#for asha

[loserwithanartacc]

I’m so happy with this one

Drawing sunlight thru trees is actually so fun I do recommend (it’s not as hard as you think it is probably)

Anyway I’m insane about her and very exited for ep 2 tonight

[scurviesdisneyblog]

Early visual development for Wish (2023) by Griselda Sastrawinata-Lemay and Brittney Lee.

An earlier version of the film saw Star take on a human form as a magical, glowing character inspired by Peter Pan. Ultimately, the creative team reconceptualized Star as an ethereal, playful entity resembling Mickey Mouse. "Now Star and Asha have an emotional journey. They are soulmates." -Allison Moore.

[i-kanava-i]

I honor and revere that which walks inside and around you, Queen

[yudol-skorbi]

some completely normal non suspicious mortals and their crate of apples

[floweroflaurelin]

I’m still hungry.

[khalliys]

"I'm hungry." Asha and her human form.

[inwinterhell]

As a female athlete myself, I just want to quickly appreciate how George R.R Martin writes his women who fight. It’s never, “she wanted to be a warrior so she worked harder than everyone and eventually she could beat all the boys.” He actually gives his characters strengths and weaknesses—as well as cultural ties to fighting— and he makes these traits enhance the already existing plot lines these characters follow. The mental game is also always just as important, if not more, than the physical game, which I’ve found is true in sports and probably much more true in actual life-threatening situations.

Arya is a small child. She’s nine, she’s skinny; she would probably never excel at being a knight, so instead she learns a different type of fighting. She’ll never overpower anyone, but she can be quick and sneaky and use her left hand which most people don’t know how to fight against. Also, I would argue that Syrio’s teachings about “looking with your eyes” were far more important to her than the physical part of water dancing. Most of the time she isn’t using her skills to directly fight people, but to run away, to spy on people, to catch food and survive. Syrio is her friend, Needle is Jon Snow’s smile, etc. Arya learning how to use her stature to her advantage is part of a greater connection to her identity and the people who helped her.

Brienne is stronger than most men, but she faces constant misogyny because of that (which is all too realistic). She constantly faces internal battles with her own self-image and harassment wherever she goes. She gets taught to use men’s pride and anger to her advantage:

“Old Ser Goodwin was long in his grave, yet she could hear him whispering in her ear. Men will always underestimate you, he said, and their pride will make them want to vanquish you quickly, lest it be said that a woman tried them sorely. Let them spend their strength in furious attacks, whilst you conserve your own. Wait and watch, girl, wait and watch (AFFC Brienne 7)”

Finally, “no chance, and no choice” is her most memorable line for a reason. It’s not her martial prowess that makes her a great character; it’s her bravery and honor.

Cultural ties are also so important to the reasons many women in the series fight. Asha is Balon’s last remaining child when all her brothers are dead and gone. Of course she knows how to fight and sail. Her tension with Theon is less about her showing off and more about her proving how much she actually knows her people while he doesn’t (of course that isn’t Theon’s fault but that’s a whole other post). The Mormont women learned to fight because they historically had to fight off invaders; the Sand snakes’ skills show their connection to Oberyn, etc.

Anyway I just love how George uses fighting to enhance his characters’ personalities and not define them. None of them are physically or mentally infallible, and none are exempt from misogyny. They just learned to do something that empowers and protects them despite society’s expectations. George’s writing of women is definitely not perfect, but this is something I really appreciate.

[souryam]

" He raised his eyes. 'Sister. See. This time i knew you.' "

[lmaowh-at]

Catelyn heard someone snigger behind her. She loves him, poor thing, she thought sadly. She'd play his squire just to touch him, and never care how great a fool they think her... (and some other things)

[shebsart]

POV characters: AFFC

-

[agot]

[acok]

[asos]

[johnnyspells]

[loserwithanartacc]

Them :3

I think her immediately going and sulking in a corner after her wife didn’t show up was funny af

I’m picturing her just side eyeing the emissary the whole time tbh

[sky-scribbles]

I'm in awe of how well each god's attitude toward Aeor reflects their divine domains.

Emhira, the matron of Ravens, sees no reason not to bring the city down. Death is inevitable. The Raven Queen does not quarrel with resurrection, and she does not quarrel with killing, because all souls come to her, sooner or later - what's a few decades more or less? What's the point of risking herself and the family she's joined, the order she's created, for the sake of postponing death?

Ayden, the Dawnfather, is the god of light and life and growing things. Those druid levels aren't for show; he's the god of agriculture. He looks at Aeor and sees that a harvest may yet come from barren ground. It's not in his nature to tear out roots; it's his nature to help things grow. You can't heal everything. You always have to try.

Silaha, the Arch Heart, looks at Aeor and sees its beauty. It's full of magic. Silaha is not opposed to destroying Aeor, because beauty never lasts: a flower dies, a spell fades, a shining tower falls. But neither is he convinced that Aeor has to die, because beauty is something to be treasured and cherished. Let's relax, let's get a drink, let's think this through. Beauty is wonderful, whether it lasts or not.

Asha, the Wildmother, wants to survive, because that is what wild things do. Predators kill to eat, and prey kills to defend itself. Aeor has backed her into a corner, and her fangs are bared. Nature is death as well as life, nature is brutal, nature endures at all costs. Civilisation no longer speaks to her. She's hungry. She's angry. Her teeth are looking for a throat, ready to tear, ready to protect what is hers.

Trist, the Everlight, hears talk of death and says no. The Everlight, who has let herself fall in love with a mortal and have mortal children, even knowing how much it's all going to hurt. Whose nature is to see the worth in broken things, violent things, irredeemable things. Who looks at the cruelty of Aeor and does not deny it, but will not let anyone forget that everyone here is a person. The bravest of all of them, to look at Aeor and say this, too, is worth saving.

[artist-issues]

If you haven’t seen Wish yet and you love Disney, do not go see it. I am telling you now. It is ripping out the hearts of the Disney movies you love and then waving their corpses around as if celebrating those hearts.

I’ll explain why, again: the message of Wish? Awful. Anti-Disney.

But they've been doing this for a long time. Saying one thing with their movies, and saying another with their PR and Disney Parks Soundtracks.

I'll explain.

Main Idea of Disney's Wish (and the You Are the Magic theme park song and merch): "The power to make your wishes come true is in you."

≠

Most Disney Movies' Idea on How to Have Wishes: "Do what's right, (trust a higher power) and something even more wonderful than what you wished will happen."

Don't try to argue with me about this. You have to look underneath the slogans and the sweater designs and the song titles to what the stories actually support to acknowledge this.

Because you can’t say “do what’s right” has power unless you answer the question “who gets to decide ‘what’s right?’” (Which, coincidentally, is a question Wish brings up and then doesn’t answer.)

Audiences of Disney used to accept that wishing on a star was much like prayer; there’s something you long for, and it’s out of your hands, but you wish for it and you do what you know is right in the meantime. And you’re not crushed, you’re not downhearted, because somewhere in your mind you trust that the combo of those two things—wishing on a higher power and diligence to do what’s good—will be what makes your wish come true.

Trust in a higher power—COMBINED WITH:

—diligence to do what’s good.

The Blue Fairy (higher power) gave Geppetto his wish specifically because he had demonstrated commitment to do good, whether he got what he wanted or not. The Fairy Godmother (higher power) gave Cinderella her wish specifically because she kept on being kind and good to low creatures like mice and wicked stepsisters, whether she got what she wanted or not.

Do you know why that combo (higher power + diligence to do good) is impactful? Timeless? Important?

Because it’s selfless. You want something, but you’re not going to sacrifice doing the right thing to get it. You’re not going to focus so hard on making what you want a reality, on your own, that you miss out on things that could be more important than what you want. And, you’re not so self-focused as to believe that if you don’t do it, it won’t get done.

Jeez, that’s the whole point of The Princess and the Frog!

Tiana wishes to have her own restaurant, and she believes that only her own hard work will grant that wish. She misunderstands her dad’s advice before he dies. She isn’t willing to trust a higher power combined with her own diligence to do good—she only trusts her own ability.

It’s not until she realizes that Ray, the character of faith, was right all along that she learns—what she wished for was too self-focused. It wasn’t complete without love. Something bigger than herself. And getting that was never going to happen just based on her own hard work.

But you know what? It was never going to happen just by a “higher-power” flavored shortcut, either. Because Facilier offers her her wish if she’ll just trust him, no hard work needed. But what does she say?

Trust in a higher power + diligence to do what’s right = selflessness, and getting more than you could have ever wished for. And if your wish is selfish, doing those two things will change your wish into something selfless.

More examples? Get ‘em while they’re hot, in case Wish made you forget, just like the current #NotMyDisney executives have forgotten, what real Disney wishes are for.

Belle wishes to have adventures in the great wide somewhere--but when she's imprisoned and that chance is taken from her it's not reversed because she worked hard to make her wish come true. It's granted because she gave up her wish for her father: she just did the right thing, regardless of her wish. And in the end, she does get what she wished for, which is adventure in an enchanted castle...and much more, because she gets true love, a throne, and a castle full of friends.

How about the One Who Started It All? The one Wish is failing to pay genuine tribute to?

Snow White wishes for someone to love her, and he does--but when they're separated, she does not exercise power to make The Prince come back to her. Instead, she loves who she can where she’s at—the Dwarfs. In the meantime, she has faith that he will keep his promise, and that pure trust in a higher power outside of her control is a big contributing factor to why the Dwarfs come to love her, and learn from her...and in the end, even more than she could've wished happens. He does take her to his castle, but she also has seven new friends who also love her, and the Queen is dead. And she didn’t need to use “the power in her” to work harder and get it done. She just needed to not focus so much on herself at all.

How about a male main character? One who’s wish starts out selfish, but after learning to wish on a higher power and be diligent to do the right thing, gets more than he could wish for?

Aladdin wishes to be somebody different (somebody he believes Jasmine could love, somebody who lives in a palace and is respected and “never has any troubles at all.”)—but doing everything in his own power for that wish proves that it was selfish all along; so he switches to doing the right thing, regardless of if his wish comes true, and he gets even more than he could’ve wished. He gets real love with Jasmine, he gets his friend Genie, and he gets to be free from feeling “trapped” because he doesn’t have to hide who he is anymore.

Or Simba?

Simba wishes to get to do whatever he wants as King—but when Mufasa dies and he’s convinced it’s his fault, it isn’t for that wish that he goes back to Pride Rock to confront his past and his Uncle. It’s because he had an encounter with a higher power—his father—that helped him to realize his wish was selfish all along. He gives up the selfish wish, and he goes back to take his place as king, not so he can do whatever he wants, but so that he can take self-sacrificial responsibility that comes with ruling. And because he just does the right thing, finally, he gets more than what he wished for.

How about something more recent? Zootopia.

Judy wishes to make the world a better place by proving she can be what she wants to be and catching bad guys—but when she tries to make her wish happen on her own, in her own abilities, she fails and is forced to realize that she should’ve been looking for help by understanding “bad guys,” like Nick. It’s only after she humbled herself, admits she’s wrong, and changes her wish from “proving I can be what I want and catching bad guys” to “proving that understanding each other makes the world a better place” (much less self-focused) that her wish comes true—and so much more. She does make the world a better place, and she does get to catch bad guys, but she also gets to befriend one who was a good guy all along, and become all-around more effective at her dream job.

This is how Disney always has been. Because it’s at the heart of good storytelling, and even life (not to get too dramatic.)

The power is not in you. Because it’s not about you. Self-sacrifice, faith, and doing the next right thing regardless of if you get your heart’s fondest desire is what makes more than just your wishes come true. And there has to be belief in a higher power to make that message powerful.

But Wish?

Not only is it bad at showing instead of telling. Not only is it lazy and soulless.

But it’s characters rip the Star out of the sky and say “don’t wish on this. Wish on yourself, to get what you wish for. You don’t need a higher power. You don’t even need to sacrifice to do what’s good—whatever you do is good, because you are the one doing it.”

That is wrong. That is not true, and it is not powerful. There’s no sacrifice in focusing on or placing your trust totally in yourself, and it undoes every good thing Disney has done up until now.

And it undoes it on the 100th anniversary, and it flaunts Easter eggs of the very things it’s undoing.

[apple-of-my-pie]

justice for all the women of westeros but especially ASHA GREYJOY who ran for president on a platform of “I’ll finally end the forever wars that have brought us literally no gain whatsoever” and still somehow lost to an evil wizard who did the fantasy equivalent of bringing back plutonium rods from Chernobyl

[scurviesdisneyblog]

Asha character designs for Wish by Bill Schwab