losing control and causing harm to the kingdom with their magic. And both have a prominent figure in their lives (Anna for Elsa, Amaya for Magnifico) who functions as both a foil and an emotional anchor, someone who helps draw them out of their mental dark place, with differing degrees of persistence and success.
I would argue that they are both the primary antagonists of their respective films, as well. Elsa is obviously not a villain, Hans is the villain, but his villainy is thrown in at the last minute. Elsa’s repression and fear functions, narratively, as the primary obstacle that Anna (the protagonist) must overcome…and the antagonist is not always the “bad guy,” but simply the character who is placed in opposition to the protagonist.
Both Magnifico and Elsa are fixated on control. With Elsa this is more about control over her emotions and (by extension) her powers; with Magnifico it is about maintaining control over his kingdom in order to keep it safe from perceived threats. In both of them, the desire for control stems from fear and memories of horrible things happening when that control is absent.
The differences: Elsa is born with her powers; they are portrayed as something she never had a choice in, whereas Magnifico (we are told in the opening narration) had to study intensively to acquire his powers. Elsa’s power is the source of her fear; Magnifico’s power is something he built up in response to fear.
There are also both similarities and differences in the way they lose control of their powers. Elsa gets triggered on her own coronation day, runs away, and unknowingly engulfs Arendelle in a blizzard which mirrors her own state of fear and isolation. Magnifico gets triggered by a mysterious light in the sky which he interprets as a threat and becomes increasingly paranoid, believing that there is a traitor in his kingdom. He keeps a book of dangerous forbidden spells as a last resort. He opens the book, unleashing the Evil Green Magic which possesses him and turns him into a force of destruction.
Both of these actions stem from a loss of control; both are in some sense a self-fulfilling prophecy, with fear itself taking on a magical life of its own and wreaking havoc. In Magnifico’s case this is portrayed as him reaching for an external source of power in an attempt to reestablish control, whereas Elsa’s power is something that wells up from inside her, overwhelming her attempts to repress it. She tries to regain her sense of control by isolating herself, but this—like Magnifico reaching for the book—is shown to be a flawed solution which ultimately makes things worse.
Throughout Frozen, Anna—Elsa’s anchor—refuses to give up on her, even to the point of sacrificing herself in an attempt to save her sister. Amaya makes an attempt to save Magnifico, but ultimately decides (based on a passage she read in the same book that possessed him) that he is beyond saving.
What is the major thematic difference between Magnifico and Elsa? At first glance, Magnifico seems to have more agency in engineering his own fate: he chose to acquire magic powers through his own efforts and to found his own kingdom in an attempt to remedy the tragedies of the past, where Elsa is portrayed as having less agency. She is born into the role of queen and born with powers that she can’t control. The eternal winter that Elsa causes feels like something that simply happens in response to her emotions, where Magnifico opening the book and unleashing its magic feels like more of a choice, albeit one he is making because he believes that he’s been pushed into a corner—I didn’t want to do this. I swore I’d never do this. But it's significant that the moment when he opens the book takes place against the backdrop of the burned tapestry which represents his trauma. In both cases, becoming a force of destruction is shown to be a result of unmanaged fear.
It’s well-known that Elsa was originally supposed to be the villain of Frozen but evolved into a misunderstood hero through various drafts...to the film's benefit, most agree. “Let it Go” was to be her villain song. It’s a moment of joyous release, and even if that freedom turns out to be illusory, the song itself is undeniably empowering and uplifting.
“This is the Thanks I Get?!” is upbeat and weirdly cute. Like “Let it Go,” it takes place within a castle which represents its owner’s defense mechanisms and power. Both songs represent a breaking point, of sorts, but Magnifico's feels less like a release and more like an inward spiraling, compulsive repetition (the chorus is just the same line, four times) and affirmations spoken into the mirror…an unsuccessful attempt at self-soothing which culminates in an eruption.
Elsa receives salvation in the form of unconditional love, which thaws the endless winter. Magnifico is left abandoned, trapped and isolated in a magic mirror. Frozen in time, as it were.
I don’t exactly have a thesis with this, it’s more just a collection of observations, but there is something frustrating about the way that Disney makes Elsa more conventionally sympathetic by giving her the appearance of less agency. Because in spite of this, the emotional journeys and motivations of these two characters follow some pretty similar beats (and yeah, the writers also kind of tacked on the whole “vanity” thing with Magnifico, but this always felt like just a character quirk to me, not a primary motivation). They’re like two facets of the same optical illusion.
Frozen came out in late November of 2013. These films were released almost exactly ten years apart.
One other key difference I think that is important when talking about why Elsa gets so much sympathy while Magnifico doesn't --
Elsa is trying to control herself. In doing so, she isolates herself in a misguided attempt to protect others, but when she learns otherwise, she is flooded with remorse, guilt, shame, and self-doubt. We see her inner conflict over and over throughout the story -- we see multiple times how pained she is from the time she was a small child by how much her power threatens others and prevents her from being happy and free.
Magnifico is trying to control others. In doing so, he uses an evil magic book that he "swore he'd never use" and ends up destroying his supposedly treasured wishes and threatening his own wife, without ever expressing any remorse, not even when he's defeated and trapped in that little mirror. We never see Magnifico's past trauma on screen -- we never hear a full account of the event(s) or show any vulnerability from Magnifico in dealing with that trauma -- we don't even learn much about what happened! And truly, even if he had trauma from what happened, it wouldn't excuse making active, knowing, terrible choices. Just look at Anakin Skywalker/Darth Vader: his trauma over losing his mother and terror about losing his wife and child doesn't excuse his turn to the Dark Side. It was still unquestionably the wrong choice, however sympathetically many fans view him. (Honestly, I would've loved to see Magnifico's characterization lean more in the Anakin direction, with his trauma being explored, but also not being an excuse for his villainous behavior -- that could've been super unique for a Disney animated villain!)
I personally feel that the filmmakers of Wish couldn't quite decide whether they wanted Magnifico to be a True Evil Villain in the tradition of the old Disney classics like the Evil Queen and Gaston or a sympathetic anti-villain -- but even if you do see Magnifico more sympathetically than I do, I think there's way more to Elsa being depicted as more sympathetic than Magnifico than just her lacking agency. It also comes down to Elsa thinking deeply about her actions, showing vulnerability by expressing remorse and doubt, and ultimately taking action to fix things once the answer becomes clear to her, as well as Elsa not wanting to rob anyone else of their own agency. It is an interesting comparison, though, especially considering that Elsa was an anti-villain turned into an anti-hero over the course of many drafts, while Magnifico's character seems to have gone through similarly dramatic shifts in the writing stages.
Thanks for the thoughtful response. And you do bring up some important points, re: controlling the self versus controlling others. But I think that also kind of ties into the agency thing. Ruling a kingdom inevitably involves exercising some degree of authority. They're both monarchs, but we never see what "ruling" really means to Elsa or how she would do it, since she spends so much of the movie in seclusion or on the run. Repression takes willpower, it isn't easy, but it's still passive, as is guilt, remorse, suffering etc. So, again, the narrative kind of casts her primarily as a victim of circumstances. She's not really even in a position to rob anyone else of agency.
And don't get me wrong, I like both Elsa and Anna as characters and think that Frozen is a superior movie in almost every regard (even if I'd say it's also flawed wrt some plot stuff). And I'm also not trying to downplay Elsa's suffering, as she had a truly sad and painful childhood and coped in the only way she could.
But like...Magnifico built an entire kingdom which welcomed anyone from anywhere, and it seemed to be functioning pretty well in the beginning. Dude deserves some credit for that, I think. And his authoritarianism is fairly mild before Star's arrival. People who come to Rosas have to surrender their wishes, but despite losing the memory they don't seem to lose their agency in a more general sense...with Simon being the only possible exception, and he still has enough agency to betray Asha. And yeah, Magnifico can be petty and vengeful when his ego is stung (i.e. flaunting his refusal to grant Saba's wish in front of Asha), but I'd argue that Asha is also kind of insufferable, reckless and self-righteous and the movie just doesn't call her out on it as much. (I've already made several long-winded posts about both Magnifico and Asha, so I won't go too deep into this.) Point being, he doesn't just control others but, in the beginning at least, genuinely has something to offer them in terms of protection and a place to live (rent-free, even).
I agree that Disney wasn't quite sure how to portray him; initially it seemed like he was being setup more as a sympathetic antagonist or morally gray character rather than a straightforward villain. I kept expecting a big reveal about his secret, evil plan that he'd had all along, but it never came. The fact that they introduce this traumatic backstory but then never show it on screen feels confusing, like they wanted to add a believable motive but then they're worried it will make him too sympathetic, so they kind of sweep it under the rug. As a result, the viewer has to work a little harder to develop empathy for him, since we don't see the horrors.
But we do see the effects of trauma on him, in his behavior. We see the panic and confusion in his expression when the light first bursts across the sky, we hear him whispering no, no, no to himself. We see the building agitation and volatility, the way the book seems to pull at him and whisper to him, offering a tempting solution. And when Amaya cautions him, we see him softening and, with an effort, turning away from the book, after which he tries to make better choices. But then the desperation and paranoia sets in again and he turns back to the book.
So all of this--Elsa "thinking deeply about her actions, showing vulnerability by expressing remorse and doubt"--is stuff that I believe Magnifico does as well, it's just more subtle. But then he is never given the opportunity to try to fix things after the shit hits the fan, because he's been imprisoned.
While he has controlling tendencies from the beginning, I'd say that all of his genuinely, unarguably bad actions occur after he turns to the forbidden magic. Opening the book is still a choice, but after that point his agency is compromised, since the magic's effects seem somewhere between "mind-altering drug" and "demonic possession." So even if he had flaws before that point, his "irredeemable" status essentially comes down to a single bad decision made during a mental health spiral, which didn't sit well with me. (And yeah, we don't see him showing remorse but the movie also ends immediately after his defeat so he's not really given any time to reflect on his actions.)
Really, if Magnifico were primarily concerned with maintaining his power and status I think it would've made more sense for him to just claim that he'd created that light himself. Everyone assumed he did it anyway and everyone was super impressed with it, so taking credit would've been an easy way to get more adoration with no extra effort. But it didn't even occur to him to lie about it. When Amaya is fawning over him saying, "Oh, mi rey, you spoil us with your magic!" he just says in this quiet, urgent tone, "I didn't do it."
If nothing else he's proved to be the most interesting character in the movie, and one who has sparked a lot of debate and discussion.
I guess my issue with Magnifico having trauma in that backstory we never learn -- and Disney not following through on it -- is that only people who either identify with that motivation (such as people with PTSD themselves) or just want Magnifico redeemable and sympathetic will see that evidence of trauma. When I saw Magnifico panicking about Star, I didn't see a trauma-fueled response -- I saw someone motivated to reassert power over others, since he'd always been such a statuesque and beloved king that Dahlia baked cookies of his face and random people gushed over his dashing looks in the streets. And all of this could've been fixed by simply adding a flashback or two -- by showing us that trauma ourselves, so the audience reacts the same way as Magnifico. Magnifico not sharing that vulnerability with other characters is very true to the proud, arrogant, vain, toxically masculine persona he's been given, but if it's so subtle that he doesn't share it openly with the audience, then as far as that a lot of that audience is concerned, it isn't there, and only people who want to see subtext of that will see it. (This is part of the reason I think people have come so out against queerbaiting in recent years, because it likewise plays only to what people want to see -- LGBT+ people see tiny crumbs of representation, while everyone else is allowed to just pretend it's not there.) Representation of real-life things only mean so much if only those people who want to see it can see it -- it doesn't make it easier for outsiders to understand those experiences, nor does it fully capture the feeling of compassion on the part of the filmmakers and otherwise toward the experiences themselves. I've likewise read people place their own experiences with emotional abuse onto Amaya and her relationship with Magnifico, even though I likewise saw little evidence of that in the film. Others, including me, saw toxic, passive-aggressive people we knew IRL in some of the lyrics in Magnifico's "And This is The Thanks I Get?", but again, that's just something I've personally read into them.
Even just based on the interviews the filmmakers did for Wish, Disney clearly wanted Magnifico to be the "classic Disney villain" that many audiences had been asking for, rather than one with pathos, and yet possibly because of them cutting and pasting aspects from different conflicting drafts together, we ended up with a character who some see as a victim in his own way and who I see as pretty awful even before he uses the evil book because he's the sort to gush about how "mirrors love his face" and puff himself up as the best thing since sliced bread; volunteer other people (like "Benito" or "Henry! :D") to do things to help others rather than do them himself; kick people out of job interviews sobbing for not meeting his high standards; or respond vindictively toward both them and their family for criticizing his world view, even if they're a child. (I mean, Asha is only 17! Of course she wouldn't know much about the world or how it works. Of course her world would be defined by her family, especially in this case her 100-year-old grandfather, who's probably set to die at any time. Even if she was freshly 18 and a legal adult, that kind of stupid, emotional reaction would be pretty understandable. And as much as I very much understand being sensitive to criticism and not taking it well, we again never see any explicit visual evidence that Magnifico has any second thoughts in regards to any of that pettiness or cruelty. I might point to King Triton in The Little Mermaid as a great example of how they could've done that.) And admittedly, I would've been totally okay with the monarchy dissolving altogether by the end in this film, vive la resistance!, since I think any authority figure ruling with that kind of absolute authority over others without the wisdom needed to wield the power justly and compassionately is inherently dangerous -- but I guess for a brand like Disney, that would've been a bridge they would've given pause before taking. 😅
I appreciate your response! It's very interesting reading your point of view, even if there are things I disagree with -- and I completely agree that Magnifico is an interesting character with a lot of potential for greatness, if the film had spent more of its runtime on developing him. :)
@rovingotter
Thank you so much for writing this analysis! When I watched the scenes multiple times Magnifico kinda reminded me of Elsa in some ways, like how he got his forbidden powers, the design of his castle from inside, and his outburst toward Asha, but I didn't know how to put that in words so thank you again :D
I'm not really that surprised if they were inspired by Elsa while making Magnifico.
It has been over a decade since we got a true classic villain (Mother Gothel from Tangled 2010) that they actually forgot how to write one. And no, I don't consider Turbo, Hans, and the later 'villains' as classic villains.
According to this blog, in the earliest version(?) of the movie, Magnifico was a good guy while Amaya was the evil one.
Maybe that was before they were rewritten as a villainous couple who are in love with each other despite their evilness.
Magnifico was never considered in any script to be redeemed at the end, because he was meant to be a true villain. But I think they screwed him up when they decide to NOT portray him as a fully formed villain from the beginning, unlike the past greats. My personal problem with it is that it's a great idea, but the way it's executed it's like he suddenly changed into a true villain at the end of his "I let you live here for free and I don't even charge you rent" song. I would've loved it if the forbidden magic slowly altered his mind until the climax where, because of it, he turned 100% evil.
Shortly after the movie was released, on 25th November, I believe, I searched on Disney Wiki about Magnifico and found that he was originally a young spoiled prince. You can find it on web.archive.org since it's deleted now.
Here's the link: King Magnifico | Disney Wiki | Fandom (archive.org)
Plus, these parallel scenes:
More Elsa exploration art. You can see these sketches as stages of her becoming the snow queen, haha.
Sorry for not being active this whole time. I admit I had both an artist and a writer's block. But I'm coming back stronger, hopefully.
And I'm still working on the fanfic :D