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artist-issues · 3 months ago

Note

I was writing out a really long meta analysis piece on the og Beauty and the Beast on how music and lighting were used to tell a story and I tagged you in it because I thought it’d be fun to debate some of that stuff with you but now I can’t find it in my drafts at all! It’s all gone 😭 so I came to your blog to make myself feel better and found your post about Zazu in the Mufasa movie and seeing you draw the characters in the original Disney style really cheered me up. Their animation used to be so beautiful and had so much love in it (your art was gorgeous by the way, it actually looked like a real lion king film!)

Anyway! If it’s not too much on you, I’d like to hear some rambles on Disney, it could be about anything really, but I’ve just gotten some really awful news tonight and I need something to take my mind off it please

Oh I'm so sorry to hear that! I want to be there for you. You're so kind about my art, thank you; I wish I'd seen the post. I’ve had it eat my drafts before like thirty times; recently my phone is doing this fun thing where I can’t type more than two paragraphs without tumblr freezing up, so I’ve lost more that way.

Let’s see…let’s talk about Disney’s Sequels! In these trying times of remakes and prequels, the Direct-to-Vieo Sequels start to look pretty good right about now, don’t they? I think they actually got better as time went on and money went into Disney Toon studios, but I’ll list my top three and explain why!

Lilo and Stitch 2: Stitch Has a Glitch (no I’m not biased leemee alone)

‘The Lion King II: Simba’s Pride

Bambi II

I can explain myself.

Lilo and Stitch 2: Stitch Has a Glitch

This movie is amazing. It repeats the best things about the original Lilo & Stitch (tight focus on character-relationships, character-specific comedy, and a simple story) while still having its own vibe, as if these are the exact same characters you know and love, but they have a recently-new normal.

Stitch isn’t a destructive artificial-brain figuring out how to think outside his programming anymore—now thinking outside his programming is the new-normal, but he still has to learn how life with a family works. Lilo isn’t lonely anymore, but she is still stuck in her own little world, in a way. Nani isn’t struggling to keep her family together anymore, but she is still struggling to keep them all happy. And Jumba and Pleakley get character arcs, which is beautiful.

If you’ve never seen it, I don’t want to spoil it. It is a really good movie. They took this concept, which was originally from Chris Sanders’s early story ideas for the first movie, where Stitch is in danger of death but Lilo’s love revives him. And they made a movie out of that.

It’s great, because Lilo is still working through missing her parents. The movie doesn’t brush that aside, or act like having Stitch fixed everything for her. Instead, she’s become singlemindedly focused on winning the same competition at hula school that her mom did, because she wants to feel a connection with her mom, and because her peers are still treating her like she’s worthless.

The thing is, Lilo gets the confidence to try and win this because of Stitch. She’s downcast and believes that her bullies are right. You get the idea that this is how she would feel if she were still a lonely orphan. But this time, because this is the sequel, Stitch is there.

So he tells her they’ll win the competition together. And in this movie, while Lilo is struggling with getting her sense-of-worth from Stitch, or a hula competition, Stitch is struggling with his sense-of-worth, too. He’s glitching out and his programming is forcing him to act destructive all over again. He’s not sure if he’ll always be bad—he’s wrestling with the possibility that he’ll hurt Lilo and his new family.

And in the meantime, Jumba is trying to solve the problem, but he’s afraid he’ll fail, and lose his worth in the eyes of the family, as well as lose Stitch. And David, in a little side-story, is afraid he’s losing Nani, that she doesn’t value him.

All of which sounds really dark, but it’s really an interesting place to take the characters, and truthfully the whole film is so lighthearted where it needs to be, but not afraid to be earnest and emotional, either. And the point of it is really good. It’s “love is more powerful than death.” It’s powerful enough to overcome questions about self-worth, and it’s powerful enough to overcome the gaping hole that loss and failure and other forms of death leave. It’s gorgeous.

2. The Lion King II: Simba’s Pride

People take issue with this sequel because…I mean, look at it. There are parts of it that are animated really well, and the character designs are good, until you measure it up to the original Lion King, and then it’s just not even the same league. Besides, the writing is very dramatic, sometimes the sound editing for the characters’ dialogue is placed strangely or feels like the pacing is weird…

But I love it, and not just for nostalgia. I love it because it is about a new set of characters (like a sequel usually should be) but the previous set of characters still act in-character.

Not everybody agrees with me. Because Simba seems much less fun-loving, and so uptight and formal, that he doesn’t feel like the same character we knew and loved in the original Lion King, at all.

But it only takes like one second of thought to realize that, as a brand new king who’s uncle murdered his father and emotionally blackmailed him, and was able to do so easily because Simba himself was so self-centered and reckless as a child, and then Simba made big mistakes by running from his responsibility for so long…

…where we find him in this sequel makes total sense.

Of course he’s feeling like he has to overcompensate for abandoning the kingdom and getting fooled by Scar. Should he realize that not everyone is going to betray him, and he is the real King and can rule gently and fairly without being over-controlling? Should he? Yeah. But like. This is Simba. His major character flaw is thinking too much about himself—it used to be thinking he was awesome, then after his dad died it was thinking he was unable to be a good leader and everything was his own fault. Now, everything he ever dreamed about being a King, he dreamed when he was like the lion-equivalent of nine years old. And found out it was all wrong. He’s having to figure this out with only his father, whose very absence is a sore spot, as an example. Of course he’s suddenly obsessed with being just like his dad, and that makes him talk all formal, and pass strict judgement, and say things like “I’m seeking counsel from the Great Kings.”

Of course Simba would be protective of Kiara. Overprotective. Lying and controlling. Because as a child, he and Nala almost died over and over. And the worst of the worst things happened to him, as a cub.

Of course he wants to banish Kovu. It’s not because he’s racist. (What does that even mean?) It’s because he was betrayed and manipulated as a young, naive cub by someone who claimed to love him, then broke his heart and his life. So when a dark lion who literally looks like and claims connection to Scar waltzes in and appears to be manipulating his daughter and stealing her young heart? Yeah, no, it wouldn’t be Simba if he didn’t overreact.

But that’s enough about Simba. I think the movie’s real strength is symbolism and premise.

First off, it continues the symbolism of a reflection in its own unique way. The movie is very on-theme. Its point is “Hate divides us, but love completes us.” (Its not “We Are One,” that’s just Movie-Speak)

Kiara feels incomplete. Divided from a whole other half of who she is. She says so as a cub. She’s not just a princess; she feels like there’s a part of her that wants to be capable and bold and take action. But she can’t be that, she has no outlet for that, because as the Princess, everyone is always over-concerned for her safety and wrapping her in like, wild-animal-bubble-wrap. Then she meets Kovu, and he is capable, and bold, and takes-action—he seems independent. (He’s not, at first, but he has more control over his immediate actions than Kiara seems to.) And he gets her and loves her, and she loves him, despite their flaws, so that is her missing half.

And with him, he doesn’t know how to just enjoy life. He’s been trained his whole life to act out of passe-down hatred; he’s been run through drills, and there’s even a scene where Kiara has to teach him how to play…and then he goes back home to his sister, who clearly also wants to play, but just calls it “fighting.” That’s the world he comes from.

But he meets Kiara, who is all about trying to enjoy life and have fun, and it’s a whole new outlook for him. It’s what he had seeds of before his mother’s hate stamped it out, and Kiara completes it for him. So they really are each others’ other half. And they have that in common. Kiara could be independent and a capable leader, if her father’s hate (which manifests as paranoia and overprotectiveness against danger) weren’t stamping it out. Kovu could have fun and protect good things instead of killing, if his mother’s hate wasn’t stamping it out. Dividing the good parts of them. But then their love for one another overcomes all that and brings them together.

And they do that literally, with the reflections in the water. Simba needed to learn his father lives in him, he’s a part that can’t be separated. Kiara and Kovu needed to learn that love makes them part of one another—that’s the key to no longer being divided.

Just like how, in the end, love forgives—so the Outsiders are able to come back into the Pride. Instead of being divided, the prides literally merge into one, and are completed. Love all that.

If you think of it all as like, “how do we make Simba into a strong King when he has so much baggage to overcome?” And this adventure with his new family teaches him that? Then you can see it’s a really beautiful movie.

And I love, of course, that Mufasa appears to be orchestrating all these events. Like, there’s a Higher Power at work. It’s all good.

Bambi II

This movie has the same vibes as Lilo & Stitch 2, even though it’s a midquel.

I love that Bambi gets his own characterization and character arc in this movie, even though he’s pretty one-dimensional in the classic film. But yet, none of this feels out of character for Bambi. He’s sort of gentle and very young, but you can see glimpses of dreams and ambitions and even strength that show off what he’ll be like as an adult Great Prince of the Forest.

I think the animation is very good, soft and cute. It’s not so much about realistic-cartoon-animal movements, graceful and charming, like the classic was, obviously. This animation is more about emotion and appeal. Which I appreciate, because the story is, like most good Disney sequels, very relationship-based.

It’s about Bambi being cared for by the Great Prince, and how the relationship between a father and son is about more than duty; it’s about nurturing. I just love that. I love how carefully they build up Bambi as feeling distant and unsure of what’s going on in his father’s head, but wanting to please him nevertheless. I love that the Great Prince doesn’t know how, exactly, to care for or relate to Bambi, so he defaults to just telling him how to be dignified and Princely.

I especially love the scenes with Ronno or the Great Prince. I like the fact that those old Disney sequels can take a character that didn’t have a lot of dialogue or screen-time in the original, and build out a whole story around those characters, giving them personality and writing that somehow always feels true to those characters. The Great Prince might not know how to father, but even when he’s insecure he has a kind of put-on calm and reserve. He’s not made a fool-out-of, ever, or bumbling. I love that Ronno, on the other hand, is ridiculous and brutish, just a little-boy bully…but he’s also truly threatening, for Bambi and Faline and their friends.

I think the emotion in this movie hits really well. Because they’re so careful to interweave Bambi’s emotions about losing his mother and wanting to find the same feeling of safety he had with her in his father, with The Great Prince’s emotions about wanting to “do his duty” even if it hurts when he feels he’s not what’s best for Bambi…

Because they build that up believably and spend all their time on that instead of big, epic adventures or larger-than-life tales, the movies turn out really well.

Honorable mentions to Cinderella 3: A Twist in Time, The Little Mermaid: Ariel’s Beginning, Tarzan II, and Lady and the Tramp II: Scamp’s Adventure

I hope your day is better tomorrow, friend.

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