Disney, Fox, Dreamworks, Nest, and Dozerfleet Princesses in the World of Mad Max

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Disney, Fox, Dreamworks, Nest, and Dozerfleet Princesses in the World of Mad Max is a 3-minute, 34-second short slideshow film created on March 15th of 2023 for Dozerfleet Studios. It features several Dozerfleet women cosplaying as Mad Max universe extras, alongside guest characters from the other aforementioned entertainment brands. While the short is biased toward Disney and Dozerfleet, the other three were all ensured that at least one "princess" got included.

Premise
In this short film, various women from the animated canons of five different entertainment brands were put into Codeway Dijital's AI app Wonder, and were tested to see how well each one would adapt to being placed in a setting resembling that of Mad Max or Mad Max: Fury Road.

Notes on continuity
While the Cataclysmic Gerosha versions of Dozerfleet women from The Gerosha Chronicles are not likely to ever canonically find themselves in this setting, their Crossover Gerosha variants easily could. The other women all could much more easily find themselves in such a crossover, given that Disney, Fox, and Dreamworks have always been looser with continuity. Nest's willingness to be that loose with continuity is up for debate.

Characters and outcomes

 * Notes

&dagger; Here, "Profession" refers to what these girls are most fairly classified as at the beginning of the respective work they are extrapolated from for purposes of the experiment. If they become princesses later on, or lose their status as a princess later on, then this progression is deemed irrelevant.
 * Cinderella starts out as a glorified maid, and gets promoted to a princess later. Therefore, she's not listed as an official princess.  Similarly, Mulan, Tiana and Thumbelina don't begin their film's journeys as royalty; but must marry into the role.  While Thumbelina may have had this as her initial goal; Mulan and Tiana stumbled into the role, one while trying to save China and the other while trying to make sense of all the voodoo mischief happening around her restaurant.
 * Aurora, however, is listed as an "actual princess," because her royalty status is never officially revoked while in hiding, and because she regains her royalty status' full public recognition by the end of her tale. This also applies to Rapunzel.  Anastasia is listed this way also, even though she is considerably demoted by her film's end.  Merida is also described as a princess in her film's beginning, even if she warrants demotion by its end.  Likewise, Raya and Fiona both begin as princesses, even if their end ranks are up for debate.
 * Elsa technically begins her film as a princess, but is a queen for the majority of its run. Therefore, for purposes of the experiment, her rank is that of a queen.
 * Belle is listed as a courier, since she performs odd jobs for her father Maurice. She isn't promoted to a princess until after marrying Adam, so this detail of her life is ignored for purposes of the experiment.
 * Nala is arguably royalty according to her pride of lions. However, the royalty structure of a non-human species is up for debate in terms of legitimacy, especially given that she's not an anthropomorphic animal, like Baloo in TaleSpin would be.
 * Pocahontas, Moana, and Crysta's statuses as "princesses" is up for debate. Is a tribal chief's daughter technically the same as being on par with European royalty per government structure?  Can a sufficiently popular fairy be considered "royalty" by human government structure standards?
 * Vanellope is listed as a princess only because she's initially described as such by the code in Sugar Rush, even if Turbo corrupts the game's code to demote her. The fact that she rejects the clothing of royalty after her original code is restored is irrelevant to the experiment.  It is also debatable if Fiona is still a princess by the end of the Shrek series or not, since she finds herself preferring to live in the swamp with Shrek rather than wallowing around in a palace.
 * Candi may have been an heiress to the Flippo family fortune, but the Flippos were never considered "proper" royalty. As such, Candi was never an actual princess.
 * Neone Delft from Stationery Voyagers was originally to be included in this experiment; since she began her career as an actual princess, before getting demoted to merely a space explorer / diplomat. However, she was left out due to the AI's inability to comprehend a princess that was somehow also a yellow highlighter marker.
 * Hea and Tabitha Pang are both often treated within Swappernetter society as being unofficial "royalty," given they're descendants of the late Joo-Chin Pang. That being said, neither was ever officially a royal.

&dagger;&dagger; For purposes of this experiment, "original works" refers to the work that was used as a frame of reference for the AI when making its interpretation of how a particular character would look in the world of Mad Max. It is not an exhaustive list of the character from literally any and all works they may have featured in.
 * While Candi appeared as a very small child in the epilogue to The Battle for Gerosha, was an almost-ten-year-old child in Blood Over Water, and was a 16-year-old in Ciem: Inferno; only the version of her from Sodality: Adaptation was used for purposes of the experiment.
 * Likewise, Tabitha has been in two of three Gray Champion: Modern Legends stories, been relevant in the background through Ciem: Ash Cloud, been a lesser character all through Sodality, and even got to be relevant in the background of Ciem Tomorrow. But only the version of her from the first season of Swappernetters was sampled.
 * Numerous non-canon appearances of Disney princesses, as well as their prequel and sequel film selves, are largely ignored by the experiment. That same principle applies to women from the other non-Dozerfleet brands.  Primarily, only the first film "counts" as a credible source for frame of reference.

&dagger;&dagger;&dagger; This is based on artist interpretation of the emotional expressions of characters, as cues regarding which girls the AI believes would survive - and for how long. It is not a comprehensive list of all possible outcomes, based on plans for most if not all contingencies.

&dagger;&dagger;&dagger;&dagger; Given that Nala is a lion, determining her rank of liking or not liking the setting is hard to ascertain, given she doesn't show much emotion in her image. Being non-humanoid makes her difficult to gauge.

Character attitude results
Cinderella by far scored lowest on this test, due to her propensity toward refusing to adapt her wardrobe, habits, or anything else, to survive in her new setting. The sand pirates in the world of Mad Max would likely eat her for breakfast. Aurora's look in her face of sheer terror at being stranded in that world reflects a severe lack of confidence in her overall ability to survive. Snow, Ariel, and Esmeralda appear to be faring better than Aurora, but still have looks on their faces reflecting dread, and that the setting has definitely taken a huge toll on them.

Lilo, Rapunzel, Elsa, Fiona, and Crysta all look to be faring better than Snow, Ariel, and Esmeralda. That being said, their facial expressions betray a lack of faith in long-term survival. Elsa and Crysta in particular seem to not be enjoying the extra sunlight and lack of moisture, nor the desert heat of the Outback. Lilo seems to be surprised to not be already dead, since Stitch wasn't allowed into the experiment to give her a better fighting chance.

The category of "struggling, but doing better than barely surviving at all" seems to have uniquely been filled by Dozerfleet women. Tabitha Pang is most noteworthy here. Her abilities are meaningless in the desert, with no cityscapes to traverse through. The two Straggele women only didn't fare higher, because they struggle to adapt to the heat. Both are accustomed to working in cold temperatures, allowing them to relate to Elsa in regards to being miserable in the heat. Ivalu appears in this setting to not be aging well, whereas Annabelle is angstier than usual.

Eilonwy, while not thriving per se, seems to be doing really well for herself in this new setting - where she finally feels like she has a purpose, and can be remembered. Belle has adapted surprisingly well, though she does appear unhappy to be this far from France. Nala is clearly alive and doing well, but her opinion of it is hard to ascertain, given she's a lion that doesn't show any emotion in the image. Audrey has clearly adapted, but appears calm.

Nani appears to be adapting faster than Lilo; but she also is clearly unhappy about her new surroundings. Vanellope doesn't seem particularly phased by her change of setting. Thumbelina is adapting way better than seems reasonable for her to, especially with no fairy prince to guide her. She is probably one of the hardest entries to explain. Anastasia is also shown to be doing oddly quite well, in spite the fact that the heat should be hard for her to adapt to. Zize, Candi, and Hea are also shown to be surviving reasonably well in this setting. This is not entirely surprising, given that they've endured harsh conditions in their native universe. All of them appear slightly traumatized by the change of pace; yet Hea and Candi still appear someone psychologically composed. Zize, however, looks completely unhinged - moreso than what is normal for her when Inner Fox is in control.

The princesses that appear to be thriving in the Mad Max universe, however, are the real surprise. Alice not only appears to be doing really well; but gives off a vibe of wanting to return to Wonderland with her new wasteland treasures - to exact revenge on the Wonderland locals! Jasmine went from an Agrabah princess to queen of the savage land. Her ability to cope with harsh conditions feels like a natural progression, since the deserts right outside of Agrabah also appear to be a harsh environment.

Pocahontas is shown to have adapted beyond what she has any right to, given the lack of trees and riverbends. She almost appears to be enjoying the new hellish world, though the degree to which this is in-character is up for debate. Mulan's badassery in canon results in it being of no surprise that she'd adapt well to almost any setting - including this one. Instead of a faithful army full of horsemen, she now commands squadrons in death cars. Just another day at the office. How this has anything to do with saving China is up for debate.

Tiana has her own oasis, and appears to do really well for herself. Whether or not she'd be creative enough to build it is up for debate, though she's certainly willing to put in the work. Merida's headstrong attitude serves her well in this setting, as she appears to be a road queen with her own tribe equal to Mulan's. Being a talented inventor, Go Go appears to be able to open her own shop, and win over service from almost any road tribe. It's possible that maintaining a healthy business relationship with either Mulan or Merida's tribes of road warrior could work in her favor.

Moana comes off like she's joined Mulan's tribe of road warriors, and is doing quite well for herself as one of Mulan's minions. Raya appears to have created yet another faction of road warriors. But for whatever reason, she has an axe to grind.

Odette now commands swans, rather than being turned into one. How she can find swans willing to work for her in this new setting is never explained by the AI. Unlike the other princesses, Odette appears to have developed hypersexuality in this setting. Her facial expression indicates either malicious mischief, or a powerful lust raging just under her surface. If Dereck somehow made it to this same setting, his new queen would be very difficult to please!

Results by decade

 * 1 total in Roadkill tier
 * 1 total in Dead Woman Walking tier
 * 3 total in Barely Getting By tier
 * 5 total in Barely Surviving tier
 * 3 total in Struggling tier
 * 11 total in Surviving tier
 * 10 total in Thriving tier


 * 1930s - 1 Barely Getting By
 * 1950s - 1 Roadkill, 1 Dead Woman Walking, 1 Thriving
 * 1980s - 1 Barely Getting By, 1 Surviving
 * 1990s - 1 Barely Getting By, 1 Barely Surviving, 4 Surviving, 4 Thriving
 * 2000s - 2 Barely Surviving, 4 Surviving, 1 Thriving
 * 2010s - 3 Struggling, 2 Surviving, 3 Thriving
 * 2020s - 1 Thriving

The AI's apparent conclusions are that any female protagonist first presented or first inceived in the 1930s, by any of the companies sampled, would have extremely low odds of survival. The 1940s weren't measured. The 1950s yielded inconclusive results, as one princess was shown to have done really well for herself. The other two showed a bias toward having poor odds of survival, with Cinderella getting the worst score of all the princesses for survival odds.

The 1960s and 1970s weren't measured. The 1980s showed more promise, as Eilonwy did pretty well for herself all things considered, though Ariel seemed quite a bit more traumatized. Animation Renaissance Era princesses, especially from the 1990s, showed a strong plausibility of surviving in this harsh new setting, according to the AI's logic. This is measured by how troubled they appeared to be in their images with their new setting, how they were dressed, their choices of accessories, and their background props. In fact, as a whole, the Renaissance girls showed the best overall odds of outright thriving in this setting.

Girls from the 2000s, while their odds of thriving were less impressive than that of their 90s counterparts, still showed a strong bias toward doing really well for themselves. Girls from the 2010s also showed a strong bias toward doing really well for themselves, slightly better than most 2000s girls. Since Raya was the only one to premiere in the 2020s that was sampled, the lack of similar 2020s girls to compare her to makes her results unreliable for exposing proper slant.

The general conclusion of the AI is that over time, women have become more survivalist lifestyle-friendly in western society, and these values reflect in how their fictional counterparts' survival values measure up. These results may, however, be skewered and subjective. While efficient female doomsday preppers do exist in more recent times, there were also plenty of women who survived really well in America during the Great Depression - including widows whose husbands fell ill and died during the Depression era. Their skills weren't often reflected in female protagonists of films from that era, nor even in the eras of the decades that immediately followed. By contrast, the successive decades' female film protagonists seemed to show a trend toward overcompensating for this, even as the gamut for actual female survival skill in modern western society widened, with girls of either survival likelihood tier becoming more extreme on both ends.

In general, attitudes about the acquisition of survival skills in women, as portrayed in entertainment media, tend to lag behind with regards to cultural reality by at least a few decades, if not by a few centuries. This is believed to be because those able to produce media for mass consumption form their opinions of the world in certain time periods, and then take time to produce products for consumption. Cultural shifts don't wait for productions to reach completion, resulting in productions bearing attitudes that are already outdated from the moment of release.

This difficulty with the rate at which time and society march on has become a source of much frustration for multiple studios, as keeping up with trends has become nearly impossible for most creators. To make matters worse, some productions' predictions of where attitudes will go in future years prove more solid than others, leading to certain productions "aging" better than others. The rate at which this happens to a production also varies by decade, and by rate of shift in the cultural norms of localized geographical locations.

Inspiration
The video's inspiration began as a challenge, in response to Disney Princesses Reimagined In Real Life, a video put out on YouTube on January 16th of 2023 by the channel "Parallel Universe" (@nextdooruniverse.) In a comment, the Dozerfleet founder stated that simply making cartoon characters like that "real" was boring, as in, done to death already by AI artists. Thus began a self-imposed challenge to use AI to try making these characters exist in a Mad Max-type setting, to see how well each would fare in a post-apocalypse world. The challenge was initiated on Saturday, March 11th of 2023, and renders in Wonder began that early.

Image generation
Beginning March 11th, images started being generated using Wonder, set to the Novelistic filter for most images, and beginning with Cinderella and Snow White from the Disney set.

Generations of images continued throughout the following several days, which generation of images being completed on March 14th.

Images were then sent to Sta.sh in bulk, for later processing into DeviantArt.

Distribution
Uploads of the DeviantArt gallery began on March 13th of 2023, and were completed on March 14th. The video was uploaded shortly after it completed export from Adobe Premiere Elements. Around 12:48 AM EDT on March 15th of 2023, the video was uploaded to YouTube. It premiered close to 1:00 AM that same early morning.

Reception
While the video on YouTube gained steam very slowly, the screenshots uploaded to the DeviantArt gallery exploded in popularity mere hours after being uploaded. In just one day, viewership rose 228% due to that one gallery alone. Deviation views as a whole rose 368%, with the number of watchers doubling from before in that same time period. Moreover, favoriting of images rose 2667% from what it was just days before that. This meant a doubling of fan favoriting of images in 2023 from the rate in 2022, all in a matter of days. Unique visitors were also up 23% from the previous year.

As a result, the general concept behind the video was ruled a massive success, even if the video itself languished into irrelevance on YouTube.

Music
The entire video plays over the track "Summon the Rawk" by Kevin MacLeod.

Trivia

 * Fox and Dozerfleet women took more effort to generate for this series than the others, since the Wonder dataset is very biased toward Disney.
 * Cinderella looks inadequate in the setting, largely due to the AI being biased in favor of keeping her appearance the same, regardless of environment.
 * Moana took at least three tries to get right.
 * The AI refused to render Candi without bangs, in spite having successfully done so in the past.
 * Tabitha's render was initially intended to be a render of Hea; but it perfectly captured Tabitha's essence instead. Hea was accurately rendered on the next try.
 * This video had some of the quickest turnaround time for any Dozerfleet Studios production, in spite featuring numerous other companies' characters as guests. It was assembled, once resources were gathered, in a period of only 3 hours.
 * Just as Nala was included, as a joke, Marina from The Pebble and the Penguin was almost considered for inclusion. However, that film's classification following the purchase of MGM by Amazon, and the complicated nature of physical media international film distribution rights for that film across multiple companies, made it hard to justify her inclusion or classification.
 * She could be considered an Amazon character, a Don Bluth International character, a Warner Bros. character, an MGM character, a Disney character, or a 20th Century Fox character, depending entirely on which era of distribution she is referred to in.
 * The wiki communities of FANDOM have exiled her to be acknowledged almost exclusively on the Don Bluth Wiki. This makes her appearance tenuous, even though Anastasia and Thumbelina were also drawn by Don Bluth's animation team.


 * The font used for Dozerfleet characters' names is Impact, with a dark golden yellow color. For Dozerfleet itself, the alternative logo with the Cyrillic Dé (Д) character in the place of the usual stylized Dozerfleet D is utilized.  Otherwise, all Dozerfleet characters use Impact font.
 * Fox also uses Impact, but its logos and title graphics are stretched differently, to make it more distinct from Dozerfleet. No Cyrillic characters are used.  Also, Fox characters' names are printed in a brighter shade of yellow.


 * Dreamworks' logo and title graphic for Fiona used a variation of the Minion font, as a different variation of Minion is the official font for Dreamworks in general.


 * Nest was given a generic sans serif font use designation, given that it didn't provide much information online about its official uses of fonts. Most Nest references are done in shades of indigo.


 * The font used for Disney characters in this video is Waltograph UI, by Justin Callaghan of Mickey Avenue.