a-todd-illustration · 9 months ago
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Anna and Kristoff have trouble getting up in the morning, but Hans is ready to get things done by sunrise. It's up to him to get his lovers ready for important duties.
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scurviesdisneyblog · 1 month ago
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Character designs for Frozen (2013) by Bill Schwab
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firawren · 1 year ago
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Frozen text post memes, part 4 of ?
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vavialdavi · 6 months ago
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We as society need to bring back Frozen memes 🗿
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You can repost if you want but tell me before and credit me (I'll know if you don't, I'm caribbean)
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artist-issues · 2 months ago
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I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!
Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go” and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!
Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.
Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!
Let’s do this! For fun!
1. They don't need to establish exhaustive rules for how magic works in their world.
Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.
Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."
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The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.
Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.
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If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life
—well, you're focusing on the wrong things for this kind of story.
It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.
But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.
Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.
But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."
That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.
Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.
So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.
2. The "twist" villain worked perfectly for the story.
A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.
But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.
Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.
So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."
So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.
3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.
Anna (as we understand her throughout the story) is introduced like this:
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And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.
Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's
"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.
So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”
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See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.
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There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."
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But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.
I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.
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Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.
I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.
4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.
She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.
At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.
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But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.
Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.
She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.
It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.
4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.
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The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.
Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—
Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.
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They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.
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And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.
Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.
Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.
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And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.
She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.
Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.
Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂
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Guards! Take them away! Back to the theater with you! Watch the movie again!
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oddlittlespider · 5 days ago
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Fixing Frozen 3's questions at 2024's D23 Expo
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On August 9–11, 2024 at D23, Frozen co-director Jennifer Lee revealed questions that may or may not be answered in Frozen 3:
Who gave Elsa her powers?
Why doesn't Anna have powers?
Was there a 5th Spirit before?
What kind of Queen will Anna be?
Will Kristoff be a King?
Do they want kids?
Where are Kristoff's parents?
How did Kristoff meet Sven?
How can Sven be so old and still so virile?
Why is Olaf alive?
What about Marshmallow and the snowgies?
Is it "Hoo Hoo" or it is "Yoo Hoo?"
Why are Elsa's powers still growing?
Why are there castle ruins throughout Athohallen?
Where do the nature spirits come from?
Do we need to beware the frozen heart?
Who is the Frozen Heart?
What happened to Hans?
One word: disappointing. These questions are like tossing dung at a wall and hoping one of them will stick. They are either incredibly redundant (e.g. Olaf alive, Elsa's powers growing), unnecessary (e.g. Kristoff meeting Sven, the origin of Elsa's powers, castle ruins, the spirits origin) or obvious throwaway questions (e.g. Yoo Hoo, Sven's virility).
And why are the only questions about Elsa all about her powers? Does Lee genuinely believe people only like Elsa because she has ice powers? Seriously look at the questions about Anna and Kristoff--these questions ask about their lifestyles. Do they want kids? What kind of rulers will they be? Meanwhile Elsa gets two questions and they're all about her POWERS.
And why are there no questions concerning the relationship between Anna and Elsa? I thought their sisterly bond was what Frozen was all about. Not Elsa's magic. Not convoluted mythology. Not Kristoff and Anna being rulers and starting a nuclear family. These questions are seriously missing a HUGE part of why Frozen became a hit.
So I've decided to formulate a different set of questions, or rather a more through set of questions, which build upon Lee's questions, and hopefully better address the characters and themes of Frozen and Frozen 2:
Characters
The personalities, the journeys they undergo, the choices they make, the consequences they endure, and the relationship they have with each other are vital to creating memorable characters that resonate with audiences. Frozen set the groundwork, Frozen 2 destroyed it, now its up to Frozen 3 to build it back.
Elsa
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Is Elsa happy in Athohallen?
Does she miss being queen?
Does she miss living in Arendale with Anna?
What is her role as Fifth Spirit?
What does Elsa do in Athohallen?
Does she want a partner?
Does she want kids?
Does Elsa still have social anxiety or any other mental health issues she struggles with? How does this effect her new lifestyle?
What does Elsa think of Kristoff and his relationship with Anna?
Does Elsa think Kristoff will make a good king?
Has Elsa forgiven Hans?
Is Elsa the frozen heart?
Anna
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Is Anna happy being queen?
Does she miss being princess?
Does she miss living with Elsa?
What does she think of Elsa abdicating the throne to live in Athohallen?
Is Anna ever worried about Elsa living in a glacier that tried to kill her?
What is her role as queen?
Does Anna feel she can be as good as a queen as Elsa?
Does she think Kristoff will make a good husband?
What does she think of Kristoff being king?
Does she want kids?
Has Anna forgiven Hans?
What does Anna think of her parents, specifically in how they treated Elsa and her as children?
What does she think of the trolls as her in-laws?
Kristoff
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What does Kristoff think of being king?
How is Kristoff adjusting to his radically different lifestyle?
Does Kristoff miss being a ice harvester?
What do the people think of a commoner like Kristoff marrying the queen?
Does Kristoff still love ice?
What about Kristoff's misanthropy? Did that magically go away when he dated Anna?
Does Kristoff think he will make a good husband?
What does he think of Elsa's abdication?
What happened to his parents and why is he an orphan?
Does he want kids?
Hans
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Will Hans return to the franchise?
Will Hans be redeemed?
Does he want revenge?
Does he still want the throne?
Will he ever find a place of his own?
What does Hans think of Anna as queen?
What does Hans think of Elsa's abdication?
What about his parents and twelve older brothers?
Did he have a abusive or neglectful childhood?
Is Hans still shoveling horse manure as his punishment?
Is Hans the frozen heart?
Olaf
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How does Olaf feel about being the only sentient snowman of his kind?
Does Olaf wish he was human?
How do other people treat him?
Does Olaf see Elsa as his mother and Anna as his aunt?
Will Olaf reach adulthood?
Can Olaf physically grow?
Does he miss living with Elsa?
How does he feel knowing that if Elsa dies he will die as well?
Will Olaf ever stop being a insufferable edgelord? (lol)
Themes
Old and new themes to explore....
Sisterhood. How does living separately effect Anna and Elsa's relationship? How does Elsa cope without Anna's constant presence and unwavering support? How does Anna cope without Elsa's compassion and wisdom? Will living separately cause the divide between them to deepen?
Fear and isolation. Is Elsa afraid of being alone? Is Elsa afraid of her powers spiraling out of control again? Is Anna afraid of failing to live up to expectations as queen? Does she feel lonely without Elsa always by her side? Is being queen a lonely endeavor? Is Elsa afraid of Athohallen (it literally froze and held her hostage when she got too curious, lol)?
The duty/role of a ruler. Now that Anna is queen, how does that effect the people? What do they think of Elsa's abdication? What do they think of Anna being queen? What do they think of Kristoff being their king? What are the qualities of a good ruler? What sort of constitutional duties are there to perform?
Self-discovery and transformation. How will Elsa and Anna discover new things about themselves or about each other? Will the journey they undergo change them for the better or the worst? Will Elsa's role as fifth spirit drive her further from her humanity? Will Anna's role as queen isolate her from her sister and her people or drive her closer to both?
Redemption and forgiveness. In Frozen, Elsa redeemed herself when she thawed Arendale. The people, who she had nearly accidently killed, forgave her and happily ice skated with her at the end. If Hans is redeemed in Frozen 3 then the theme can continue anew. Redemption is all about transformation. Can someone flawed change for the better? Or are some people's crimes so evil that they are irredeemable? Can we forgive those who wronged us even if they aren't sorry?
Norse mythology. Fate, rebirth, knowledge, sacrifice are a few of the central themes of Norse mythology. The Æsir (e.g.  Odin, Frigg, Thor, Loki, Balder, Hod, Heimdall and Tyr) and Vanir (e.g. Njord, Freyr, and Freyja), the Nine Realms, Yggsdrasil. How can they be weaved convincingly into Frozen 3, when 1) it takes place in 18th century Norway and 2) the first film was largely based on a fairytale and classic disney references? Will they ever acknowledge how Christianity replaced paganism? (probably not since this is Disney).
Conclusion
What do you think? Feel free to add some questions. Please be respectful.
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celebtf · 4 months ago
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HANS AND THE MAGIC SNOW
In the kingdom of Arendelle, the winter chill had finally given way to the gentle warmth of spring. Anna and Kristoff's love blossomed alongside the blooming flowers, much to the envy of one man: Hans, the disgraced prince who once sought the throne through deception. Consumed by jealousy, Hans devised a plan to rid himself of Kristoff once and for all. He had heard whispers of an ice witch who hid in the forbidding mountains, known for her dark magic and powerful spells. Determined to win Anna's heart and take Kristoff's place, Hans set out on a journey to find her.
After days of treacherous travel, Hans stood before the ice witch's lair, an fortress of ice and snow. The witch, intrigued by Hans' ambition, agreed to help him—for a price. She handed him a vial filled with shimmering, enchanted snow. "Apply this snow to the face of the one you wish to become, and to your own," she instructed. "You will transform into them, and they will transform into you. But beware, for magic always comes with a cost."
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With the vial clutched tightly in his hand, Hans returned to Arendelle under the cover of night. He waited for the perfect moment to put his plan into action. One evening, as Kristoff slept soundly beside Anna, Hans quietly entered their room. He sprinkled the magic snow onto Kristoff's face, watching as the transformation began. The snow glowed brightly as it touched Kristoff's skin, spreading like frost over his features. His skin tingled and then burned as the magic took hold, bones cracking and shifting under the pressure of the spell. His rugged jawline softened and narrowed, his cheekbones raised, and his nose became more refined. Kristoff's golden hair darkened to a chestnut brown, growing shorter and neater. His blue eyes flickered and shifted to a deep green. Kristoff's body felt like it was being stretched and compressed at the same time. His sturdy, muscular frame shrank, his broad shoulders narrowed, and his calloused hands softened. Even his voice altered, taking on Hans' smoother, more polished tone. His simple, practical clothes morphed into the fine, tailored attire of a Southern Isles prince.
Hans, trembling with anticipation, then applied the remaining snow to his own face. He felt a rush of cold spreading through his skin, as if his very essence was being reshaped. The sensation was overwhelming, like ice flowing through his veins. His own sharp features began to morph and broaden into Kristoff's. His chin and jawline squared off, his nose widened, and his cheekbones lowered. His red hair lightened to a sandy blonde, growing longer and wilder, matching Kristoff's unkempt look. Hans' body underwent a significant transformation. His lean build expanded into the muscular form of the ice harvester. He could feel his shoulders broadening, his arms thickening with muscle, and his hands becoming rough and strong. His height increased, giving him Kristoff's towering presence. His princely clothes transformed into Kristoff's simple, practical outfit, complete with fur-lined boots and gloves, fitting snugly over his new, muscular frame.In an instant,
Hans' appearance was now that of Kristoff, and Kristoff awoke to find himself in Hans' body. Dazed and horrified, Kristoff looked at his unfamiliar hands and felt his altered face, the mirror revealing Hans' face staring back at him. "+Anna, help!" he cried, but his voice—Hans' voice—only added to the confusion. Hans was quicker. He dragged Kristoff to the palace dungeons, claiming that the treacherous Hans had returned to exact his revenge.
Anna, heartbroken but trusting her beloved Kristoff, agreed to exile "Hans" to a remote island, far from Arendelle. As the real Kristoff was taken away, Hans—now in Kristoff's form—comforted Anna, whispering sweet lies and promises of a happy future together. With the real Kristoff gone and no one the wiser, Hans began his new life. He reveled in his newfound status, enjoying the love and admiration he had always craved. Anna, unaware of the truth, found solace in her new life with the man she believed to be Kristoff.
Far away, on a desolate island, the real Kristoff—trapped in Hans' body—struggled to survive, his heart heavy with despair and betrayal. No one would believe his story, and there seemed to be no escape from his lonely exile.And so, Hans, disguised as Kristoff, lived a life of comfort and affection, while the real Kristoff languished in isolation, the victim of a cruel and cunning plot. The tale served as a grim reminder that even in a land of magic and wonder.
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stargazerlillian · 1 year ago
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All Disney Lorcana cards featuring characters from "Frozen" and "Frozen 2" so far.
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fun-incorrect-quotes · 1 month ago
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My Roman Empire is the fact that in the Frozen Musical Elsa was legit suicidal
“Father you want what’s best for me, if I die will they be free”
“Mother what if after I’m gone, the cold gets colder and the storm rages on”
“Can’t live and I can’t die”
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virfujiwara · 6 months ago
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@helsaweekmasterlist DAY 3 - 4 (1 - 2 May). RACE. The Ferrari 2025 lineup is gonna be insane, did you hear Hans is leaving Mercedes for Ferrari?
I had a LOT of drawings for this prompt, F1 or Speedstorm related, but they all included.... the cars.... my artistic nightmare... So, though this one is kinda visually boring it was the only one I could "finish" (it needs more polish)
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chaossmith2 · 10 months ago
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Official poster for Frozen 3: The Heart of Arendelle
A little side fan project I'll be working on every now and then!
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photsibutnot · 1 year ago
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HAPPY HALLOWEEN! ! 👻 couldn't go through the month of spook and helsaween without contributing so heres frozen x tim burton dump
@helsaweenfun
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greatqueenanna · 3 months ago
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I will be updating the Frozen 3 news post soon, but wanted to throw in some thoughts regarding the new info.
So, firstly, I’m happy that the film is being delayed to 2027. That may sound shocking, but this is a big relief to me. The first two films both suffered from trying to meet a deadline, and the creators (this is probably more on the company though) refusing to delay and give themselves more time. Thus, both films have rushed elements.
It gives me hope that not only is the story being written into two films, but now they are giving themselves even more time to polish it. Especially concerning the sheer amount of story content that they want to explore— and it’s a lot.
I’ve condensed all of the questions brought on during the announcement into 5 major sections, all concerning a specific idea.
*Quick Edit* I moved the question about the Frozen Heart down from More Ahtohallan Lore to the Prince Hans section because that was always more associated with Hans, so I thought it would be more appropriate to have under that section instead.
First Major Plot Point — More Ahtohallan Lore
Why Ahtohallan has castle ruins inside of it.
The previous Fifth Spirit.
Where did the Spirits come from?
Second Major Plot Point — Elsa’s Powers
Why are her powers still growing?
Who gave her the powers?
How are her creations, like Olaf, alive?
Why doesn’t Anna have powers?
Third Major Plot Point — Arendelle Royalty
How is Anna doing as Queen?
Is Kristoff going to become King?
Are Anna and Kristoff interested in having kids?
Fourth Major Plot Point — Kristoff’s Past
Where are Kristoff’s parents?
How did Kristoff meet Sven?
Why is Sven still full of energy if he’s so old?
Fifth Major Plot Point — Prince Hans
What happened to Hans?
Who exactly is the Frozen Heart?
With all this in mind, on the concept art, not only do we see people in the castle above the sisters, we also see an ominous, viking-like shadow behind Anna and Elsa — meaning that if these are new characters, then that means that we have a giant cast at the moment.
Elsa
Anna
Kristoff
Sven
Olaf
Mattias
Yelena
Honeymaren
Ryder
Hans
Viking Shadow Guy
Castle People
Like….they’re doing the “Too much stuff, not enough space” thing again and I’m genuinely concerned haha. Thus, the delay and split into two films is a smart move. But why not just make a show? Like this screams series. Idk haha.
Also, there are a few things here that I actually thought were answered already — like, who gave Elsa her powers? Ahtohallan because of Iduna’s sacrifice. Why doesn’t Anna have powers? She’s the human side of the Fifth Spirit. But I suppose that F2 wasn’t exactly clear on these things, so maybe they want to better explore these ideas and clear up some misconceptions. Makes sense I suppose.
Also, the fact that they’re asking if Kristoff will be King or not is giving me some validation lol. I always said that Kristoff would be called a King and not Prince Consort and so far it looks like they’re considering the King title and not anything else. But we’ll see haha.
Now I’m curious what you guys think. Poll time.
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firawren · 1 year ago
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Frozen text post memes, part 3 of ?
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galaxygolfergirl · 9 months ago
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The gang’s all here! The main OG cast from the first movie is all done. I’m still working on Honeymaren and Ryder, as well as the villains and supporting characters, but otherwise enjoy this fake concept art/fanart of all of them together. I also have a version without the logo attached below ⬇️
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@jasmindoodles
And yes I have been toying with writing a fic but that’s gonna take some time, people. I got a schedule to maintain 😅
edit:
I just realized this looks compressed as shit on mobile, damn.
Y'all can see a better resolution one on reddit, or see this on desktop.
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What I would do to see thisss 🥹 :
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Art by the deactivated @/emmassouthernisles.
Their reactions to all of Hans' brothers and Hans is a little bit over for them. He's like Kristoff when he introduces the Trolls'. If Hans and the southern Iles get featured in the next two movies, I'd love to see all if not some of Hans' brothers. Ooh and perhaps get the family to reconcile with him. How beautiful would that be?!
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