DISCOVER
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Kumandra was once a unified, peaceful kingdom,
where humans lived harmoniously alongside dragons— magical creatures who brought water, rain and peace.
But then the Druun came— a mindless plague spreading like wildfire, multiplying as they consumed life and turned everyone they touched into stone.
As the dragons fought for Kumandra’s survival, the mighty Sisu concentrated all of her magic into the Dragon Gem, blasting the Druun away.
Everyone that was turned into stone came back… except the dragons.
Borders were drawn, and Kumandra was divided into five lands: Heart, Tail, Talon, Spine and Fang, all connected by the vital Dragon River.
Explore the distinct lands of Kumandra and meet the characters who call each land home.
Through visual development art and peeks behind-the-scenes, learn how the artists and storytellers at Walt Disney Animation Studios created the world of Raya and the Last Dragon.
Prosperous and filled with magic, the Heart Landssurround a distinctive rock formation that protects the legendary Dragon Gem. Located on a natural island, the people of Heart revere the water which has flowed through the very fabric of their culture since the age of the dragons.
Land of Heart
The Land of Heart's distinctive round rock formation is home to the magical Dragon Gem and was inspired by the iconic limestone rocks found in Vietnam’s Ha Long Bay and along the Mekong River, the longest river in Southeast Asia. Visual development paintings of this important landmark captured the film’s striking visual potential early in production.
Art by Ryan Lang, Visual Development Artist
Land of Heart
Everything in Heart is rounded to evoke unity and wholeness. This early bird's-eye view of the city shows one large circle connecting five smaller circles to represent the five lands of Kumandra connected as one.
Art by Mingjue Helen Chen, Production Designer
Land of Heart
Heart is spiritually connected to water. So too is its design language, which incorporates raindrops, ripples and flowing patterns in watery blues and greens.
Art by Mehrdad Isvandi, Visual Development Artist
Land of Heart
Drawing inspiration from temples such as Angkor Wat and Bayon in Cambodia, and Borobudur in Indonesia, the dome-shaped Heart Fortress incorporates many intricate bas-relief carvings that honor the ancient dragons. The dragon carvings seen in this visual development painting are intended to protect the precious Dragon Gem housed within the Fortress.
Art by Mehrdad Isvandi, Visual Development Artist
Land of Heart
Dragons are central to the design of Heart, taking inspiration from Southeast Asia, where sacred beings are venerated through physical representations and imagery. On the Heart Bridge, dragon statues made of karst limestone connect the Heart Lands to the rest of Kumandra.
Art by Paul Felix, Production Designer
Land of Heart
The visual development team worked to create a kitchen setting for the Heart palace that reflects the communal cooking experience found in Southeast Asia.
Art by Mingjue Helen Chen, Production Designer
Land of Heart
Ingredients specific to the cuisines of Southeast Asia, like shrimp paste, lemongrass, and lime leaves, are used in the special bowl of Tom Yum Soup that Benja prepares for his young daughter.
Art by April Liu, Visual Development Artist
Raya is a proud Guardian of the Dragon Gem, a title she holds alongside her beloved father Benja, the Chief of the Heart Lands. Her world is turned upside down when the Gem is broken, and her father is turned to stone. Now on a mission to save the world, she’s grown up to be a resilient warrior whose wit is as sharp as her blade.
Sisu is the last dragon of Kumandra. Legends say she’s a divine water being of unspeakable beauty and unstoppable magic, but what Raya finds instead is a funny self-deprecating dragon who sees herself as the perennial C-student. Now she must learn to become the dragon of legend if she is to save the world with Raya.
Part-pill bug, part-pug, part-high speed off-road vehicle and all adorable, Tuk Tuk has been Raya’s best friend since she could hold him in the palm of her hand. Now they are both grown, and Tuk Tuk is Raya’s faithful, gigantic steed. Together, they tear through the varied terrains of Kumandra at incredible speeds on a journey to find the last dragon and save the world.
Known as “the baddest blade in the five lands,” Benja is Raya’s beloved father and legendary Guardian of the Dragon Gem. As Chief of Heart, he’s an idealistic and bold visionary who believes that Kumandra is broken because the people of the different lands don’t trust each other. Benja seeks to reunite the fractured kingdom of Kumandra and restore harmony.
Meet Raya
Hundreds of years ago, the last dragons infused the Dragon Gem with their magic and power to protect humanity from the dreaded Druun. When they vanished, only the Dragon Gem remained, and it has since been protected by generations of Guardians like Raya and her father, Benja.
Art by Ami Thompson, Art Director – Characters
Meet Raya
Young Raya’s costume is constructed from rich, woven silk and brocade— exquisite fabrics often associated with royalty in Southeast Asia. Her left shoulder is covered, drawing from traditions observed throughout the region.
Art by Neysa Bove, Visual Development Artist
Meet Raya
Functionality is a key aspect of Raya’s clothing, so the design team looked to the breathable draping styles found in Southeast Asia, including the sabai top and dhoti pants, for inspiration.
Art by Neysa Bove, Visual Development Artist
Meet Raya
Functionality is also important for her hair, which is braided back to keep it out of her way.
Art by Shiyoon Kim, Art Director – Characters
Meet Raya
Story development also influenced Raya’s costume, which reflects her growing distrust through protective layers such as her cape with its high collar and a large hat that she could hide under.
Art by Shiyoon Kim, Art Director – Characters
Meet Raya
Designed in collaboration with Lao visual anthropologist Dr. Soulinhakhath Steve Arounsack, the slope of Raya’s hat ascends to a sacred peak— an homage to stupas found at temples throughout Southeast Asia.
Art by Neysa Bove, Visual Development Artist
Meet Raya
Raya is a skilled fighter whose hand-to-hand style of fighting is inspired by Pencak Silat from Indonesia and Muay Thai, and her weapons style is inspired by Arnis, also known as Kali, from the Philippines.
Art by Ami Thompson, Art Director – Characters
Meet Raya
Raya’s sword is a fantastical take on an ancient dagger called the kris (or keris) from Indonesia.
Art by Mehrdad Isvandi, Visual Development Artist
Meet Sisu
Sisu is a water dragon inspired by the naga— powerful, mythical beings of Southeast Asian folklore who are often able to manifest as serpent or human and are usually associated with bodies of water such as the Mekong River.
Art by Paul Felix, Production Designer
Meet Sisu
With the inspiration of the naga, the design team set out to create an enigmatic, wise and powerful fantasy dragon rooted in Southeast Asian tradition.
Art by Scott Watanabe, Visual Development Artist
Meet Sisu
In close collaboration with the film’s Southeast Asia Story Trust, especially Lao visual anthropologist Dr. S. Steve Arounsack and Thai architect Nathakrit Tatan Sunthareerat, the design team fine-tuned Sisu to remain fantastical and unique while also being respectful of the customs and beliefs that inspired her.
Art by Paul Felix, Production Designer
Meet Sisu
Early exploration of Sisu’s design included many different silhouettes and attitudes, from the ethereal and magical to the ferocious and skeptical.
Art by Scott Watanabe, Visual Development Artist
Meet Sisu
Sisu’s design and spiritual essence is anchored in the regional naga mythologies, with a prominent elevated crest and a serpentine body.
Art by Ami Thompson, Art Director – Characters
Meet Sisu
Sisu’s rich blue color ties her to water, and her fins and serpentine curves show that she’s an excellent swimmer. Her crest, a signature trait of the naga, has a water motif unique to the world of Kumandra.
Art by Ami Thompson, Art Director – Characters
Meet Sisu
Full of personality, Sisu shows both humor and emotional depth throughout her journey alongside Raya.
Art by Ami Thompson, Art Director – Characters
Meet Sisu
The Dragon Gem, which houses Sisu’s power, was inspired by real-world gemstones, thanks to a visit to the Los Angeles Natural History Museum. Stones such as quartz, fluorite and opals were studied to give the gem a natural, refractive quality.
Art by Mehrdad Isvandi, Visual Development Artist
Meet Tuk Tuk
Tuk Tuk’s name is inspired by Thailand’s world-renowned motorized three-wheel vehicles, and his adorable character design stole the hearts of the entire filmmaking team.
Art by Cory Loftis, Production Designer
Meet Tuk Tuk
Tuk Tuk’s design was inspired by various animals including pill bugs and pangolins, which are scale-covered mammals found in Southeast Asia.
Art by Scott Watanabe, Visual Development Artist
Meet Tuk Tuk
Tuk Tuk’s tendency toward easy distraction is visible even in the character’s visual development.
Art by Ami Thompson, Art Director – Characters
Meet Tuk Tuk
His large shell and functional design means much of Tuk Tuk’s performance depends on his infinitely expressive face.
Art by Cory Loftis, Production Designer
Meet Benja
An important tradition found throughout Southeast Asia that inspired the filmmakers is the deep reverence for family and respect for elders, as seen in the relationship between young Raya and her father.
Art by Ami Thompson, Art Director – Characters
Meet Benja
Protecting the Dragon Gem, Chief Benja wears a mask that takes inspiration from the Khon masks of Thailand as well as Balinese masks, with details designed by Thai architect and Southeast Asian Story Trust member Tatan Sunthareerat.
Art by Ami Thompson, Art Director – Characters
Meet Benja
Over his shoulder, Benja wears a draped brocade sabai, a traditional garment worn in Thailand and Laos. His sabai is ornamented with dragons riding through the clouds on raindrops, leaf and flower designs from Heart, and a trim made of beautiful glass and gold beads.
Art by Neysa Bove, Visual Development Artist
Far to the east, the arid and sparse Tail Lands are home to a self-sufficient, improvisational culture that has learned to thrive in a landscape of constant drought. Living in loosely-connected settlements, the people of Tail value their independence and self-reliance.
Land of Tail
The harsh desert environment of Tail contributes to the storytelling by visually accentuating Raya’s bleak circumstances.
Art by Mingjue Helen Chen, Production Designer
Land of Tail
The design of Tail is in direct contrast to Heart, where Raya feels safe in its lush and bountiful landscape. Tail captures the feeling of a lonely wanderer in a strange land, inspired by Western films.
Art by Mingjue Helen Chen, Production Designer
Land of Tail
Visual development artist Ryan Lang is credited with finding the unique look of Tail Lands through early landscapes studies like this one, with exaggerated land formations, fantastical plateaus and sand waterfalls.
Art by Ryan Lang, Visual Development Artist
Land of Tail
The “wild west” design of Tail remained consistent throughout the film’s development. Production designer Paul Felix looked to red rock canyons for inspiration, as seen in this visual development piece.
Art by Paul Felix, Production Designer
Land of Tail
To amplify the arid feeling of a desert, the filmmakers played with light distortion to create the rippling mirage effect one would see in a dry, hot place.
Art by Paul Felix, Production Designer
Land of Tail
Tail’s few and scant structures emphasize the individualized lifestyle that has grown out of people’s disconnection from one another, epitomizing the fractured world of Kumandra. The bleak, desert landscape of Tail has led its people to be improvisational, recycling everything from clothing to buildings.
Art by Ryan Lang, Visual Development Artist
A precocious street kid from Tail always up for a business deal, Boun is an adult in a child’s body, capable and self-sufficient. He is the self-styled "owner, manager, chef and captain" of his boat, the Shrimporium. Deep down, he’s a vulnerable child who has lost his parents to the Druun.
Meet Boun
Just like with Raya, functionality is important in Boun’s clothing, so the design team used draping styles found in Southeast Asia, such as dhoti pants, for inspiration.
Art by James Woods, Visual Development Artist
Meet Boun
The filmmakers wanted Boun’s small stature to reflect his character’s underdog status— a child forced to grow up fast in a broken world. Resourceful and independent, he embodies the personality of the people of Tail.
Art by Paul Felix, Production Designer
Meet Boun
Characters art director Shiyoon Kim accentuated Boun’s lovable cuteness with a toothy, open-mouthed smile and thick, messy hair.
Art by Shiyoon Kim, Art Director – Characters
Meet Boun
Since Boun is the self-styled owner, manager, chef and captain of his own shrimp boat, the Shrimporium’s design had to match the fun and functionality of its precocious owner.
Art by Mehrdad Isvandi, Visual Development Artist
This vibrant, bustling market once attracted traders from all five Lands of Kumandra thanks to its central location along the Dragon River. Receding water has drawn its merchants far offshore along an ever-expanding labyrinth of docks and boats.
Land of Talon
The city of Talon was inspired by the famous floating markets found along waterways like the Mekong River in Vietnam and Thailand as well as the night markets of Thailand and Laos; its central location on Kumandra’s Dragon River has made it a bustling trading port. Inspired by the Mekong River, the beloved “mother river” of Southeast Asia, the Dragon River is a crucial feature of Kumandra’s topography and the setting for much of Raya’s journey.
Art by Mingjue Helen Chen, Production Designer
Land of Talon
Visual development artist Kevin Nelson explored the idea of an ever-expanding pier built in different levels. Due to the drought brought on by the return of the Druun, new platforms would be built as the water recedes.
Art by Kevin Nelson, Visual Development Artist
Land of Talon
Nelson is also credited with creating Talon’s unique patchwork aesthetic by conceiving a cluster of roofs hewn together from boat sails, fabrics, grasses and palm fronds.
Art by Kevin Nelson, Visual Development Artist
Land of Talon
Talon’s merchants are the lifeblood of its economy, so the city’s design revolves around their drive to call attention to their wares. Bright colors, lights and patterns fill every inch of the city.
Art by April Liu, Visual Development Artist
Land of Talon
Visual complexity, built by woven bamboo and straw as well as intricately hand-sewn textiles, gives the city a handmade feel.
Art by April Liu, Visual Development Artist
Land of Talon
Just as much of the design and motifs found throughout Southeast Asia are inspired by nature, Talon’s design is inspired by the fish and sea life that come from the river to which the port city is so closely tied. Fresh and dried fish hang throughout the market, and even the rooflines take on fish-like shapes.
Art by April Liu, Visual Development Artist
Land of Talon
To make Talon feel like a lively market, artists filled the merchants’ stalls with baskets of fresh produce and fish, steaming food for sale and many fantastical items— all lit by lanterns in many different colors and shapes.
Art by April Liu, Visual Development Artist
Land of Talon
Look closely and you will see the stalls also feature spirit houses. Found throughout Southeast Asia, the tiny houses are miniature shrines placed outside homes and businesses and adorned with offerings such as fruits, flowers and incense in the hope that spirits will congregate there and provide good luck.
Art by April Liu, Visual Development Artist
Land of Talon
The giant poles protruding out of Talon chief Dang Hai’s home are a nod to the many kinds of poles used on the Mekong River— fishing poles, flag poles and bamboo push poles that are used to move boats.
Art by James Finch, Visual Development Artist
Part monkey, part catfish, the three Ongis are resourceful con artists from the trading port of Talon. They do everything together, including raising a 2-year-old toddler named Noi.
After her family is lost to the Druun, 2-year-old toddler Noi is raised by the Ongis. In the trading port of Talon, she leads the group’s hustle, distracting passersby with her cuteness while the Ongis rob them blind.
Meet the Ongis
The three Ongis that Raya meets in Talon were designed to look cute and approachable— round, soft and fluffy— which is the key to their hustle.
Art by Ami Thompson, Art Director – Characters
Meet the Ongis
Each Ongi has a different personality— some friendly and curious, some serious— as seen in this early sketch.
Art by Shiyoon Kim, Art Director – Characters
Meet the Ongis
Being both bipeds and quadrupeds, Ongis can run, jump, swim and fight using two and four legs interchangeably.
Art by Ami Thompson, Art Director – Characters
Meet Noi
The Ongis’ partner in crime, Noi disarms with charm— so it was important for her design to incorporate a range of expressions.
Art by Cory Loftis, Production Designer
Meet Noi
Noi is all business, learning to survive in Kumandra with the help of the Ongis. Even though they take care of her, she gives the impression that she’s actually the one in charge.
Art by Ami Thompson, Art Director – Characters
Meet Noi
It was important to the filmmakers that Noi is shown as safe with the Ongis— they are all taking care of each other in a dangerous world.
Art by Ami Thompson, Art Director – Characters
Insular and remote, the Spine Lands are marked by spectacular, snowy mountains and towering black bamboo. Home to the fiercest warriors in all of Kumandra, its people are proud and reclusive.
Land of Spine
Spine's warriors are known for being as ferociously unwelcoming as the snowy, giant black bamboo mountains that they call home.
Art by Paul Felix, Production Designer
Land of Spine
The Spine Lands are characterized by their giant bamboo which grows as big as redwood trees.
Art by Cory Loftis, Production Designer
Land of Spine
The color palette of white snow, black bamboo and maroon leaves heightens the epic feel of Spine.
Art by James Finch, Visual Development Artist
Land of Spine
The artists pushed the fantastical feeling of the harsh Spine mountains by playing with the scale of the massive black bamboo.
Art by Mingjue Helen Chen, Production Designer
Land of Spine
Inspired by the multi-windowed, high-roofed structures found in Laos and Indonesia, Spine buildings are adapted for its frozen climate. The thick, thatched woven straw roofs ventilate smoke from the fires warming those sheltered within.
Art by James Finch, Visual Development Artist
Land of Spine
Inspired by their larger-than-life surroundings, the people of Spine design their own spaces with a similarly oversized aesthetic.
Art by Mingjue Helen Chen, Production Designer
Land of Spine
Details inspired by the cultures of Southeast Asia can be found throughout the personal items of the people of Spine. In the Philippines, for example, hanging a large wooden spoon and fork in the home represents health and prosperity.
Art by Mingjue Helen Chen, Production Designer
Underneath his huge, gruff, and fierce exterior, Tong is really a lonely woodsman with a soft spot for little ones. Equal parts severity and softness, he is truly a gentle giant.
Meet Tong
A warrior’s pragmatism is evident in Tong’s costume. He wears six different animal pelts and a traditional wrapped sampot pant in addition to armor and food items hanging from his belt.
Art by Cory Loftis, Production Designer, and Jim Finn, Visual Development Artist
Meet Tong
Equal parts fierce and fatherly, Tong’s expressive face conveys the range of personalities found within his large frame.
Art by Ami Thompson, Art Director – Characters
Meet Tong
Huge, grizzled, and wielding a giant battle axe, Tong is the quintessential Spine warrior.
Art by Ami Thompson, Art Director – Characters
Opulent, regimented and strong, Fang is positioned at the head of the vital Dragon River and protected by a man-made canal. Its people work hard to safeguard their way of life.
Land of Fang
In direct contrast to Heart, Fang’s design is sharp, sparse and cold— mirroring the belief system of its people, who are pragmatic and calculating in their struggle to survive.
Art by Kevin Nelson, Visual Development Artist
Land of Fang
Situated near the head of the Dragon River, Fang’s position at the source of Kumandra’s water has allowed them to thrive while other lands are infested with Druun. By digging a canal around their land, the people have protected and isolated themselves on a heavily fortified island.
Art by Kevin Nelson, Visual Development Artist
Land of Fang
The sharp, repetitive rooflines atop Fang’s structures reflect the strength and rigidity of its people.
Art by Kevin Nelson, Visual Development Artist
Land of Fang
The people of Fang are focused on precision and craftsmanship. Everything is well-built and meticulously maintained, and their structures are made from slick, luxurious marble and limestone.
Art by Mingjue Helen Chen, Production Designer
Land of Fang
The design team looked to brutalism and its strong, monolithic and rigid geometric shapes for inspiration to reinforce the rigidity of the Fang’s people.
Art by Mingjue Helen Chen, Production Designer
Land of Fang
As fierce as the people of Fang themselves, are their Serlot cats. Large, ferocious and fast, they attack on command. With long tufted ears, long canine teeth, and distinctive black facial markings, their design is inspired by the serval and the caracal.
Art by Ami Thompson, Art Director – Characters
Land of Fang
Verticality and symmetry are very important to Fang’s design, as seen in this painting of Fang Palace, where tall banners, columns and sculptures lead the eye upward toward extremely high ceilings. These effects combine to give the feeling of reverence for royalty that is central to Fang’s personality, setting it apart from the other lands of Kumandra.
Art by Mingjue Helen Chen, Production Designer
Brilliant, calculating and a formidable warrior, Namaari is Raya’s unrelenting nemesis. She is the daughter of the Chief of the Fang lands and is determined to do whatever it takes to protect her people. However, down deep, she holds a secret love for dragons.
Meet Namaari
Even as a young girl, Namaari stands in direct contrast to Raya. Her costume is stark and harsh compared to Raya’s soft, draped and colorful clothes.
Art by Cory Loftis, Production Designer
Meet Namaari
The design of Namaari’s costume is meant to have a hard edge, showing she is not someone to be messed with. It references the color palette and geometric shape language of her Fang Lands home. Even her stylish, half-shaved head incorporates strength through geometric patterns.
Art by Cory Loftis, Production Designer, and Ami Thompson, Art Director – Characters
Meet Namaari
Namaari’s facial expressions and physicality convey her strength and power. Her fierce stare and expressive eyebrows give her the intensity of a cat or even a tiger.
Art by Ami Thompson, Art Director – Characters
Meet Namaari
A fierce warrior, Namaari’s fighting style was inspired by Muay Thai kickboxing and Krabi Krabong configurations from Thailand.
Art by Ami Thompson, Art Director – Characters
