Happy second anniversary of Encanto movie!

I had (then and year ago) more ambitious idea of mock poster, but again, to execute it properly, decided to put it aside until skills and tools for it gained. So I opted for the piece reflecting on my personal take from the story.

The drawing is an experiment, drawn traditionally in complementary colors and put through color inversion in an editor.

I’m not a fandom person, admittedly. What piques my interest in exploring of piece of fiction is, usually, is its origins, history of creation, cultural background and, in some cases, impact it leaves on the art coming after it, rarely anything beyond. With all things I’ve had getting into recently, it was like that, generally observatory things. When I’ve got into MLP, it was a phenomenon of its large fandom, sheer variety of art forms it produced (from the music and games to automata toys), people of different upbringing and cultures being all inspired by it – fascinating to witness such a movement in present time. With The Simpsons, it was its legacy, its large influence in modern media – seeing the roots, the blueprint of it, getting understanding of why it was such a powerful piece of storytelling and visual direction to raise the cult around it. With Encanto, it got me curious at first to see aesthetic of magical realism being translated in form of animation, and I was surprised Disney decided to dip their toes into attempt of it. Generally, I’m more enticed by potential of the story and its artistic presentation, most of it is left in concept studies rather than in finished work, as often in mainstream production, possibilities and imagination and artistic talent poured into it is much more stunning than the product released to the public. I may feel reasonably cynical about modern Disney as company, but I can’t deny the imagination and immense genius of professionals who are still at work in it. I wish we’ll see the true Renaissance of what always was its major power - traditional animation.

So, what’s the outcome of it: while any piece of fiction that wins my full attention does make my creative juices flowing, nothing of it got to see the light of day until I felt the urge to express what was brewing in my mind affected by that new and hot thing, not to a lesser extent getting inspired by other people’s concurrent creative works, it did kick off renewal of drawing practice I had abandoned years ago and continued postponing for indefinite period. It still induces me to work toward my own progress, for it provides me with backlog of ideas to make into drawings when I really need motivation. It’s going to keeping up, hopefully, until some other thing sweeps me away or something makes my enthusiasm fade. And so, the movie in question is what had the most productive impact on me so far, it helps me keep going, and I’m grateful for that.

On the different note, Bruno in this image is based on Disney Magic Kingdoms's Encanto event video:

Guess who my faves are…

I also liked Gabo, never against sarcastic grump. (Grumpy and Bashful are also my two favorite dwarves.) As often happens, female character I’d like to see more has least amount of moments. And was immediately fond of Grampa Sabino, Disney movies aren’t getting enough sweet old gents.

Quick sketch before the movie debuts.

If the Star is the same star all Disney characters are wishing upon, does it mean it’s Evangeline?!

I don’t know when I’m going to watch it… Anyway, I wonder if there’s any reference to it in the movie!

Happy Sibling Day!

"Leap of Faith", ep. 20(85) of season 4 (March 29, 2014).

“Flim Flam Miracle Curative Tonic is Granny Smith tested and Applejack approved! Granny Smith drinks it, why shouldn’t you?”

“Leap of Faith” may be my favorite Applejack episode, favorite S4 episode and one of the top favorite episodes in entire FiM! Applejack-focused episodes in particular are interesting in that, rather than having her learned to be true to her Element, they’re often about testing her faithfulness to it, making her putting her sense of justice in question and having to decide when she ought to follow her moral compass without risk to bring harm with it instead of benefits.

Flim & Flam, in that regard, make pretty good antagonists for her. Two families have quite a few similar priorities: like Apples, Bros are pragmatic, seeking profit from their actions, and work perfectly in sinch for common goal, but their ethics are diametrically different, and as it happens, Applejack sometimes even prone to fall into temptation to use rather similar tactics (take decision to rationalize technology in lieu of traditional work, or use invitation to gala for /pretty sure, illegal in these circumstances/ selling apple products here to rich attendees – wouldn’t she just ask Celestia for financial aid to the national hero’s family instead? – and don’t we forget her alliance with Filthy Rich without Granny’s consent) before it backfires on her as well. So, she has valid reasons for having disdain for methods of Bros, because she’s been here as well and reaped the bitter fruits of blindly following such policies.

Brothers, in particular, make formidable kind of antagonists on the show: for representing most realistic, mundane, everyday sort of evil, which can’t be redeemed or obliterated unlike any other foe our heroes had to stand against. The evil of commerce and material greed! Moreso, they even can be amicable and work together with heroes without having to change their ways, if that means any mutual benefits. (And basically cemented as allies of Mane 6 in the end of the series.) For, as it turns, money is at once the major drive and major scourge of society, be it mankind or ponies.

Anyway, the moral of this particular story is, one crazy old lady is enough to put the crushing end to your successful scam operation. Fatal flaw of these sleek guys appears to be not thinking their schemes far enough to prevent coming close to any possible source of damage. Other than that, they’re pretty fine, aren’t they? They’re, essentially, an embodiment of the main reason for the franchise itself – product promotion, no wonder they’re more frenemies than foes in the end of day.

Would you pleeease dance with meee~

This Disneyland video reminded me of thing drawn 2 years ago.

Btw it's exactly how I imagine their dynamics: she knows his resistance is futile, relentlessly uses puss-in-boots tactic on him to get whatever she wants out of him, while he's aware she takes advantage of his goodwill too - to everybody's amusement, naturally.

Song for little sister. Canción para hermanita.

Little headcanon/speculation for the Mirabirthday:

In the first minutes of the movie, we see Mirababy-turning-five in the nursery, getting told the story of the miracle, presumably for the first time in her life. She also gets to see and learning of the magic candle. While it’s a part of initiation for the gift receiving, it’s staged as if she gets introduced to the whole deal only now. Seemingly the magic was regarded as regular part of her family’s life up to that moment, until she learns of origin and value of it. The candle, meanwhile, is always at full display, reminding everyone of the significance of miracle and the cost of it. We also get a view of interior of nursery, the walls adorned with Mirabel’s drawings of her family members and herself as sort of fairy being, as anticipation of her own upcoming magical power. There are almost all family members depicted – Abuela, Mira’s parents, sisters, aunt, cousin, save for Félix and Camilo and, most poignant, Bruno. Well, maybe, Mira wasn’t too close to her peer cousin (boys and girls aren’t always getting along in that age, after all), and I have no ready explanation for Félix (but wait for it), and absence of Bruno just further confirms that Mira is not only having no memories of her uncle while coming of age, she didn’t even acknowledge his presence when he was around. Where I’m going with all of that? I'm getting closer to the point.

Mirabel’s eye condition, requiring the glasses to wear, is a myopia (it was confirmed by Jared Bush in the Q&A online session) she appears to share with her father. Now, regarding if the village even has practicing optometrist to identify condition this early in life, it could have been some time until it became apparent for the people to notice, along with the little kid obtaining verbosity to descript it herself. We don’t see anything before the birthday, so may it be it was detected only recently, and she’s got the glasses shortly before the events of the movie? (Also, I presume, near-sightedness is a metaphor for Mirabel, being too focused on her own worth inside of family, lacking ability to see the struggles other family members undergo with the burden of miracle, and, eventually, the issue on the larger scope, and, due her short temper and go-get attitude, missing proverbial foresight. In this regard, she even serves as dualist to Bruno for the most of the story, despite both having similar concerns for others. But this is the subject for different topic I eventually want to address. Agustín also doesn’t appear to be particularly observant about other’s feelings, or at least, able to read the room, though in his case, it may be general absent-mindedness and/or social awkwardness.)

For the reason (people sometimes picking on) why her mother not appearing to cure it for her, while “official” answer given was her not seeing eye condition as serious defect but instead a part of charm, it’s very wholesome and humanitarian explanation, but I’m going with different theory: Julieta’s ability doesn’t expand beyond inflicted injuries and diseases, she can’t fix conditions that are woven into one’s DNA and run in generations. Or maybe her powers are only helping people with increasing their own immunity and the speed of regeneration from the harm, so it doesn’t work with congenital defects either.

My assumption is, it’s even possible, the glasses were in fact a present for Mirabel for her fifth birthday, with “Abre los ojos” line referring not just to the event of getting introduced to the family’s legacy and upcoming duty to carry it, but to the simultaneous event of obtaining ability of clear sight (both literal and figurative). And for the referred above absence of imagery of Bruno in Mira’s drawings, it’s because, while she might be aware of his existence, she just didn’t have the opportunity to get clear look of him, due his general disengagement in gatherings and the growing distance from the rest of family (it also may be, as Mirabel herself, he used to avoid being caught on the camera for his own reasons – seeing himself not worthy or dismissive of his own image, so no definitive portraits of him in the house, adult ones at least). That, and her being too short to reach to that family tree picture in the dinner room.

One thing that detracts my reasoning is, on that fairy self-portrait Mira depicts herself with glasses too, but maybe, she was aware of getting them for present this day and had drawn the picture in advance while anticipating the fateful event. There are always some loophole to maintain integrity of headcanons, you see:D

"Maud Pie", ep. 18(83) of season 4 (March 15, 2014).

"I don't really like candy. But I do love Pinkie Pie."

It's not symmetrical or perfect But it's beautiful, and it's mine

Some long ramblings about Isabela under 'read more':

I originally didn’t use to be interested in Isabela, brushing her aside as yet another emancipated princess character, but with time, I figured she’s more dimensional and distinctive character of her kind, and possibly, most multifaceted one next to Bruno. More than that, the two, as opposite they look on the surface, have enough things in common for him to have more rapport with her than with Mirabel, as movie seems to suggest.

First of all, magnitude of their powers. All of original triplets have got gifts that surpass any others in the family, outright divine in nature – abilities of healing, conduct the weather and foreseeing future. While out of third generation, Isabela has got an ultimate divine power – of bringing life out of thin air, and in accordance with her emotional state no less. Thus, her powers also require thorough control, which may be another hidden reason for her always needing to keep herself straight. And it’s apparent too, bearers of greatest gifts are also under hardest pressure, with Bruno and Isabela even visually (in the sequence of “Dos Oruguitas”) indicated to be most subjected to.

Second thing is, external and internal presentation. Out of all characters, the two have the most conflict between public perception and genuine expression, and an array of different facades in case of both – from impassive and contemptuous to caring and heartful. We don’t get to see any objective view of Bruno’s behavior in the past, but from how he’s perceived in retrospect, it appears he used to give off impression of distant and uncaring to people around him, which could’ve been simply an effect of his professional duty, including acting impartial to the events he gets to witness as local oracle and avoiding personal interference with anybody’s fate (just my conclusion, anyway). Which is rather similar to Isabela’s acting around people – pleasant, but not extremely intimate, more like performer than participant, and impression of egoistic, haughty person she leaves on Mirabel. (Did encounter with and insight of real Bruno give no clue about what her sister’s situation would be? It’s not a Mirabel-bashing article, but she’s one dense protag, I must say…) In that, they’re two people in family who appear to bottle their feelings and maintain the constructed façade the most of all (“So much hides behind my smile…”). In addition, as parallel to Isabela’s built image of conventional feminine “perfection”, Bruno has his own invented persona of Hernando, which seemingly serves as “perfect”, and more stereotypically masculine version of himself. (Their natural selves are, of course, still properly feminine/masculine, just of more subtle and nuanced variety.)

And what is fundamental trait shared between two: the extreme selflessness and devotion, and sense of responsibility, being prone to self-sacrifice with long-lasting consequences and openly declaring their willingness to give it all for the family. Which also slips into coming to well-intended, but misguided, and even hurtful in perspective, decisions: no, making yourself a traitor in the eyes of your relatives, never getting rewarded for your good will, while for noble reasons, is not going to bring family together, and neither does confining yourself to lifetime of fake love relationship (and hell knows how suppressed discontent seeping through would manifest itself in the end of things… Mariano dodged a bullet, also not deserving such misery). Anyhow, willfully getting your freedom cut short for the rest of your life for the sake of wellbeing and benefit of your loved ones is tremendous sacrifice (and yet again, it’s such a short sight on Mirabel’s part to take confession of that sacrifice lightly, beside of not realizing she is a case of Isa’s predicament, what with approving a proposal behind her sister’s back). And that’s where Isa is deconstructing Disney rebellious princess archetype even before her breaking out: unlike Jasmine or Merida, she actually holds her family in priority over whatever carefree life she could lead, and makes mature move, total opposite of pampered princess Mira thinks she is. It should be said, marriage is not something exactly forced upon Isa, but rather silently accepted on the assumption she does return affection of would-be fiancé. While Isabela seemingly doesn’t have the same luxury as Jasmine to reject suitors left and right (it doesn’t seem there’s a lot of options…), nor fiancé in question is as obnoxious as any of Jasmine’s, or, say, Gaston, she definitely has enough authority around the town to deem any suitor unworthy of herself or make her own choice, so she’s not that submissive in that situation as it may look. (And nothing indicates any of older Madrigals were forced into arranged marriage, which makes me think that is not entirely in Alma’s hands to decide on whom or if her children going to marry.) It appears, based on observation of similarities between Alma and Isa being possible reason for her singling the granddaughter out as her favorite, Alma might just have been projecting her own perfect romance on the young couple, being convinced they’re destined for each other just as she and Pedro were, and have to make up for her own abruptly cut matrimonial bliss, not taking in account Isa doesn’t have to be her carbon copy. Note that, entering marriage, Isa is not simply getting what she (presumably) wants, she puts herself in a role of next (after Julieta, most likely) matriarch, a head of family, a ruler of town, accepting huge responsibility, quite an opposite of effort-free fairytale life.

Which brings me to connection between characters affirmed in the movie itself: what was exact output of Bruno’s words – either prophetic or not – for Isabela? She is the only one, whose prophecy wasn’t appearing to fulfill itself, and she doesn’t comment on it even in the moment of honesty. We never get closure on that issue, let alone any conversation between two (because poor Bruno was denied of opportunity explaining himself properly by his kind relatives…). One answer that seems to be likely correct in context of Bruno’s reputation: because his vision always undoubtedly becomes reality, promise of the dreams coming true was taken for granted, and Isa considered that, as long as she goes with the flow and doesn’t take the initiative in deciding for herself, she obtains happiness by default. So, she’s basically another princess in waiting for the miracle (hm…) until she gets to break free on her own, which is consistent with modern trend of Disney subverting and defeating their own fairytale standard.

But other possible interpretation is: what if that promise, while leading to wrongful and harmful conviction, was giving her strength to follow her path and assigned duty, vested with faith she, by doing right thing, eventually will become a master of her life and achieve fulfillment. (And probably, it makes sense for her to think Mirabel, revealed being linked with imminent destruction of miracle, somehow also leads to her miraculous destiny being dissolved with no hope left.)

Worth noting, it brings up a parallel with classic story about destiny – and also another one of Disney fairytale standard – tale of Sleeping Beauty, blessed with magical gifts and cursed with ominous future, outcome of which tale being basically the same as Encanto movie: fighting future is dangerous, some losses are inevitable, but what’s matter is what we learn and take from it to improve even more distant future. Also, there’s even visual parallel – Aurora’s two-colored in funky manner dress as result of fairy godmothers fighting over its color, and Isabela’s multicolored holi’d dress, I wonder how intentional it was.

And one another minor and not instantly obvious connection, not clearly visible in the movie: both Isa and Bruno may be “brains” of the family! Some concept arts depict Isa being something of a bookworm, and while you have to be really observant (or peek at production art), there’s hints in Bruno’s environment he’s one himself – in addition to some books in his hideout, there’s drawings on the walls showing doodles of rats in casting of stage plays of Shakespeare’s tragedies and “Don Quixote” (both are not exactly light literature).

And while Isabela being an intellectual isn’t something directly stated in the movie, it’s still part of her development and isn’t contradicted by anything on screen. Though she probably may give preference to non-fiction on the topic of biology. Speaking of nerdy inclinations…   

One last (rather tangential) thing worth of discussion: abandoned Bubo storyline and its connection to ultimate version of story. For the aspects that justify it being scraped for good: first, as I stated above, her being actually loyal to family, instead of trying to elope, makes for all more powerful presentation of her character. Second, is unfortunate implication of her being driven to person simply because he understands her (which is valid on its own) rather than because she likes him for his own qualities and personality. But it may be just lack of context for single scene, otherwise dynamic of two people with connection to nature and such contrasting behavior and appear is pretty endearing. (Official source states the storyline is written off so Isa in the end does not “defined by a man”, but then, Mirabel is treated like hero and she’s “defined” by two men, given she’s in need the word of Bruno on what action to take, and if we take literally statement that she was “send by Pedro” to save the family…) So while I appreciate her ending as more independent and decisive person, I still like how concept of that relationship speaks of her personality, and it did find its way in final version, even if in funny way, by replacing man with cactus:) Even as brief moment leading to big reformative number, having her admiring the “imperfect”, peculiar creature gives evidence of her carrying deep fondness for unconventional forms of beauty, fascination for irregular, whimsical (as opposed to what she’s assigned for -  Mariano, while having his own depths and not entirely flawless as well, kind of dorky in his own way, is simply that – conventional and too ordinary for Isa to spark interest). And considering that trait of her was maintained through the variations of story, it seems more than plausible she may develop profound fondness and connection with her eccentric (and definitely “fish out of water”, as Bubo is described) uncle, which makes it a loss that the story didn’t even tipped toe into interaction between the characters. (And it’s hard to overlook, Bubo’s personal and even physical traits also seem to transfer into final version of Bruno, so the character’s concept wasn’t entirely lost either.)

On the final note, bunch of random musings about the character of Isa, that neither here nor there:

Speaking of unpredictable nature of gift and popular parallel between Isabela and Elsa: may it be that Isabela had to teach herself to regulate her power for pretty much the same reason, given connection between emotions and outcome, and inability for child to properly control it? Even in suppressed state, Isa’s powers have dangerous side to them: we see her being able to use vines to restrain people, making flowers grow from every surface, and later she creates carnivorous plants and just unleashes botanical chaos all around the town, not to mention that her negative emotions resurface itself as plants that unsafe for handling. Between Alma’s worried notion that Isabela got “out of control” and Bruno’s reluctance to face her (which he only partially admits to be for the fear to meet Alma), there could be something that young (and simply not being in existence yet) Mirabel might not knowing about full effect of Isa’s power when unbound and under emotional affect.

And one aspect that felt conflicting to me for some time: as for type of person with “green thumb” she’s supposed to embody (and more prominent “child of nature” image with which her character was conceived at first), Isabela acts rather violently, shown destroying her creations, plucking roses out of her flower bed, ruining topiary and such. But considering she’s not simply nature lover and expert (who she seems to genuinely be), but embodiment of nature itself, like Pepa is an embodiment of atmospheric forces, it’s organic for her to having embraced its destructive side as well, as part of death and resurrection circle. /So she’s a bit of like Stitch, with equally creative and destructive inclinations at one because of immense abilities she’s packed with:)/

I definitely have a little more to say, and contemplate, about the character… but some of it going too far into speculative and fanfic-y territory, so it’s a topic for another time. And sorry for all incidental Mirabel kicking:) – I have things to say about her too, but in its own turn.

Behold, the latest boy band in town – “The Trashbin Princes” (or “The IBags”, or something equally lame).

This is product of me wanting to draw more of somehow obscure characters and crossovers, things like “Once Upon A Studio” amplify that impulse.

I was thinking what other notable characters in Disney canon are there, that aren’t spunky youngsters, not having imposing presence, not particularly fortunate and neither the ones who frankly hit jackpot as the result of their ventures.

The guys here are, from left to right:

Fagin the animal-loving crook, from “Oliver & Company”;

in the middle is, I, uh… forgot his name, Frodo Mardigras or something?

Michael “Goob” Yagoobian (also known as “Bowler Hat Guy”), possessor of possibly the bleakest fate(s) in Disney movie, from “Meet The Robinsons”;

Joe the unemployed from “Rhapsody in Blue” segment of “Fantasia 2000”.

Bruno, the Birthday Boi (turned 51).

Feliz cumpleaños to him in current year too! 123 y.o., and still young!

(Click on to see the image in all its PNG glory, bc standard Tumblr color design doesn't display it as it must be seen.)

Alt. ver. under 'read more':

... I feel like naming it "Bruno & The Cheese Factory".

«Blessing» (Encanto fan comic)

An idea (and eventual part of headcanon) all the way from year ago. Whole scenario was based on that one brief interaction of Agustín with Bruno during “All of You”. Sadly, I’ve got disappointed with myself in process and left it unfinished for indefinite time, and as result, decided to rework it from scratch now, but the scenario stayed the same.

At the time, it wasn’t clear if in canon Agustín was always part of Encanto or arrived here as adult (info from artbook says he came “from big city”), but later it was confirmed by director Bush that all inhabitants of the village were either born here or are refugees from 50 years ago, and it’s just Agustín’s family that has city roots. I decided to leave that aspect ambiguous, as it had no specific bearing on the conversation, but originally it was supposed he wasn’t (and isn’t at the moment) deeply familiar with the Madrigal family and its hierarchy. My headcanon has been updated since that, so expect eventual follow-up on that backstory.

Anyway, whatever connection did stem from that, it wasn’t developed further much in next 20+ years due to Bruno growing progressively more reclusive and reluctant to forge relationships beyond his blood relatives. But as feeling of disconnection becomes stronger, he’s still determined to protect happiness of his loved ones, and not above using benefit of indisputable trust people have in his words, especially when his guts saying it will be right. He (and the rest of Madrigals) may not realize full extent of powers given to him, but as they’re based in natural traits, his are rooted in sharp intuition which, in some cases, doesn’t even require activation of visions. For why he’s so confident on the matter in this case… the story for another time.

Minako Aino/Sailor Venus & her loyal friend and partner in work.

(Autumn 2022.)

I've a clock that won't work

And an old telephone,

A broken umbrella, a rusty trombone,

And I am delighted to call them my own,

I love them because they're trash!

Oh, I love trash!

Anything dirty, or dingy, or dusty,

Anything ragged, or rotten, or rusty,

Yes, I love trash!

~~~

An art from December 2022 with a story to tell:

First off, Bruno’s initial name in the story was Oscar.

Second, “Encanto” screenplay says (about Bruno’s lair): “Funny, weird, gross... filled with family heirlooms and knick-knacks, quirky and oddly charming.”

So, thought I… who else has great affinity with a discarded things, is green, and a bit of a bitter recluse with a heart of gold (and used to have a friend named Bruno, what?)… Oscar the Grouch from Sesame Street, that’s who. And so, I imagined Tío Oscar admiring his collection of old, dysfunctional items while listening to/singing “I Love Trash”, and so the drawing was born. Design is based on merged concept arts by Meg Park and Bill Schwab.

I included one more fiction reference into the drawing (perhaps too subtle?), guess what is it.

"They are my future wife and daughter!"

(Art from July 2022.)

August 3 is Mamoru Chiba's Birthday, and July 31 had Tohru Furuya, voice of the most famous version of the character, turning 70!

Be his life prosperous!

And I glow, 'cause I know what my worth is…

Luisa picture from 2022.

I’ve been getting lazy at the moment I was about to finish it, so the result is a bit rough and sketchy, but it does seem fitting for the subject somehow, so I like it anyway. In my laziness I also let some mistakes pass, e.g.: Luisa’s giant size in proportion to the rest of characters (but I assumed it would be hard to fit them all in her arms without making image cramped), and Bruno’s got his left and right foot switched places, going by position of straps of his chancla (it may not be noticeable much, but if you sense there’s something wrong with his feet, now you know). Anyway, it’s still one of my favorites of past year.

I included unfinished sketch as well, for I find various elements in it that I like better than in coloration, and vice versa. It was my first attempt in making proper picture of Luisa, and her face in both versions turned slightly different, but I like how it looks either way.