A layout of the badger's den from "The Cunning Little Vixen," act 2 scene 1 with all furnishings.

In brief! I'm designing Janacek's "The Cunning Little Vixen" for animation as an exercise and as a feminist reinterpretation of said work. In the original Act 2 Scene 1, she escapes from a winter storm in the insulated badger's sett, asserting he doesn't need all that space. "This house is big enough for three and the fat capitalist keeps it all for himself!" "Out! I shall call the constable about this!" She pisses all over the den to mark her territory, and he leaves in disgust. Sweet, new house! Of course, it smells like pee, but let's evade that.
In the reinterpretation, the Badger isn't a stuffed-shirt bourgeois, but an anthrophile (and, incidentally a stuffed-shirt bourgeois).
Now that it's no longer 1924 Eastern Europe and Marxist fervor isn't exactly a "young daring protagonist" trait, I've made it her festering revulsion towards the humans coming to a head with the badger who calls humans the "superior race" and has made a miniature house for himself out of objects filched from the humans. It's a goddamn John Frum cargo cult down here. Now her objection is with his deeply flawed object of worship and rejection of his species... It's a rich weeaboo vs. a former Comfort Woman? Metaphors fall flat here.
I also promised myself no bathroom humor (I'm an American, our films have a reputation to undermine), so she draws his ire by shedding, before driving him out in a rage by preaching to him of her less-than-perfect experience with being owned by humans... I do, however, for the only time in my life, wish I could use the bathroom humor, because foxes really do shit directly in their dens. Not exactly fastidious beasts.

The room is lit by a pipe, fireplace, and candelabra furnished within, reflected from the metal shit. The bleached and harsh earth tones of the background are set to contrast against the artificial color of the human objects and paneling, with the grays and browns and olive postage stamps being struck through with cadmium yellow and red. When he takes all the furnishings and flees, the empty walls and bare earth glow with a rich panoply of J.P. Miller blue, struck through with warm browns. It's an interesting challenge to make red feel cold and blue feel warm, but fun!

Anything confusingly hung will be suspended from the root structure of the tree atop the ceiling, which I haven't drawn for clarity's sake.
All designs © Liimlsan and meat name of same, adapted from the work of Janacek and Tesnohlidek.