It’s His Unique Spidey Power

I'm looking back at random things I was taught as a kid by various adults and media and. did nobody bother to factcheck anything? was that just not an option or

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輝く世界 - shining world

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Me: [looks at Kakashi] my sweet baby, absolutely pure

Kakashi: [reads porn in public]

Me: so gentle and kind. could not hurt a fly

Kakashi: [has the 3rd highest kill count in the entire series]

Me: my flower child

Kakashi:

Sasuke:

Naruto:

🍆 (and 🍑) issues 🤭

A bit of naughty content 😁😆😏😏

When you saw a glimpse here, overheard a conversation there, still are uncertain of what is going on, but needed no further invitation to draw it 🤭

P.s. one of the things that never ceases to move me is that Kakashi is commonly referred to in the community as 🍆

Like, I mean… how awesome is that? 😁

☙ ❦ ❧

Hatake Kakashi © Kishimoto Masashi

i think i drew this as fast as i could lmao

The princess is in another castle???!!!

(from neil's ask)

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

Nimona and the Myth of the Perfect Victim

Nimona is great at showcasing why “If you didn’t act so threatening people would stop being bigoted” doesn’t work. That idea has been rampant in social movements for so long, the concept that if oppressed people were just more passive with their wording, and never got angry or defensive, people wouldn’t have reason to oppress them.

When the village attacks her, Nimona doesn’t initially fight back, but tries to explain to them, showing them her “acceptable” form as a young girl.

But they don’t care that Nimona looks acceptable, they still know her for a shapeshifter and attack anyway. Then, when Nimona fights back with fangs and claws, Gloreth becomes convinced she is indeed a monster. Never mind the context of the provocation, Nimona looked scary, so is now a monster.

Far in the future, Nimona now doesn’t worry about looking respectable. Ballister tells them they should look like a girl, because it would be easier for to be accepted.

To many people, this would be valid reasoning - if Nimona assumes a non-threatening form, no one will be scared. But Nimona knows this isn’t true. If people catch sight of the shapeshifting even for a moment, it won’t matter that Nimona takes the form of a sweet, innocent girl. They will attack anyway.

And staying as a girl forever, never letting them see, is something she doesn’t see as an option. Other people might see it that way, that it is better to forever rigidly conceal their identity so they never once face any hatred, but as Nimona says, while it’s not true death, it sure isn’t living.

Earlier, Ballister was caught destroying the prison with Nimona, adding fuel to the idea of him as a villain, which he blames her for. But he was labeled as one anyway. Had Nimona not gotten him to wreak havoc, he would have remained in prison and never seen as innocent.

While Ballister initially believes that Nimona is ridiculous to dramatically break standards of acceptability, he realizes that some people won’t accept Nimona even if she is “the perfect victim.”

We see this in real life, where even someone who is the epitome of moral decency will still eventually be targeted. Illusions to the contrary are disproven.

Of course the city screams and runs when Nimona transforms into a giant creature, but they screamed and ran when he turned into non-threatening creatures as well. So Nimona is driven to view it as not mattering which she does. Of course, in the end she chooses to help them anyway, and calm herself from her giant form, because Ballister shows her recognition while she is in it.

Ballister sees her in her most terrifying form and recognizes she is lashing out from fear and anger at the treatment she received. He doesn’t demand she stop and be more respectable, he sees them as they truly are and shows them understanding, and that is what calms Nimona down.

There is no perfect victim. Everyone is messy and flawed and will lash out. If there were a perfect victim, it wouldn’t matter anyway. A perfect victim is one who never dares raise an arm against attack, even out of desperate self defense. Nimona would be a perfect victim if she had laid down and succumbed to the pitchforks. Ballister would be a perfect victim if he sat in prison to rot.

A “perfect victim” will always die before being being recognized as such, because the only true acceptable way for a marginalized person to exist is to be dead.

Absolutely no one: Me: have some low quality Naruto frames.

I’m sorry…  😅