#the country mouse and the city mouse adventures

[iocallistoeuropa]

[couldtheycatchkira]

[riphimopen]

and well basically EMPIRE STATE OF MIND. Can i hlep you.

[its-that-kattt]

Tis the season for a wild ass crossover!

[dalt20]

Tooning in 18 Greg Bailey part 6 of 10

DL:So, on Arthur did AKOM do anything off model? Because the studio had a reputation for being off model or lacking in their animation.

GB:I can't remember any series where someone wasn't complaining about a character being off-model from time to time to time. I'm not even sure what that means anymore. In the end, I preferred that something might be off-model a little instead of looking like a cutout of the same model sheet in every frame. At least that gives some character and exaggeration. Generally, I felt Akom was fairly on model though. Though in the 15 years they did the show I'm sure there are lots of off-model freeze frames out on the web. Mostly Akom was great because they moved the character and it wasn't all traceback stuff all the time. When things switched to digital 2D like Flash or Toon Boom it became on model but it looks really dead compared to hand-drawn animation. You are literally looking at the same model sheet position on every frame so it definitely creates significant deadness in the animation compared to hand-drawn where the character seems to almost breathe in comparison.

DL:Ah, ok. So AKOM brung their A game I guess.

GB:I really appreciated the work we got in those early seasons from Akom. Nelson had some respect for the show and he made sure the studio did a good job on the show. We weren't exactly the highest-paying studio that was sending work there but Nelson and also Frank Shinn would put more into the shows that had some integrity to them. If the series was just some generic series they might not have been so attentive. We did a really complete and tight pre production work to send over to Korea so I think they saw that and realized we meant to do a better show than the rest of stuff out there.

DL:So, About the CiNAR scandal, did the feds storm in like The Wolf of Wall Street? With everyone destroying documents and everyone being rounded up?

GB:It's more slo-mo than that, but I guess it wouldn't have made a very exciting movie for things to unravel as slowly as it did. It was so slow that basically, the media was doing all the prosecuting faster than the police. It was more of a legal assault like from the different agencies like Telefilm that were looking to get their funding money back or the archives getting a refund for one reason or another. But yes the RCMP did interview people like writers and regular staff to see if the names matched the documents they had about who did what. I don't remember a lot of destroying documents but I was on the wrong floor to see that, and there wasn't a round-up of the usual suspects where they marched a bunch of people out to a paddy wagon. I don't think anyone got taken out in handcuffs because I would have heard the rumours of that. It was strange to see the media assault and what the public was accusing them of because it wasn't what was happening or what the issue was. There was a very strange perception of it in the public. Even now everyone just says the Cinar scandal but they don't know what it was all about.

DL:So, Did you work on any other projects other than Arthur in the early 2000s post scandal, like Creepschool, Potatoes and Dragons, Treasure, The Baskervilles? Before Michael Hirsh came to CiNAR?

GB:did because I was the supervising director. I supervised the other directors. I didn't have much to do on Creepschool, or Baskervilles. Potatoes and Dragons was all done in France before it came in and it was more of an acquisition for us. I had a great model sheet with like 100 cute characters on it. I did at one point try to re-edit all those shows into a different show so they made more sense and weren't so slow. It looked very cute but it wasn't easy to sell the show. Even on Treasure, I was only brought in occasionally to look at how the show was going or meet with the terrific clients from the UK who created the series. Francois Perrault directed the show. I did start up Postcards From Buster at that time before handing off the series to Nick Vallinakis after a few episodes. During that time I was working on the development of all new series and so I designed the style or look of the show and animation style. We developed a lot of shows. The one that stands out the most was developing Mona the Vampire which Graham Fault did the initial design work on while we were in development. I think Graham did that just before creating the Untalkative Bunny in Ottawa. That was the period of Animal Crackers development and probably even Caillou. A lot of shows that I worked on in development actually made it into a series during that period. A lot of others were involved in it but hopefully, I made some meaningful contribution to it. I am probably mixing up my years there but usually, I was developing a show a few years before it hit the small screen and it was also a really insane time in the studio. After the scandal hit in fact there was not really any more development. We were still finishing off the shows that were developed earlier. Postcards from Buster was

the only series that got developed and greenlit after the scandal and before Michael Hirsch. Postcards was the one series that began under Stuart Snyder (or any of the other interim CEO's) thus fulfilling one of the major terms of Stuart's contract that allowed him to receive his bonus of tens of millions of dollars before he stepped aside.

DL:So, What's your thoughts on the studio who co-produced Animal Crackers, Alphaim? They replaced France Animation as the main co-producers in 1998.

GB:I didn't have much interaction with them. I was founded Christian Davin. I met Christian a few times and he seemed like a nice guy. Gaumont bought them out after that time. The thing that makes it hard for me to answer is that in these co-productions with France there were 2 types of shows. One that the majority partner was in Canada and the other series that the majority partner was in France. So Animal Crackers was a show that we had the lead and we did most of the work. And something like Potatoes and Dragons had the majority in France. So on the ones with majority in France we often only did the post production or maybe some of the production-like layouts. If it was our majority we did most of the work in Canada. It seemed to get more and more like that over time. So I think it is really more of a financing issue or question that you would ask to an executive producer rather than looking for a creative perspective. It wasn't on my radar very much once I knew what the work split was.

PS. Christian Davin was involved with the Robinson Sucro copyright infringement.

DL:Ah, so Thoughts on Wang Film Productions, They animated on season one on the Little Lulu Show.

GB:You mean Cuckoos Nest owned by James Wang. They did a nice job on the animation on season one. We started putting a lot of work into Cuckoo's nest at one point. Like City Mouse Country Mouse was also there. That was the really crazy period at Cinar when we just had so many series going through that studio and the place was growing like crazy. Lulu was a hard show for animation because of that super thick line was all done in traditional animation. But the look of the show was great, especially the first few shows. One thing that is not well known is that initially that show was going to be 5 specials on HBO. Tracy Ullman was doing the voice of Lulu. It was the only time I went to the pitch session that we did in NY at HBO. I only directed those first 5 episodes then supervised the director Louis Piche when the show went into a full series. To be more on topic, I had visited Cuckoo's Nest back in 1986 or so when I was at DIC Tokyo. The Japanese studio was going to visit the studio in Taiwan and they very nicely brought along the foreign staff as well.When they did City Mouse Country Mouse it wasn't so beautiful but I remember they were contracted by Cinar to churn out one episode per week through the animation department. It was usually one episode every 2 weeks at that time. But I don't think the show was well funded and we just needed to make a lot of shows quickly probably to impress the shareholders. So it was an ugly show but I can't blame Cuckoos Nest for that.Wang Productions also did the Richard Scarry series after episode 26. It was far less good than what we had been getting from Hanho on the first 26 shows.

DL:So, The Arthur episode, The Contest. How did you animated the episode in the Three styles of the segments parodying South Park, Beavis and Butthead, Dexter's Laboratory and Hulk Hogan?

GB:And Little Lulu and Richard Scarry but that was more of an in-joke. It's interesting how that episode came together. I think it was one of the best shows overall. The weirdest one at least.The South Park section was actually done under an old Oxberry film camera and shot on film. Peter Huggan who was the layout supervisor at the time made all the models out of felt. He was kind of doing the felt characters in his spare time while checking layouts. Then we rented the one last Oxberry in Montreal and we shot the sequence under the camera. It was just the way we made the films when I was a student at Sheridan College.Beavis and Butthead was just a different drawing style so it took a lot of new design . I really liked how the AC /DC logo on Beavis' shirt made a good change into AB/CD on the Arthurized version. Dexter’s lab again was just a lot of new design. We could not reuse anything from the regular series and that one had a thick line. Also the color design was new and we had lots of references from the real show.The Hulk Hogan was just styled on the many 1980's series I worked on at DIC. In fact I worked a few shows of Hulk Hogan when I first went to Tokyo for DIC.We also did a spoof of Richard Scarry and we had Lowly Huckle were bats hanging upside down. I even got Sonia Ball to do the voice of the bat in the voice she used to do Huckle. There was a Lulu parody there as well using that thick line. I used to worry about getting fired at Cinar for using R. Scarry and Lulu styles in that Arthur show. But I was just banking on that the producers never really watch the shows they are producing. I lost a lot of sleep over that idea but never heard anything from the producers at Cinar. But in general, when we would parody a different style, like we did on that Ulysses episode, it took a lot of new design and being extra careful with the storyboard, and most of all, it was traditional animation so there was no problem with changing style because we didn't have to do rigging in order to animate. The ideas for what to parody just came from suggestions I could make to Joe Fallon and Ken Scarborough about which styles we could do to give us a different look for each sequence. I loved doing all those special style things in various Arthur shows. It was something really nice about the series that we could do parodies. Usually Canadian animation companies do not do parodies in their shows. But because the scripts were produced by WGBH we would do it once their lawyers would sign off. We also based one segment on Dr Katz Psychiatrist but I don't think our squiggle vision animation was very recognizable. That was a cool episode. When Peter was making all the South Park figures no one knew what he was doing and his crew thought he was making dolls on company time like he was losing his marbles.

DL:That's so Funny! 😄

GB:yeah.

DL:So, at Cookie Jar did you work on Gerald McBoingBoing, Johnny Test, Kung Fu Dino Posse, Busytown Mysteries, World of Quest, Will and Dewitt, etc?

GB:No I didn't. Actually I helped out for a very short time on Busytown Mysteries but the other shows I had nothing to do with. That was after they closed down the Montreal studio and opened up in Toronto. I didn't move.

DL:So, I couldn't find anything on the move to Toronto when Michael bought CiNAR can you tell me what time period that was?

GB:It went in stages. In 2005 Michael and Toper and the bank bought Cinar. Renamed it Cookie Jar of all things after Huck Scarry suggested the name. They started closing up the Montreal studio that year by consolidating the 3 floors of office space onto one floor. I developed a few shows then like Bronco Teddy and that Santa Clause special. Then just a small animation crew and 2 producers moved to a new but small building in downtown Montreal . I think it was an old Canada Cement company building from the sign embossed over the front door. It had a lot of marble and brass on the main floor and an ancient elevator. Anyway we were there for a year before they shut down entirely in Montreal, and they opened up a Toronto office in that time. We did Arthur out of that new office in downtown Montreal. So by 2006 or early 2007 they were set up in Toronto on King Street. I remained on the Cookie payroll but no one else from Cinar remained after 2007. In fact I worked at Cinar/Cookie Jar full time from 1991 to 2011. I was the longest running employee of that company.

DL:Wow! So, you were demoted to the Arthur guy at that point?

GB:Yeah pretty much. They would try to keep me busy with stuff during the off-season. I developed a few shows but nothing really stuck and I would get busy again with Arthur so they would take it away from me and give it to another director. Like I was starting on a remake of Caillou and then that happened. Someone else took over the series. Or I helped out a director on Busytown for a few months. I even tried getting the director position on a series with Disney near the end of my time there but I purposely blew my application so I could go elsewhere to do Arthur. The Disney show was very preschool and the producers at Disney were in disarray. It looked like it would be really unpleasant. But yeah I guess all I really did of any significance was Arthur. We did Arthur out of Oasis Animation company in Montreal. They hired some of my old crew from Cinar while I remained on the Cookie Jar payroll. So at one point, I did some work setting up the studio to do the Arthur series.

DL:So, how was the downfall of Cookie Jar/ the DHX media purchase went for you in 2012?

GB:I was there for the downfall like when they laid off all the animation staff and pretty much everyone else. I wasn't there when DHX actually bought them. I was there when CJ bought DIC and that terrible purchase of Strawberry Shortcake. It seemed ironic to me when they bought DIC because I was there when they fell apart 20+ years earlier.The big layoff was very sudden and shocking for the people in Toronto. I don't know why they seemed so surprised. The shows were terrible. They blew a ton of money buying DIC which was even more in debt than after DIC broke up with Charlopin. They said they bought DIC to get the Saturday morning hours that DIC owned. But Saturday morning doesn't mean anything like it did when I was a kid or when I worked at Hanna Barbera. No one gets up to watch animation on Saturday morning anymore. The Strawberry Shortcake scandal was going on at that time but I wasn't paying attention to it. You probably know more than I do. But my view was - who would want to watch anything to do with Strawberry Shortcake. It was the most ugly and trite property when it came out in the 80's and it was even more horrible in the 2000's. But that was CJ's corporate culture. From the top down the company management spewed marketing jargon when they spoke about anything including creative things like animation. They would never make a great new show because they were not trying to make a show that people would want to watch. They were basing decisions on values like branding and marketing. They never spoke of things that drive other producers that try to make something kids enjoy or benefit from in some meaningful way. I understand the sense of trying to capitalize as much as possible on everything in the world, but in a creative field like animation, it's disappointing to see people only equate a good show with good merchandising. They could be happily selling stickers or really tacky toys like Strawberry Shortcake or Elf on the Shelf. They are not patient enough to make a good show first and then sell stuff because the show is popular like SpongeBob. They only want the show made in order to sell the toy.

DL:Well Michael tried to create that workspace mentality from Nelvana. Remember when we talked about the program slate from Nelvana from 1995-1996?

GB:Yes! Nelvana was also a 3 way partnership. Clive Smith was coming from animation production in the UK before they started Nelvana. So there was more push in the direction of the art at one time at Nelvana. This time his partner Toper Taylor was a marketing person. When he speaks it's a lot of marketing jargon.I shouldn't really say that Clive did this or that at Nelvana. I was never working at that studio and I've only met him briefly. Michael has been a great businessman there is no doubt about that.

DL:Yeah, I saw that the only thing that was making money at the studio was Arthur, the Doodlebops and Johnny Test. Everything else was a co-production at the company.At Cookie Jar , that is.

GB:They made a horrible mess out of Richard Scarry and the Caillou properties that had generated a lot of money at Cinar. But the versions they made at CJ were terrible. They were so commercially exploitative looking. It's true that you don't make money just selling the show to broadcasters. At least it's not a big part of the income in TV animation. I'm not sure Arthur was making much money for them either. Eventually, they quit doing it because they either had to make a totally horrible different-looking show or lose money making it. Like there was no toy licensing or books or anything to make money on with Arthur. The Arthur series never had a really high budget compared to other big animated series like WB or Disney or Nickelodeon shows and the amount coming in for production kept getting smaller year by year.

[girlfriendsofthegalaxy]

tuesday again 10/22/2024

rare tuesdaypost with no fallow sections. i CANNOT find the exact image i am looking for (mouse-drawn person sitting on bar stool with ankles crossed and blushing with eyelashes) but i feel like i found a lot of things this week that charmed me immensely. rare many such cases of many interests intersecting.

listening

almost exactly a year ago i wrote about jolynn j chin's SHIFTED, a piano jazz piece where the time signatures change on every bar, which came with an explainer video that is, spiritually, a physics video.

she's done it again with OFF TIME and a full album of equally bonkers concepts. i have a brain that is fairly good at manipulating 2D things (yarn, fabric) into 3D things but i do Not have this kind of math brain. wild shit.

-

reading

thank you philip for overseeing the photography of this trio of DELILAH DIRK graphic novels from Tony Cliff. i saw these on the library shelf and went "holy shit i read one of these as a webcomic in high school".

very well-paced indiana jones and james bond adjacent pulp adventures, with a soupcon of steampunk conveyances for taste. delilah started life in 2007 when strong snappy female characters were far less common. this is particularly...not quite grating, but very notable in the first two books (published in 2013 and 2016 respectively). they are intended to be middle-grade (disney villain falling deaths, no tits or ass, etc), but they punch far above their intended age range. a particularly interesting reckoning with the long-suffering native guide trope. not a series overly concerned with historical accuracy, although it's certainly more grounded in real history than you might expect of a middle-grade pulp adventure graphic novel. more colonial political concerns than i remembered or expected.

the art is really killer in all three books. tony cliff really knows the effect of a good page turn spread.

he also has a very charming way of illustrating continuing action across a huge panel. all four shots are from The Pillars of Hercules (2018) bc it happened to be the last one i read and the one with by far the most ambitious art.

-

watching

tubi has acquired the streaming rights to most of the batman animated movies. i keep getting served ads on instagram for an upcoming animated film about batman and the yakuza, where the premise is that a portal from real-life japan has opened up over gotham and the yakuza are pouring through like a demonic horde. this seems to be a sequel to batman ninja (2018, dir. Junpei Mizusaki)

Batman, along with his allies and adversaries, finds himself transported from modern Gotham City to feudal Japan.

batman ninja includes the lines:

I’m going to rule this country and turn it into a kingdom of monkeys and rewrite the history of the world!

and

What am I going to do with you, Batman? You’ve destroyed a perfectly good giant robot castle!

i would describe this as more of a feature-length animation showcase than anything else. the haters on letterboxed didn't even give it an average of 3 but that's bc they hate fun. this is some real weeb shit. this is not a grimdark or particularly thoughful batman entry. this is an entry to clap your hands in glee at the giant gundam vs monkey army fight. they have once again done my favorite comics boy jason todd dirty but what the fuck else is new.

so much fun even on just the like tree field guide level of identifying the six or seven animation styles. plus everyone's feudal japan looks are sick as shit.

was it Good? no. was i delighted at nearly every moment? fuck yeah.

-

playing

EXCEPTIONALLY charming embroidery-based game jam game, Cross Stitched by Panzerr here for free on itch.io. made in godot. god bless.

(image from the developer) you've got your little baba yaga house gundam in the center constantly firing projectiles, and you have to keep these fucking birds back. you can WASD around the edges of the tapestry, and your health is in the top (i really love how it gets "ruined" dark chunks taken out of it as you lose health, like a piece of embroidery decaying) and the bottom black bar of motifs fills up as you make progress towards adding another level and another piece to your powerup level tapestry.

(following images from me) you do have to think about your placement and plan it out a bit, and you can't embroider over something you've already stitched. would not recommend surrounding your initial base damage motif with other motifs bc then you've sort of fucked yourself over. a really simple concept (a good bite size for a game jam) elevated by a very fun visual style and great music. really delighted me! i am so jaded by my time in the video game marketing mines that i forgot they can be fun actually!

-

making

unphotographable: too many bugs in my house! tried to replace the weatherstripping on my front door and discovering that both the front door and the storm door were installed incorrectly and should probably be replaced.

in better news, the newest pathetic little waif in the office bathroom has been freshly neutered and will be going to a nice cushy indoor home next week-ish. whenever he is fully recovered. the most polite cat i have ever had in this carrier: did not piss, shit, or throw up.

KO'd by six cc's of various goops. poor man.

[bending-sickle]

been watching poirot lately and i just adore how much he hates the countryside, he’s such a little city mouse

Poirot: [commenting on the view from the train] Look at it, Hastings. Not a building in sight. Not a restaurant, not a theater, not an art gallery. A wasteland.

Hastings: I thought you liked the country.

Poirot: But this is not the country, my friend! The country is full of trees, and flowers, and public houses. This is a desert.

[…]

Hastings: Look at that, Poirot, look at that view.

Poirot: [with muddy shoes walking past a flock of sheep] Yes, well views are very nice, Hastings, but they should be painted for us so that we may study them in the warmth and comfort of our own homes. That is why we pay the artist, for exposing himself to these conditions on our behalf.

Hastings: What do you mean, conditions? It's a wonderful day. Just fill your lungs with that air.

Poirot: No, my poor friend. This sort of air is intended for birds and little furry things. The lungs of Hercule Poirot demand something more substantial. The good air of the town!

- “The Adventure of the Clapham Cook” (1x01)

[hannahbarberra162]

Country Mouse, City Mouse - Chapter 7

On Ao3

Sorry, no smut.

Also, we love a jealous Mihawk.

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5

Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10

Chapter 7 - After A While

A few weeks came and went. The outfits Perona had ordered for you were absolutely stunning. Mihawk wanted to see you try on all of them, but you shooed him away. You and Perona decided on the one that best suited you, and you packed it with your things. 

Zoro had been put on farm duty while the two of you were gone. Perona’s duty was to get Zoro to the farm. You brought him down and explained everything that would need to be done in your absence. Luckily, it was only simple tasks like watering and weeding.

“So, that’s about all, got any questions?” you asked, handing him a list.

Zoro grunted. “No, got it. I can do it.”

“Thank you honey, I sure appreciate it.”

“Mihawk said he would dismember me if I messed up the farm.” Zoro was not laughing when he said this.

“He’s… not jokin’, is he?”

“No.”

“Hmmm….well, I’ll bring you back somethin’ nice as a carrot for that stick.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`

Sailing with Mihawk on Hitsugibune was an adventure all its own. The small craft was really only meant for one person, so you’d sat on his lap some of the time. You had always enjoyed sailing, and Mihawk was a phenomenal sailor…er, captain? You enjoyed good weather and good company on the way. Mihawk shared a lot of nautical knowledge that you were lacking, and you found him endlessly interesting to listen to.

After a few days, you reached the island you were journeying to. Crocodile had offered rooms at his estate for guests, but Mihawk had rented a hotel instead. Not a room, you realized as you both checked in at the desk. Mihawk had rented an entire hotel. He told you that the mere sounds of other patrons would “impede his romantic nature.” It seemed like a waste of money to you, but you weren’t one to tell others what to do.

That night was the gala, so you declared that you would be getting ready in a separate room. You and Perona had planned every detail of your outfit, down to the hairpins you would use, and you wanted to surprise Mihawk for the maximum effect. 

Mihawk POV

He and Crocodile were not friends. They were, at best, non-combative acquaintances. Mihawk did not mind Crocodile as much as some of the other members of the Warlords, like the irritating Boa or obnoxious Dolflamingo. However, he had a thought to thank Crocodile for inviting him to the gala. Because it allowed him the opportunity to see you like this.

You looked absolutely resplendent. The dress Perona had bought and you had selected made you look like a goddess incarnate. You looked like you had been poured into the dress - it accentuated everything he loved about your figure. Your hair was in a style that he hadn’t seen before, and it suited you. You had acquired jewelry, and it only served to highlight your already magnificent visage. You were a beautiful, sensual treat for the eyes. Though Mihawk knew the thought was foolish, he wanted to throw a cloak over you and hide your beauty from other eyes. He wanted to be the only one to bask in your feminine grace, not allow other filthy eyes to glance upon you. He had the brief thought of closing the door and simply ravishing you, gala forgotten. However, he knew you were excited for the event, and he didn’t want you to miss it.

He extended his hand to you, and when you took it, pulled you to him. He held you tight against his body. He brought his nose and mouth along your delicate neck, running his lips against the column of your throat. He simply had to have a small taste - he would have the full meal later. He heard you gasp and breathe harshly - a fitting punishment for doing the same to him. He continued on his ministrations until you put your hands against his chest and said “later, sunshine. Let’s get to the party first. We can always ditch early.” As always, your ideas were brilliant.

Y/N POV

The gala was unlike anything you’d ever been to before. Sure, you’d been to parties, formal gatherings, weddings, funerals, and every kind of social event in between. But nothing compared to the party at Sir Crocodile’s mansion. You could tell that the majority of the people there were movers and shakers. The way they handled themselves, the way they talked to others, they were clearly used to commanding a certain level of respect. Everyone was dressed to the nines, including Mihawk. Some attendees were socializing, some were drinking, and some were dancing to the live music.

You were happy he had taught you to dance. Well, not really taught. You could kind of dance, he was a magnificent dancer. You just followed his lead as he spun you around the dance floor. He made it seem effortless and intimate, and you enjoyed every moment of it.  You’d have to ask him to dance later.

You walked around the room with Mihawk, your arm linked with his. Many people came up to him and began conversations of varying natures. You didn’t say anything unless spoken to, but you could tell there was a buzz around the fact that he had both attended and brought a date. Mihawk was disinterested in conversing with almost everyone. He dismissed most who spoke to him after a terse sentence or two. It didn’t deter other guests from trying to speak to him. At one point, he asked if you wanted a glass of wine, and you accepted. He left you momentarily sitting at a table, watching the dance floor.

Mihawk POV

Crocodile had a certain taste that did not fit Mihawk’s own. The former Baroque Works leader favored decadence and a kind of self indulgence that he found tacky. However, the gala was acceptable enough to bring you to. Many had sought to speak to him - and garner information about you- which he had no patience for. All he wanted was to dance, drink wine, and speak with you. He didn’t care about these fools. As he came back to you with two wine glasses, he nearly shattered them in his hands. 

That lout Crocodile was speaking to you, clearly interested in both the conversation and your body. He was leaning towards you, smiling at your words as he spoke to you, eyes roaming your lush figure. He should not kill Crocodile at his own gala - probably. It would cause more headache than it would solve. Depending on what Crocodile said to you would determine the outcome, he decided. 

He walked up next to you, handed you your glass, and put his arm once again around your waist. You accepted the glass, said “thank you, sugar” and kissed his cheek. 

“Sir Crocodile came by to introduce himself, and I thanked him for the invitation to this wonderful gala.”

“Mihawk, no wonder you’ve taken an interest in farming lately,” Crocodile said with a smirk, “this delightful Signora could make a flower bloom in the desert.” Mihawk’s demeanor turned even colder. He fixed his unnatural stare to Crocodile, who remained undeterred.

“Ain’t you sweet. Well, I’d love to go dance to the music you’ve so thoughtfully provided.” Mihawk did not speak to Crocodile as he turned with you to leave the conversation.

Over your shoulder you said “See you later, alligator,” to which Crocodile laughed. Crocodile was lucky you wanted to dance. Otherwise he would have lost more than just his other hand.

[holespoles]

Akira Nakao, "Konezumichoro-chan (Little Rat Choro-chan) A story about a little country mouse who goes on an adventure to the city.

中尾彰「こねずみちょろちゃん」 田舎の子ネズミが都会に冒険に行くお話

[starswallowingsea]

trying to pick out my next book to read at the lighthouse (for all of one day...) i'll put summaries and whatnot below

Double Exposure: David Toland, a decorated Korean War veteran, has done all he can to leave a life of combat behind. Now Director of Preservation for the Library of Congress's National Film Archive, Toland has made it his mission to preserve what he loves most: the Golden Age of American cinema, moving pictures full of romance, adventure and American Dream. That is, until CIA Agent Lana Welles drops in unannounced with a film canister, smuggled over the Berlin Wall at great cost, that may prove WWII never really ended--it just went underground. David reluctantly agrees to serve his country one last time and help recover the film for Lana and the CIA. But it seems not everyone is as eager as they are to dig up the past. David and Lana's discovery awakens shadowy forces who will do anything to keep their findings a secret. In search of the truth, David and Lana find themselves pursued across the globe in a cat and mouse game with enormous, world-altering consequences.

Djinn Patrol on the Purple Line: Down market lanes crammed with too many people, dogs, and rickshaws, past stalls that smell of cardamom and sizzling oil, below a smoggy sky that doesn’t let through a single blade of sunlight, and all the way at the end of the Purple metro line lies a jumble of tin-roofed homes where nine-year-old Jai lives with his family. From his doorway, he can spot the glittering lights of the city’s fancy high-rises, and though his mother works as a maid in one, to him they seem a thousand miles away. Jai drools outside sweet shops, watches too many reality police shows, and considers himself to be smarter than his friends Pari (though she gets the best grades) and Faiz (though Faiz has an actual job). When a classmate goes missing, Jai decides to use the crime-solving skills he has picked up from TV to find him. He asks Pari and Faiz to be his assistants, and together they draw up lists of people to interview and places to visit. But what begins as a game turns sinister as other children start disappearing from their neighborhood. Jai, Pari, and Faiz have to confront terrified parents, an indifferent police force, and rumors of soul-snatching djinns. As the disappearances edge ever closer to home, the lives of Jai and his friends will never be the same again. Drawing on real incidents and a spate of disappearances in metropolitan India.

The History of Bees: In the spirit of Station Eleven and Never Let Me Go, this dazzling and ambitious literary debut follows three generations of beekeepers from the past, present, and future, weaving a spellbinding story of their relationship to the bees, to their children, and to one another against the backdrop of an urgent, global crisis. England, 1852. William is a biologist and seed merchant who sets out to build a new type of beehive, one that will give both him and his children honor and fame.

[corner-stories]

jk 14

July Prompts 🌴

14. Childhood posted on my ao3 as well!

Victoria is a long way from Montreal. Gone are the towering buildings, the St. Lawrence River, and the Kirschtein's apartment in Pointe-aux-Trembles. Nowadays he’s living at his Uncle Stephane’s house in Esquimalt, a building that’s bigger than the one he used to live in, yet the actual space he’s been allotted is small. The cot placed in his Cousin Geoffrey’s bed leaves him barely any wiggle room, and he may only be nine but he feels like he's getting bigger every day. His mother promises that this will only be temporary, that the cramped feeling of his Uncle’s home is a necessity they both must bear until they truly get settled. 

In the meantime there are more important things to tackle regarding their cross-country move, so on a day in late summer his mother takes him to a library. She says it’s to both escape the heat and have him pick up more books to practice his English, something she's been gently encouraging him to do before school starts. Deep down Jean wonders if it's to spare him from being teased and tormented by Cousin Geoff for an afternoon — and if that ends up being the case, then he is quite thankful. 

The branch they are visiting is in a part of Victoria that Jean hasn’t seen before, near James Bay where all the tourist pictures are taken. His mother promises that once the temperature goes down they’ll take a walk near the water and visit one of the parks, maybe even get some ice cream to cap off the day. But for now Arielle Kirschtein sits at a computer, where she browses postings for apartments and other resources that newcomers to the city can take advantage of. 

Jean is left to his own devices. Unsurprisingly he soon finds himself in the kids section, the part of the building that’s decorated with large posters of local insects, coniferous trees, and rocky mountains, little details that paint a picture of the Pacific Northwest. As tempting as it is to browse the French-language section, since this particular branch has every single Adventures of Tintin volume, the little Quebecer follows his mother’s request and finds something in English. 

Jean settles into a beanbag chair near a window, his bottom sinking into the material as he balances an open Geronimo Stilton book on his knee. Surrounding him are other library patrons — parents reading illustrated tales to their toddlers, other kids sprawled on the floor with collections of comic books, and older tweens chatting a little too loudly before getting politely scolded by the elderly librarian. 

The ambiance helps Jean relax as he slowly takes in the adventures of an anthropomorphic mouse reporter. His English is getting better, though reading it proves to be slightly harder than speaking it. As he flips through the pages he wonders how he’ll fare once school starts, even if his mother did find a French-immersion program for him to attend. 

He goes between taking in the text and glancing aside, where he is always greeted to the sight of the new city and the various citizens moving about — most are walking, but many are cycling both on the streets and sidewalks. Despite that, he can't help but note that the city feels slower than the one he was onced raised in. Montreal always felt like a place where people had somewhere to be and only a few moments to get there — in contrast, everyone in Victoria goes at a more leisurely pace, like the goal is not the destination but the journey. Jean's unsure if prefers this way of living or not.

Once Jean has read through a third of the tale, he finds himself slipping a bookmark between the pages and standing up to stretch his legs. With the novel tucked under his arm, he wanders through the kid area of the library again, moving away from the storybooks and to the array of tomes with fewer pictures. He eventually finds himself walking through the French-language section again, wondering just how many Adventures of Tintin volumes his mother will let him haul on the bus ride back home. The space between the shelves is empty, even more so than the rest of the library. He wonders if it’s because there really aren’t many Francophones on this side of the country or because most people in the building are more keen on escaping the heat or using the workspaces. 

As Jean takes The Secret of the Unicorn and Destination Moon into his arms, he hears footsteps against the carpeted floor. He glances up and sees no one in his aisle, but through the gaps in the bookshelves he spots a person on the other side. 

It’s a girl just about his age with a pair of dark eyes and a head of dark hair, something that is tied back with a red ribbon. She dons a floral patterned dress and a wide-brimmed sun hat, a very summery get up for the mere act of browsing the French section. 

For a reason Jean doesn’t entirely know, his heart begins to beat just a little bit faster. Suddenly the books in his arms slip out of his grasp. When they hit the floor the sound snaps him out of his trance. Heat rushes to his face as he hastily kneels down to clean up his mess, praying that the Girl in the Shelves hadn’t noticed his fumble. When he stands up straight again he’s slightly relieved to see that by the grace of god, she didn’t notice his fumble, as her eyes are still affixed to the spines of the books. 

Jean’s breathing is uneasy, but as he gets a better grip on his things he sees the Girl grabbing one of the bigger books in the section. The tome looks heavy in her arms, weighing her down as she rests it against her frame. The once neutral expression on her face morphs into one of the sweetest smiles that Jean has ever seen, then before he knows it she’s leaving the aisle. 

Once she’s gone Jean takes a second to recollect himself before exiting the French section as well. After stepping into the main space of the library with extra books under his arm, he can’t stop his eyes from looking around to find the Girl again. He soon spots her walking up to an older woman who shares both her dark hair and taste in fancy sun hats, one who is currently taking in a mystery novel while sitting on an armchair.

Jean sucks in a breath and begins to walk. He passes the two by and finds a new spot for himself on a couch near a shelf of DVDs. As he settles in with his new books he can’t stop himself from overhearing the conversation that transpires between the Girl and the Lady. 

“Auntie! I found it!” says the Girl, the smile on her face remaining bright as she holds up a leatherbound collection of fairy tales.

When Jean looks up he sees both the Lady — or rather, the Auntie — and the Girl smiling at each other, but once Auntie gets a look at the text on the book’s cover, her expression falters. 

“Mikasa, Dear… this is in French. You don’t speak French. And neither do I, for the matter.”

The beaming grin on the now-named Mikasa’s face turns into something less joyful. “Oh… right.” 

Jean places his new book on his lap and opens it, yet can’t take his attention off the conversation.

“Can you find it in English?” asks Auntie. 

Mikasa shakes her head. “No, I asked the librarian and that one’s checked out. This is the only one.” 

The look on Auntie’s face is very kind as she places a hand on the girl’s shoulder. “How about you put this one back and find something else? Then we can read it together, I promise.” 

Mikasa looks defeated, as clearly her heart had been set on this book in particular. As she hugs the tome against her chest like it’s something precious, she simply nods her head. 

“Okay.”

Jean watches as Mikasa walks away from her Auntie, looking absolutely dejected with every step. 

Suddenly the feeling that Jean had experienced in the shelves returns, the tightness in his chest and rushing of his beating heart. But instead of making him drop his books like a fool, the feeling motivates him to scoot off the couch and across the library’s carpet. 

With a sense of confidence he hadn’t felt ever since the move, Jean approaches Mikasa and says —

“Hi!”

Mikasa stops where she is and turns around. She is still holding the book of fairytales close to her, like it’s a shield between her and this sudden stranger.  

“Uh… I’m Jean… I speak French,” he manages to say despite the heat returning to his cheeks. He huffs awkwardly and looks down to the carpet. “I can read that with you. Or to you.” 

When he glances up again he sees a little glimmer of hope reappear in her pretty eyes. “Oh… you can!?”

Jean nods along. “Yes.” He points to the couch where he had stashed his own collection of books. “I’m sitting there, let’s go!” 

Mikasa breaks into that sweet smile Jean had seen a second ago as the two make their way to his spot. Before he knows it he’s carefully moving his books aside to make room for her and she's taking off her sun hat so it doesn't get in the way of her reading.

“I’m Mikasa,” she tells him as she sits on the cushions. He nods his head as her name graces her ears again, noting that it’s one he doesn’t hear often in the city he grew up in — but then again, perhaps the name “Jean” isn’t one she hears a lot in this city either. 

The two sit on the cushions, balancing the complete works of Charles Perrault on both their knees, though mostly on Jean's. When he opens it he is greeted by the sight of a gorgeous illustration depicting a woman with golden hair asleep on a bed in the woods. Mikasa flips the page and is quick to bring him to the first story and presumably the tale she was very keen on reading despite her lack of language proficiency. 

“La Belle au bois dormant,” Jean reads aloud. He looks aside to gauge her reaction. “Or Sleeping Beauty.” 

Mikasa smiles again and Jean can’t help but notice how sweeter it seems up close. He looks back to the page and begins to read the book as promised.

[its-that-kattt]

Thanks for the ask @thecastilloking !!

[rottenbrainstuff]

Lol. Well.

A while ago I convinced a friend of mine to watch the fourth season of Jojo’s Bizarre Adventure, because I told them it was the best season (and I think it is). They really gamely watched the entire thing but it just never clicked for them, they just did not get the tone of the show, did not like. And that’s fine, totally fine. It was nice of them to watch the 40+ episodes even though it really wasn’t their thing.

So sort of to reciprocate I guess, they now want me to watch Demon Slayer, which is one of their all time favourites, they are telling me it’s amazing character development, etc, blah blah blah.

I….. I’m not really enjoying it so far lmao. Me and my friend are doing like a country mouse city mouse thing here.

I just don’t like these shonen series. They’re not my thing. They’re silly and boring and they’re way way too serious for how silly the plot is. That’s why I can enjoy Jojo, it’s weird and bizarre and it doesn’t take itself seriously at all. If your show is going to be silly, might as well go all out and name your characters after food and songs and dress them in clothes that belong on a fashion model. Without that or something like that, the show feels like it’s missing some seasoning somewhere.

Granted I’m only a few episodes in. Maybe it’ll hook me later.

At least I can’t deny, it’s definitely got quality animation.

[giftideasfromaycaramba]

Tucker is a streetwise city mouse. He thought he'd seen it all. But he's never met a cricket before, which really isn't surprising, because, along with his friend Harry Cat, Tucker lives in the very heart of New York City—the Times Square subway station.

Chester Cricket never intended to leave his Connecticut meadow. He'd be there still if he hadn't followed the entrancing aroma of liverwurst right into someone's picnic basket. Now, like any tourist in the city, he wants to look around. And he could not have found two better guides—and friends—than Tucker and Harry. The trio have many adventures—from taking in the sights and sounds of Broadway to escaping a smoky fire.

Chester makes a third friend, too. It is a boy, Mario, who rescues Chester from a dusty corner of the subway station and brings him to live in the safety of his parents' newsstand. He hopes at first to keep Chester as a pet, but Mario soon understands that the cricket is more than that. Because Chester has a hidden talent and no one—not even Chester himself—realizes that the little country cricket may just be able to teach even the toughest New Yorkers a thing or two.

[trendspostneel]

Disney World Parks in Orlando A Magical Family Adventure

Orlando, Florida, is synonymous with magical experiences, and at the heart of this enchanting city lies the crown jewel of family entertainment – Disney World Parks. Comprising four distinct theme parks, each with its own unique charm and attractions, a visit to Disney World is a dream come true for families seeking an unforgettable adventure. In this article, we will delve into the magic that awaits at Disney World Parks in Orlando and explore the wonders that make it the ultimate destination for a family getaway.

Magic Kingdom: Where Dreams Come True

The iconic Cinderella Castle welcomes visitors to the Magic Kingdom, setting the stage for a day filled with enchantment and wonder. Home to classic attractions such as Space Mountain, Pirates of the Caribbean, and the Haunted Mansion, Magic Kingdom captures the essence of Disney magic. Families can explore themed lands like Fantasyland, Tomorrowland, Adventureland, and Frontierland, each offering a unique blend of rides, shows, and character encounters.

Epcot: Journey into the Future and Around the World

Epcot, short for Experimental Prototype Community of Tomorrow, offers a distinctive experience with its focus on innovation, technology, and global culture. Divided into Future World and World Showcase, Epcot features attractions like Test Track and Spaceship Earth in Future World, while World Showcase takes visitors on a journey through 11 pavilions representing different countries. The annual Epcot International Food & Wine Festival adds an extra layer of excitement, enticing visitors with delectable global cuisines.

Disney's Hollywood Studios: Lights, Camera, Action!

Step into the glitz and glamour of the entertainment industry at Disney's Hollywood Studios. This park celebrates the magic of movies, television, and popular culture. Star Wars: Galaxy's Edge immerses guests in the Star Wars universe, while Toy Story Land brings beloved characters to life. Don't miss the thrilling rides like Rock 'n' Roller Coaster Starring Aerosmith and the Twilight Zone Tower of Terror. Hollywood Studios is a haven for film enthusiasts and those seeking an adrenaline rush.

Disney's Animal Kingdom: A Wild Expedition

For nature lovers and wildlife enthusiasts, Disney's Animal Kingdom is a paradise blending entertainment and conservation. The iconic Tree of Life stands tall in the center of the park, surrounded by attractions like Expedition Everest, Kilimanjaro Safaris, and Pandora – The World of Avatar. Immerse yourself in the beauty of the animal kingdom while enjoying thrilling rides and mesmerizing live shows that showcase the wonders of the natural world.

Park-Hopper Option: Unlimited Magic, One Ticket

To make the most of your Disney World adventure, consider the Park-Hopper option, allowing you to visit multiple parks on the same day. This flexibility enables families to customize their experience, hopping between the magic of Magic Kingdom, the innovation of Epcot, the excitement of Hollywood Studios, and the wildlife wonders of Animal Kingdom. With the Park-Hopper option, the enchantment knows no bounds.

Character Encounters: Meeting Your Favorite Disney Friends

One of the highlights of a visit to Disney World is the chance to meet beloved Disney characters. From Mickey and Minnie Mouse to Cinderella and Elsa, character encounters are scattered throughout the parks. Keep an eye out for scheduled meet-and-greet sessions, parades, and character dining experiences, creating magical moments for children and adults alike.

Dining at Disney: Culinary Delights for Every Palate

Disney World is not just a haven for attractions but also a culinary paradise. With a diverse range of dining options, from quick-service snacks to fine dining experiences, there's something to satisfy every palate. Be sure to explore the unique dining opportunities, including character dining experiences, themed restaurants, and international cuisine at Epcot's World Showcase.

Tips for a Magical Experience: From FastPasses to Parade Viewing

To ensure a seamless and enjoyable visit, consider these tips for navigating Disney World Parks. Utilize the FastPass system to skip the lines for popular attractions, plan your day with a personalized itinerary, and secure a good spot for parades and nighttime spectaculars. Additionally, staying on-site at a Disney resort can enhance your overall experience, providing convenient access to the parks and exclusive perks.

A trip to Disney World Parks in Orlando is more than a vacation; it's a magical journey that creates lasting memories for families. Whether you're soaring through the skies on Space Mountain, exploring the diverse cultures of World Showcase, or coming face-to-face with your favorite Disney characters, the enchantment of Disney World is unparalleled. Plan your adventure, embrace the magic, and embark on a family getaway filled with joy, wonder, and the promise that dreams really do come true in the heart of Orlando.

[hannahbarberra162]

Country Mouse, City Mouse Chapter 8

18+ MDNI

On Ao3

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5

Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10

Y/N POV

Mihawk looked…murdery. He was not speaking, and had a harsh grip on your side. People had stopped coming up to you two, preferring to stay at least a sword’s distance away. You hadn’t been around Mihawk for too long, but you knew jealousy when you saw it.

“Listen honeycake, that look you’re givin’ could curdle milk.”

Mihawk did not reply to you, but continued glancing around the room with a threatening look. You reached up and put one hand on his shoulder and another on his cheek, turning his face towards you. 

“Look, he’s yankin’ your chain and you’re lettin’ him. I’m not goin’ anywhere, let’s enjoy our night. We can leave right now if you want, wouldn’t upset me.”

Mihawk finally spoke. 

“His disrespect towards you was intolerable.”

“Sugar plum, would killin’ him make you feel better?”

“Perhaps.”

“Well, do it later if you want. In the meantime, may I have this dance?” You took your hand off his face, and put it in his. He looked at you for the first time since Crocodile had spoken to you. He brought your hand to his mouth, kissing the back of your hand.

“My dear, nothing would delight me more.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

After redirecting Mihawk, you spent a lovely evening dancing, drinking, and softly speaking to one another. He was completely devoted to you, unconcerned with the optics of ignoring everyone else at the gala. You’d had a glass of wine or two too many and were feeling the effects. You knew you flushed when you were drunk, but you were hoping it wasn’t too noticeable.

After the end of the next song, Mihawk spun you out and brought you flush next to his body. You knew you were staring at him, but you couldn’t stop. You started blushing on top of the already present flush.

“What are you thinking, my sweet?”

“Sweets? Isn’t that my name for you-u?” You were trying to stop yourself from slurring, mostly successfully.

“Ah, but you have so many for me. Allow me to borrow just this one?” He started kissing your shoulder gently. You sighed in rapture.

“You never told me what you are thinking.”

“I’m just happy. You’re…so beautiful. You’re like…a painting but in r-real life. I didn’t think there were p-people like you.”

Mihawk hummed and continued kissing your shoulder, moving his lips slowly up to your neck.

“People like what, darling?”

“Jusssst wonderful people.” You lost your train of thought. You didn’t need it, anyway. You were having an enchanted fairytale night with a sexy villain and in the morning you’d be a farmer again but tonight - tonight you could be a princess if you wanted. You would let your childhood fantasy play out a little longer. You laid your head against Mihawk’s chest. You didn’t want to embarrass him in front of whoever was here even if he didn’t seem to care. It was time for you to go.

“I think I m-might be cooked.”

“Do you wish to leave?” He sounded slightly concerned. 

“In m-my pumpkin carriage if you please.”

“I don’t have one on hand, dove, but I will bring you back to our rooms.” Mihawk swung you over his shoulder, carrying you with a hand on your ass. You giggled - it felt like he was marking his territory for everyone to see. Guess he was still a little jealous, after all.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

You wouldn’t admit it, but you were happy Mihawk had rented the entire hotel. You felt free to be as loud as you wanted, wherever you wanted. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

All fairy tales come to an end, and it was time to sail back to Kuraigana Island. The adventure back was just as enjoyable as the way there, and even more relaxing since there was no time constraint. Coming back to Kuraigana, you were excited to see if the farm had survived under Zoro’s watch. After docking, and thanking the captain with a kiss, you ran over to the farm. Things looked under control and well maintained. You went to go find Zoro, which took a considerable amount of time. Eventually you had to ask Mihawk to help you find him. He was training in the forest, and you hailed him with a wave.

“Seems like you’re not gettin’ dismembered. Farm looks great.” Mihawk did not comment on his previous threat.

Zoro grunted and continued his training. You took that as an acknowledgement.

“Anyway, as a thank you, here’s a bottle of booze I pinched from Croc’s house.” You handed Zoro an expensive looking bottle of sake. 

Mihawk looked slightly surprised. “When did you take that? And moreover, where did you hide it? I never saw it on your person. And I inspected closely.” He finished his sentence with a smirk.

You raised an eyebrow and said loftily, “a lady never reveals her secrets.” 

Mihawk POV

During the interminably long Warlord meetings he deigned to attend, Mihawk often thought of how he would defeat the other warlords in battle should he want to. He had plans for each of them, honing in on their weaknesses and dulling their strengths. Some battles would be more difficult than others, but he had no doubt in his ability to vanquish them all. 

He now wished that he had put his plan into action for Crocodile. You had stayed his hand before with your charm, but the reptile shouldn’t have pushed his luck.

Because a few weeks after the gala, a present arrived to the island. For you. 

Crocodile had sent you an Alabastian purebred horse, easily worth 150,000 Beri. Apparently, you had spoken with him briefly about horses, and he decided to show you his favor. You were delighted with the gift, and spoke about how the horse could help you with various tasks. Mihawk was upset both that the snake had sent his woman a gift, and that he hadn’t thought of the idea himself first. You noticed his ire, and said that you would return the horse if Mihawk did not approve. However, he saw the light in your eyes and could not deny you your pleasures. You were his errant ray of sunshine, and you deserved the best the world had to offer. Even if it had come from a disagreeable, scabrous, detestable, noxious, imbecilic thug like Crocodile.