Of course, at the heart of any world are its main characters. Modeling environment lead, John Aquino, was also able to draw on memories of growing up in the Philippines. This even included textures like steam coming up from stalls and depictions of humidity in the tropical climate. The night markets of Talon, for example, were influenced by Southeast Asian floating markets, and the environmental team put care into building the visual density of stalls, boats, lanterns, and delicious foods needed to make the world feel real and lived in. “We committed ourselves and all of our collaborators to do deep, deep research, community engagement, and constant collaboration with our cultural departments,” said co-director Carlos López Estrada. To bring this world to life, artists took trips throughout Cambodia, Laos, Indonesia, Thailand, Malaysia, Singapore, and Vietnam. Each region has its own topography, architecture, and personality, influenced by the countries of Southeast Asia. Raya is set in the fantasy world of Kumandra, which is split into five distinct dragon-inspired regions: Fang, Heart, Talon, Spine, and Tail. And the team behind the film did a significant amount of research to create a world that was at once vivid and fantastical - a world where dragons once roamed and where a fantasy villain could turn living beings into stone - while being realistically grounded in elements of Southeast Asian culture and geography. ![]() ![]() ![]() Raya and the Last Dragon is Disney’s first animated feature starring characters of Southeast Asian descent.
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