Dancing in Narnia

Eustace Clarence Scrubb Aesthetic

On Peter and Violence

I think there’s two popular fanon camps regarding Peter Pevensie’s relationship with violence, and though there are certainly plenty of others who, like me, would disagree with both of them, it is those two versions of Peter that I keep seeing pop up again and again.

The first is that of the powerful, raging, warrior king: the version of Peter that speaks more to his mythologized persona within the books than the Peter we actually witness and interact with inside the narrative. His temper is hot, and his sword is fast, and his legacy is soaked in blood. It’s this Peter that lends itself so readily to the (equally fanon) idea that Edmund is the more diplomatic of the two.

The second is that of the pacifist. This idea of Peter is opposed to violence, and only fights under great duress, or because he has been given no other choice; it’s the version of his character that people have snatched from a deleted scene in the “Prince Caspian” film in which he claims he is “thinking about a career in medicine,” and in doing so, distances himself from the war back home. (Although, I would also blame the PC film for the angry, impulsive version of Peter who dominates too much of the fandom; that movie’s interpretation of him is a tragedy.)

Now, of the two, I would prefer the second. It’s at least marginally truer to the boy who “didn’t feel very brave” but did his duty in “The Lion, the Witch, and the Wardrobe,” and I appreciate that. However, I also have a personal vendetta against the extreme version of this viewpoint which prioritizes Peter’s peaceful nature over his dutiful courage, and this is why I’m writing out what I believe are the nuances of his character that sometimes get overlooked in favour of idolizing either his strength or his softness.

There is a statement in my mind to describe him that I avoid using, because I know it requires more context than I usually want to give, but here and now, we’ll call it my thesis: Peter prefers problems he can hit.

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My favourite thing about The Lion the Witch and the Wardrobe is that CS Lewis very obviously knew that kids were going to go hunting in cupboards and wardrobes for Narnia because multiple times he very clearly states that the kids did not close the door behind them when they climbed in the wardrobe because that would be stupid and dangerous. He knew some kid was going to lock themselves in the closet and he obviously didn’t want to be responsible for that.

PSA: Kids, don't lock yourself in a wardrobe. That would be a very silly thing to do. -- C.S. Lewis

Attempted a Susan Pevensie and then gave up

Level 1: Characters in a fantastical setting with no clear analogue of any real-world culture or religion celebrate Christmas; the implications of this are never examined

Level 2: Characters in a fantastical setting celebrate a secular, non-denominational mid-winter holiday which just coincidentally involves many of the same rituals and observances as Christmas

Level 3: Characters in a fantastical setting celebrate a mid-winter holiday commemorating an invented folk-hero whose mythos furnishes elaborate alternative explanations for various Christmas observances

Level 4: Characters in a fantastical setting celebrate Christmas because in spite of the setting's history otherwise bearing no resemblance to that of Earth, for some reason Catholicism still exists

Level 5: Whatever C S Lewis was on

CS Lewis said "it's fantasy and I can do whatever" and if that means Santa shows up to give gifts, then Santa shows up! 😇

And then someone has to restrain Tolkien from shanking him or something like it.

While this is a fun meme, it badly mischaracterises Lewis' attitude toward speculative worldbuilding. Prior to The Chronicles of Narnia, Lewis was best known as an author of theological science fiction, and he carries that approach forward to Narnia. Indeed, that's why he was famously so hostile to allegorical readings: Narnia is situated within a multiversal Creation in which God the Son incarnates to deliver salvation to each world in a form suited to that particular world's idiom – it's unnecessary to interpret Aslan as a symbol for anything, because textually he literally is the second Person of the Holy Trinity incarnated in a form suited to a world of funny talking animals. Heck, there's even a complicated theological explanation for the lamp-post.

Granted, I'm sure Lewis was having fun with Santa Claus popping up in Narnia to give people magic swords for Christmas, but that doesn't mean he wasn't also massively overthinking it. He and Tolkien were much more alike than I suspect either man would readily admit!

I don't think they would have had that much an issue with each other. They liked each other well enough that Tolkein put Lewis in his trilology as a walking talking tree man. For tolkein, could there be a higher compliment? That man loved his trees

Well, yes, but I meant "more alike than [...] either man would readily admit" specifically with respect to speculative worldbuilding; their disagreements regarding the "correct" way to go about constructing fantastical worlds were famously vocal, though reports that they nearly ended their friendship over it are (probably) exaggerated.

I like how Christmas exists prior to Aslan's sacrifice and resurrection.

Which has the obvious implication that Aslan just allows himself to be killed every so often.

Oddly, the celebration of Christmas in Narnia has nothing to do with Aslan. The institution exists because Narnia's first King was a time-travelling cab driver from 19th Century England.

THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE 2005 | dir. Andrew Adamson

✨ DESIGNING CHARACTERS IN NARNIA: The Magician's Nephew✨ (scroll for a breakdown of the design)

I bet there's going to be a bunch of people who'd hate me if I reveal who the face claim was, but I'd love 'till the end of time whoever guesses it.

One of my headcanons in Narnia is that Polly Plummer's family is rich. She was described to be living in a terrace house in London and for some reason, I've associated that with being rich (maybe because of Annie in The Parent Trap). And that was the design that I aimed for in this one.

Here's the complete breakdown of Polly's design. It contains the explanation to some of the changes I did to her book design.

And to everyone who's been wondering how the exam went: IT WENT WELL! I PASSED THE EXAM! I am now a licensed architect and I want to thank you all for helping me pay for the review. You were all a part of this journey! ❤

Coming soon: The Magician's Nephew Characters

@queensoftheresistance *stares at my WIP folder*

I think you're going to like my next upload.

Narnia doodles pt. 1

As opposed to hundreds of years later... when you're younger.

h of h playbook | anne carson (insp, insp, and insp)

The Chronicles of Narnia 1950 by C.S Lewis

My Narnia book 😍 all illustrations made by me in Adobe Photoshop and Pro create

Why is Narnia so devestating????

It's Peter yelling at Edmund and their mom calling Peter a good man and them all being so tiny.

And it's the long opening and the titles only once they're on the train with the wistful song playing.

In Voyage of the Dawn Treader when Lucy was sold off, did she remember when she was tagged and boarded like cattle onto the train?

It's everyone looking at Susan for reassurance.

It's all the others trying not to laugh and Susan setting her shoulders even as she does as she's told.

It's Peter and Susan trying to act like what is probably the image of their parents when they're comforting Lucy.

It's the jazzy swing music starting as Peter starts counting, giving into the kid game and trying to get the others to do the same.

It's their frantic running to hide.

It's the music echoing away as Lucy finds the room.

It's the dramatic drop of the sheet.

It's the slow push through the wardrobe.

It's Lucy taking in the beauty of the snowy forest.

Narnia really is a pinnacle of effects.

I've always thought the lamppost was a simply brilliant device used in Narnia.

I always forget that Lucy really does represent hope for all of Narnia. Winter's not all bad when you know spring is coming.

You know sometimes I wonder why I didn't get that into The Hobbit or Lord of the Rings sooner given that I love fantasy. But then I remember. I had Narnia.

This actress, man. She's incredible.

The fact that it's Susan and Edmund checking the wardrobe, but Peter telling Lucy it's her imagination.

Peter who grew up far too fast yet still wants to be a kid, but instead pushes everyone else to grow up with him because he's protecting them that way.

I've always had such a soft spot for Edmund. He's barely older than Lucy and just such a little boy. He's a joker and and annoying brother and he's attention deprived and the way that his siblings treat him is why the plot moves the way it does.

It's his change in tone once he's in the wardrobe. Lucy? Where are you? I think I believe you now.

The White Witch and her dwarf used to appear in my nightmares. They're absolutely terrifying.

BUT HER COSTUMING.

LIKE WHO DO I HAVE TO THANK FOR HER HAIR AND CROWN AND COAT AND DRESS???

I can make anything you like. Can you make me taller?

Oh. Do you mean... Peter would be king, too?

The White Witch is already so manipulative with her "hills" and "house".

Lucy: Winter isn't so bad. Edmund: It's freezing.

You know what little children are like these days. Just don't know when to stop pretending.

It's Lucy looking up at the professor and seeing an adult and immediately burying her face into him.

The weeping girl. Yes, sir. She's upset. Hence the weeping.

You're not saying you believe her? You don't? You're saying that we should just believe her?

Oh and the kids all band together to avoid getting in trouble for breaking the window. As kids do.

Them all arguing as they back up in the wardrobe will always be one of the funniest things ever.

Don't worry. I'm sure it's just your imagination. Little Lucy with her sass.

It's the way Peter literally knows how to poke at all of them and doesn't hold back except with Lucy.

It's the way Lucy knows exactly what's happened the moment she sees the door kicked in. Her eyes widen because she knows what a bombed house looks like.

Anyone else forget the White Witch's name was Jadis?

The way the girls both grab onto Peter, but Peter grabs onto Susan.

Susan immediately warms up the moment we meet Mrs. Beaver. She recognizes warmth and love.

It's all happening because of you. You're blaming us?Not blaming. Thanking.

Peter is so easily swayed. He's such a mediator and he's trying so hard to make everyone happy, but it really just makes him fickle.

The first of my loveable foxes.

It's Susan running full-force and Peter dragging Lucy behind him.

The river scene is still so good.

I will forever be disappointed in animals not designed as well as Aslan.

Susan and Edmund are so important to me as a pair of the Pevensie children.

It's very important that the girls are not soft. They are girls from wartime and always armed and, yes, they are gentle, but they are not soft. They are Aslan's protectors of heart.

Okay, but the Witch's outfit during Aslan's binding is killer.

The way Jadis studies Aslan in this scene, too. I want to study it. Her expressions are so layered.

Susan looks away, but Lucy doesn't.

They cut from Aslan's eyes to Lucy's.

The girls free Aslan's body. Susan reasons it's too late, but Lucy tries anyway. It's not about that.

He must've known what he was doing.

Susan, the woman you are.

Do you think Susan thought of Aslan as she identified the bodies? Do you think she tried to free them too?

Edmund: then you'll have to lead us. That's such as important turn for him. AND SO DO I.

Okay, but that shot through the map that turns into the field from the eagle's eyes?! Damn.

It's important that Peter both protects Edmund by setting him further back, but also trusts him enough to lead and fight.

Oh my gosh I forgot she wore his mane!

Peter always looks to his siblings when he makes a decision.

Narnia is so intense with its battle sequences. They are violent and brutal in a way I haven't seen much of in other kid's media.

Even though I hesitate to like that they specifically split the girls off from the boys so that they didn't fight, it still works.

Narnia editors. Wherever you are. Thank you.

Edmund sees Peter hurt and the whole of the army reacts. Peter asks them to stop. But they do not listen. Not to that king at least.

Lucy's grief is important. Just as much as her hope.

Peter the boy who wanted to fight in the war at home sees war up close and stumbles.

Yet his stubborn ass still fights. Even if he demands Edmund to get the girls home.

Peter's not king yet. Peter's not king yet and I listen to no one. I will let the witch take nothing else.

Oh the silent scream.

Oh Peter thinking to himself why can't you do as you're told even as he runs after him again.

Peter isn't a fighter. And he looks so painfully young fighting the witch who is.

Whoever designed the rock terrain, man.

The motion blur shot is so incredible. It's just Peter and Aslan. It is finished.

Susan: where's Edmund. Susan shooting the dwarf who tortured Edmund. Susan removing his helm. They mean the world to me.

Aslan heals and Lucy runs to do the same.

How they each look at their thrones means so much to me actually. Lucy the Valiant Edmund the Just Susan the Gentle Peter the Magnificent

It is important that Tumnus gives them the crowns because Narnia is really about change.

Once a king or queen of Narnia, always a king or queen of Narnia.

After all. He's not a tame lion.

I think Lucy's grief is what makes her valiant.

Wait, what so you mean the only time Susan got to see her siblings grow up was as kings and queens in Narnia?

They actually cast them older really well.

This feels familiar. Like from a dream. Or a dream of a dream.

The transition from fall leaves to coats is brutal actually. And then they're back to bickering.

The only time in which movies are more devestating than books. The Penvensie children remember.

Oh my gosh I forgot how much Lucy going back to the wardrobe made me sad.

And the music is so good.

But oh how I've missed the Disney logo that changed colors with the movie title color.

Lucy & ed

THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE — 2005, dir. Andrew Adamson