icouldntthinkofabetternamesook

[icouldntthinkofabetternamesook]

I'm wondering about the dichotomy between Kozue and Miki, whether it is really as... black and white, as it seems. This might devolve into incoherent rant, beware.

Kozue is presented as the one who wants to grow up and be an adult, and Miki as the naive, innocent one, who wants to remain a child. Kozue stopped playing the piano, Miki plays it obsessively trying to regain the feeling of his childhood. Kozue has sex with Touga in that same music room. When people first watch that, they interpret it as Kozue trying to push Miki away, but in actuality, going out with boys he would disapprove of is really just her way of trying to get her brother's attention. Kozue plays the piano behind Miki's back. Miki, in the end, is the one actually looking for a new shining thing, trying to find it with a new girl, while Kozue is the one who wants to have Miki back, and can't let go of him.

Kozue hurts the teacher who was creeping on Miki, but sees no problem in having sex with an adult herself. It's like she believes, that just like with his talent with the piano, that Miki has something precious about him worth protecting, something that she doesn't believe herself to have. Kozue saves the two baby birds. She claims she and her brother don't need parents, but that's the role they start playing for the little birds. Maybe she does want Miki to go and save her, wanted them to save each other, to be them against the world. Miki loses the duel when she kisses Anthy.

And Miki, he's supposed to be the naive one. The one who didn't realize the advances of his teacher, the wide eyed innocent one who doesn't know much about the "adult world". But is he? Is he really? Miki scolds Kozue for talking badly about their parents, says that they care. But, behind her back, he's upset about his father remarrying, even if he pretends to be okay with it when talking to the man. Behind her back, he's bitter, talking about how adults who tell you something is "for your own good" can't be trusted, about how he won't let some selfish adult use him. He deduces that Akio has "seduced" Touga. In the light novels, I've heard Miki and Touga have sex. It's unclear whether they did in the show, but Touga acts with him in a way that could very much be seen as flirty, and even called him "easy", so it's a possibility. The way Miki remembers the event that drove him and his sister apart has their father forcefully dragging a scared and pleading Kozue into a concert she didn't want to take part in.

So, are they really as oppositional as they may seem? Is Miki really naive, or is he similar to Utena, and he partially uses this act of naivety as a way to protect his mind from the ugly reality, especially from the parts he has little control over? Does Kozue really want the adult world, or is partaking in it just something she does in her search of regaining the childhood she lost? Could Miki and Kozue possibly just be two different presentations of the same thing?

[icouldntthinkofabetternamesook]

first of all hi I really love your art:)

ok so do you head canon the sailor senshi having scars ?if yes where would they have them?and do you think usagi would feel guilty every time she sees her friends scars because they have the mission/responsibility to protect her in fights ?idk if my questions made sense 😅

but yeah that’s all thank you for your time in reading this :)

Hi there! Thank you so much!

And yeah, I do hc the senshi having scars, but my hc is a bit convoluted. Basically if an injury is caused by a fight when in senshi form, that scar would only show in their civilian form and it would only show if it's form a major injury (senshi healing prevents them from being covered in scars from minor to even some major cuts/bruises). So say sailor Mars gets grievously injured. Rei would get a scar, but the next time she turns into Mars, that scar is no longer present for the time of her being Sailor Mars.

The only exception is if a scar was present from before their awakening, say kid Minako fell down a ditch and broke her leg and she had to get surgery, that surgery scar would be present both in her human and senshi form.

With all that said I do hc the majority of the senshi getting some type of scar/major injury in my 'super hc, definitely detached from canon' storyline.

I see Ami losing some fingers from over-exerting herself, due Mercury not being immune to her own powers (ice). I see Usagi losing her right arm trying to save the two idiot lesbians from Saturn and Mina getting a thin horizontal scar on her face she got while saving Usagi. Mako and Haruka both have scars too, though those are from their childhoods, Haruka lost use of the right eye in a domestic violence incident and Mako getting a pretty major abdominal scar from the plane crash (in my hc I have it where she was on the flight that killed her parents, it's depressing ik, but its there for a reason).

The others I'm wishy-washy on, I don't really like giving scars just cause, I like to have a narrative reason for them. I'm sure as I develop the story more, I'd get a better line on them.

I do see Usagi feeling guilty, but not about most of their scars, she mostly feels guilty for Mina's scar, since Mina got it from saving her. She more deals with a general feeling of guilt for causing her friends' lives to be tied to being a senshi. I'll get more headcanon-y for a moment and say that I hc that being a senshi is not something you can just walk away from, not only responsibility wise, but also physically. The girls have to transform on a regular basis, or their bodies start to get all this built up energy that can cause physical ans mental strain, like headaches, general pains, mood swings and even allucinations. It's basically you transform on a regular basis or you die, straight up. The star seeds have no use for a body that is unwilling to utilize the energy it provides, so it just seeks to kill the host and find a new vessel.

So Usagi would feel an immense amount of guilt while hearing her friends joking around and talking about how one of the girls had to lock herself in the bathroom during class for 10 minutes cause they had to transform and the teacher got soo mad!! It pains her even tho she knows, deep down, it's not her fault, but she's the only person alive she can blame. Her friends will never be able to live a normal life, and it's all her fault.

Sorry this one got a lil off topic, hopefully not too much. Thank you and sorry it took so long.

[icouldntthinkofabetternamesook]

Fandom's double standards are making me a Charles Xavier fan lol

Like he sure as A LOT of flaws but don't pretend that next to him Emma, Mags, Apocalypse or Mystique are angels like no

And I do love these characters !

[icouldntthinkofabetternamesook]

every day i log onto this website and i see charles xavier slander. i can acknowledge his many flaws but people are for real out here calling him a centrist. man runs a supersquad dedicated to fighting the government.

[icouldntthinkofabetternamesook]

I will never understand Charles being called the most powerful telepath on earth, but at the same time he is not an omega level mutant.

[icouldntthinkofabetternamesook]

Speaking of unnecessary Xavier hate, I’ll never forget at the end of Krakoa:

Erik: I see now that mutant separatism doesn’t work, we should fight for mutants to live peacefully on earth.

Charles: Bro, I’ve been saying that for years.

The fanbase’s reaction: Oh my god Charles shut the fuck up. Magneto is right!

?????????

am I missing something???

Addendum: I love Magneto. I’m not a hater istg

[icouldntthinkofabetternamesook]

Some Like It Hot (1959) dir. Billy Wilder

[icouldntthinkofabetternamesook]

honestly, i think the massacre does something really interesting with the concept of the historical: steven fucks up. i mean, other people fuck up in other historicals (barbara sets herself up as a god, the doctor accidentally causes the great fire of london), but they don't fuck up for the same reasons. after all, barbara fucks up because she knows the history of the aztecs. steven, on the other hand, fucks up because he genuinely just doesn't know where he is. realistically, if you were dumped in the past, would you handle it well? you might try to, but of course you wouldn't! steven repeatedly makes the wrong choices, not because he's an idiot, but because he has no idea he's landed in paris on the eve of a religious massacre. literally just telling people he's english makes them suspicious of him, because they assume he's protestant as a consequence; trying to find the doctor makes people think he's a spy; trying to help his friends makes them think he's a spy! every single choice is the wrong one. but it's hardly his fault; the doctor didn't tell him where or when he is, he knows nothing about paris, 1582, and any choice is inevitably going to be the wrong choice during the french wars of religion. steven lands himself in trouble for reasons entirely outside of his control, because he is entirely outside of what he knows. it's that simple.

[icouldntthinkofabetternamesook]

Ive had the idea of fethery being the dumb luck to galdstone and Donald's good and bad luck respectively for such a long time that it's hard to belive that I had the original idea for this silly fethry slapstick bit since the 8th grade lol

Also if anyone gets the moomins refrence for the setting I'll love you forever

[icouldntthinkofabetternamesook]

ok two things

1. morgwingpad is real

2. morgana and launchpad are mostly there because of drake

2.5 if anything happened to darkwing (ie dead duck wasnt a dream, he's in a coma or something, he vanishes into another dimension) morgana and launchpad would maintain a relationship that was simultaneously tenuous and stronger than a warriors' bond. they have 20/80 custody of gosalyn. they fight all the time. theyre really cold to each other. theyre also best friends and they hang together. they make out angrily every so often. morgana comes over for family dinner once a week. you get the picture

[icouldntthinkofabetternamesook]

To Disney Duck comics fans,

What reasons to read duck comics would you give to someone who hasn’t heard of or knows very little about them?

Serious answers only please, because I want to use this for a project

[icouldntthinkofabetternamesook]

To Disney Duck comics fans,

What reasons to read duck comics would you give to someone who hasn’t heard of or knows very little about them?

Serious answers only please, because I want to use this for a project

[icouldntthinkofabetternamesook]

Now, let's talk about Drakepad. Can we talk about Drakepad, please? I've been dying to talk about Drakepad all year, OK! Sometimes I can't help but wonder if Drake and Launchpad were suppost to become a couple in the Ducktales reboot.

Like, you got that leaked concept art from the Darkwing spinoff (I guess it's okey to post this? It's long been dead if Disney even considered picking it up at all.) where Launchpad clearly has his hand on Drake's shoulder, but it looks like Drake's got his hand on LP's back. And I say Launchpad and not Gosalyn because if it was on/ around Gos we'd likely see his hand on her head or her shoulder which it very clearly is not.

This pitch likely predates TDKR and if I were to guess when it was pitched it'd of likely been sometime in 2018? Possibly even earlier judging by Drake's design as it's still pretty early. (Plus LP's bio in the pitch bible having big (and literal) "let's pick out curtains" energy.)

And then you got this excerpt from the bonus book of the deluxe edition of the Ducktales artbook where it talks about those romantic secret side adventures Launchpad has that we never got to see, and then mentions him meeting Drake as one of these aforementioned side adventures.

And then you got this Gay-ass moment from TDKR.

And the scene of them holding hands with Drake making goo-goo eyes that was intended by the storyboarder to be romantic.

And LP returning the favor in the finale.

The symbolism of the "go to them" scene, as well as how he puts his hand over his heart because of Drake.

Side note: He did this in the original show too.

Not to mention Launchpad's canonically Bi (though they never got to explore this in the show itself).

But even if they were, there's like no way Disney would of allowed it considering how pissed they were about Penumbra being a Lesbian (forcing them to censor it in a way that makes it seem like she's just racist (Speciesist? Planetist?)). And considering how Disney's been trying to reboot Darkwing Duck there problobly would of been the thought "Well if we make them Queer in this then we'd have no choice but to make them Queer in every adaption after that" and Disney has been notoriously anti-Queer when it comes to media (That we even got The Owl House feels like a miracle in and of itself.) and now with actual fucking anti-Queer terrorism on the rise in America especially, and Project 2025 on the horizon, the higher ups are cowards at best, that is if they don't agree with the terrorists themselves (okey I'm getting on a bit of a tangent here, sorry!)

IDK did I miss something? It's like almost 4AM and I can't sleep (if that wasn't obvious).

Anyways when I said that this is what it feels like to ship Drakepad I was not exaggerating or joking.

chika chika

[icouldntthinkofabetternamesook]

I find it annoying when people hate Alan Moore for different reasons than me.

For example,

Take I dislike: actually he's a rapist who gets off on harming fictional women, just look at The Killing Joke.

Take I like: The Killing Joke uses sexual violence as a language to communicate the concept of harm as the trigger for a person becoming violent (either sexually or otherwise), reacting to a popular 1980s narrative that, building on evil cultural concepts like homosexual reproduction ala "Boys Beware," framed trauma and especially sexual violence in this way.

The fact that both Barbara and Jim continue to be good people after their One Bad Day (Jim especially rejecting The Joker's worldview is essential), that Joker's One Bad Day might even be imagined (he tells the audience directly numerous times that he might've just made up his sad backstory in his head), and that Batman is famously also the product of One Bad Day and not an evil character, is supposed to be a rejection of the concept that our trauma is what makes us evil, that the cycle of violence as a concept is permission to reject the humanity of victims.

Anyway, if this reads as bullshit and your reaction is rooted in a response to Barbara Gordon in pain or being disabled, well, this is an appropriate and acceptable reaction. All media criticism is down to our emotional responses, writing like this is just an attempt to express those emotional responses in a way that becomes coherent to others. If you thought Barbara being victimized like that was so horrible and offensive and disgusting that you cannot even engage with the text further, good. That's the text's thesis and by rejecting the text, you're proving that thesis, imo.

Take I dislike: actually he has fascist leanings / gave permission to fascists in the comic space by making Rorschach like super cool and a badass.

Take I like: the problem with Alan Moore's critique of fascism is that it exists without meaningful humanity extended to the truly poor. Moore dislikes authoritarianism, he dislikes sexism, racism and homophobia as abstracts. However, he uses poverty as an explanation for how Rorschach became not only a fascist, but a smelly socially repugnant little weirdo everybody should hate.

Rorschach is raised in a slum by an abusive sex worker. This is the only childhood backstory we are offered for Rorschach. It is his two gunshots and a broken pearl necklace. In the language of superhero comics, we are therefore led to believe Rorschach is a superhero partially because of this origin. Alan Moore also characterizes him as a fascist as a result, and a mentally ill extremist because of his experience with The Panties & The Dogs. Simply: Rorschach is so poor he's barely hanging on, unable to work or socially integrate due to a disability, and Alan Moore wants you to realize this makes him a loser and fucking hate him as a result lol.

This is contrasted with Ozymandias, who I believe we are invited to like in a kind of bright and shiny liberal Scrooge McDuckian way. He attains wealth and opulence based on his Bill Gates-like intellect and willingness to market both his and his friends' superhero identities, but he's not shown hurting anybody or being a miserable asshole, unlike everybody else. Ozymandias' childhood is conversely not shown but he is buried in the signifiers or wealth, class and sophistication - essentially, "what if Frasier Crane were a superhero?" Ozymandias is racially colourblind and shown as a white man who idolizes a black culture (this is before "cultural appropriation" was understood in the way white people understand it now lol, it's supposed to show he's not racist), he employs women whom he does not sexually harass, etcetera, but he is also the primary villain of the text. The rug-pull is supposed to be the nice guy, the only one who moved on from being a superhero in a "healthy" way, actually never moved on and is now supervillaining.

Ozymandias is the primary villain of the text. This is essential to the framing, I think. For Alan, in Watchmen, evil comes from both extremes of the wealth ladder, which is not how leftism works. Alan, buddy, you've fucked up. The reason fascists embrace your text is that you have their exact idea of a liberal elite - a rich hyper-educated weirdo who fucks men and emulates a non-white identity - presented as morally inferior to a weird little Nazi. The Nazi conversely was created by victimhood in a context where no one in society cares about his victimhood.

This is how Nazis understand the world, Alan. Jesus Christ the only thing missing is Ozymandias saying "oy" and "mazel tov" lol.

But what I want to zero in on more than that is that Rorschach's poverty and abuse as a child is written as the thing that makes him a loser. He's a smelly socially inept, isolated little weirdo because of poverty, child abuse and subsequent social isolation. And to be clear, child abuse does actually make a lot of people into smelly socially inept, isolated little weirdos. It's not the majority of victims but lacking a serious support network that can be how one ends up. Alan Moore identifies this as one potential reality of the poor and abused.

However, he does not understand that most people find this kind of thing sympathetic. We're supposed to reject Rorschach as a loser because of the realities of poverty, abuse and mental illness that he deals with. Moore creates this magical realist world where superheroes are people, and invites us to reject the signifiers of human suffering that one would ordinary empathize with. When we see someone suffer for reasons beyond their control, we feel bad. We want to help them. That's normal. It's why every adventure movie for kids is about a lil guy who stwuggles ala Ms. Brisby.

Alan instead, according to interviews, wanted us to notice that Rorschach is a smelly little loser who isn't getting any pussy, and shun or reject him.

Anyway after saying all that, I don't actually hate Alan Moore.

I think he was one of the best writers in the medium and find it pretty hard to really see or vibe with a lot of the criticisms of him as some kind of sexist monster or whatever. I think he's just a middle class English dude who's spent his whole life hating the Tories and fashioning that into some kind of image of an anarchist artist, but he's a smelly boy of the 1970s and 1980s, and struggles to really use empathy effectively in his writing.

He doesn't understand that by giving Joker a sad backstory, even if he is telling the audience that he is lying or perhaps hallucinating, while giving us nothing to latch onto in the suffering of others (namely Jim and Barbara), then he's inviting people to empathize in the incorrect place and to dismiss his conclusion, that one bad day does not make you a monster. We've seen too much of the Joker's one bad day for everybody to reach that conclusion.

[icouldntthinkofabetternamesook]

i’ve seen a lot of people say that magda is an unnecessary part of magneto’s backstory so let me explain it to you dumb bitches without reading comprehension:

max and magda were childhood friends who grew up under nazi rule, both of them were targeted for their ethnicities (magda is romani if you weren’t aware) and were prisoners in auschwitz at the same time. max stayed alive to help her escape before he realized magda was alive he had a plan to disobey orders so that he’d be killed. when they escape magda put all of her trust in max to get them out of poland alive.

while the timeline is iffy they definitely spent a significant amount of time together because they were around 15 or 16 years old when they escaped and were adults when anya was born. so by the time magda finds out that max is a mutant she’s known him for well over a decade, he’s saved her life, they’re married and have a child together. she knew him better than anyone else in the world but still decided he wasn’t human and left.

despite magda seeing max as a human being with the same struggles as her, she betrayed him once she discovered he is a mutant. max likely would’ve had less disdain for humanity if he had only experienced cruelty from the people he expected to be cruel, but seeing how his own wife who survived genocide with him, someone who saw firsthand the consequences of dehumanization, turn her back on him damaged his perception of humanity even further.

[icouldntthinkofabetternamesook]

krakoa charles ft erik comm ordered for @bikenesmith : tysm for workin with me !!!

[icouldntthinkofabetternamesook]

good morning Lux nation how are we doing