Words and Artwork by Emilia Bajer

With Disney’s live actions being put out readily, there are constant debates about whether their portrayals of beloved stories are successful. Or even needed.

As consumers of film, we not only want to see new content, new worlds and characters, but we want to seek life messages and in a sense, wisdom. Disney’s ‘Mulan’ (1998) isn’t just about sacrifice and winning a war, it’s about breaking gender stereotypes and finding your place within the world. ‘Tangled’ (2010) isn’t just a fairy tale about a long-lost princess with magical hair, it’s about learning to get out of your comfort zone and following your dreams.

What also made Disney’s past animations so successful is the fact that they were built from existing fairy tales and legends from various countries and cultures. In today’s society, as we grow in multicultural- ism, portraying ethnic characters and stories is more important than ever, as a means of representation. What better way to be introduced to new cultures than to read myths, legends and fairy tales all over the world?

As someone with a Polish background, I have cre- ated a Disney Prince based on the legend of ‘Smok Wawelski’, the Dragon of Wawel (pronounced Vah- vell). To summarise, the story centres around a Drag- on who lives in a den under Wawel Hill in Kraków, and terrorises King Krakus’ kingdom. The many knights and their strength do not kill the beast. What does, however, is a young shoemaker named Skuba, who uses only his wit. He baits the Dragon into eating

a sheep that has sulphur and pitch resin stuffed into its wool, eventually blowing up the fire-breathing crea- ture. A classic tale of an underdog and using one’s brain rather than brawn.

If this story was developed further, the character’s design would go through many iterations; hence I would just like to preface that this is simply my own interpretation. Now, despite the legend taking place in medieval Kraków, I would initially design Skuba’s outfit based on Kraków’s folk costumes, as I find the colours and motifs very reflective of Polish culture and something that audiences would recognise. To fit with- in the bounds of a Disney Prince, along with Skuba being a shoemaker, he would also be the King’s son. A Prince sheltered by his paranoid father, who refuses to let his son outside palace doors. Such obstacles help shape Skuba’s character, to show that he is more than just his wealth or social standing.

To somewhat illustrate his Polish ethnicity, I’ve given him a hooked nose, which is a feature not usually found on animated characters. Small deci- sions like designing a character with a hooked rather than button nose can immediately create diversity and help with on-screen representation. From such a secluded upbringing, Skuba’s story would help young people, especially young boys, to realise that physical strength or status isn’t everything; perseverance and believing in oneself are more important.

Even if it isn’t something we readily seek, we all deserve to see a little bit of ourselves on the screen.