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hear me out

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bros talking about their favourite things

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Lupin gif doodles

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ok lets settle it. which laios is getting the best dick rn

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This is the same guy that’s crazy

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The Sound of Music + textposts pt. 6/?

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Another sound of music meme

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The Sound of Music + textposts pt. 7/?

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another art trade so soon?! this one is for @meooooooooooooooooooo !! this was a lot of fun to draw :) check out meo's amazing art!

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Two-Face Edition✨

(this was super hard to do because his stylist in canon clearly is not like other stylists. in fact if i don't post after this- they got me.)

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Me making best of Asterix: this will be a fun thing for the people who like Asterix! And since it’s only going to be in the one tag everything should be on a mostly even playing field, I’ll be able to see what fans generally think are the best out of the various albums and movies :)

Mission Cleopatra: hundreds of French and Polish millennials are rallying for me. Truly I am the most iconic piece of Asterix media to ever bless the European content

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izutsumiiiiiiii. kitby

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Not Sailor Moon related, but I'd like to share this gifset/analysis of cinematic parallels between The Castle of Cagliostro and The Great Mouse Detective with you. This was a Patreon request, so consider this post a preview of what you might see if you subscribe (Tier 1 starts at only $1/month)!

Today I would like to do a quick piece showcasing some of the cinematic parallels between Hayao Miyazaki's The Castle of Cagliostro and John Musker & Ron Clements' The Great Mouse Detective. Famously, both films' climaxes take place inside the workings of a clock tower. As many Disney animators, Musker & Clements included, are known to be fans and admirers of Miyazaki's films, it is quite likely that TGMD's climax is an intentional homage to TCoC. Here are five similar scenes from each film (reproduced as animated gifs) that I would like to discuss in particular:

The Villain's Entrance: Notice that both the Count and Ratigan take advantage of the clock tower's gears to sneak up on their enemy. Their figures are similar - large, hulking bodies, swishy red capes, and an unusual head shape. In the Count's case, his head shape is changed by his goat-shaped helmet, while Ratigan's angular pointed rat ears contrast heavily with Basil's rounded mouse ears. Interestingly, the Count moves vertically, while Ratigan moves horizontally. Both villains are temporarily thwarted by their respective Damsel in Distress warning Our Hero about the impending attack. 

An Unfair Battle: Both films feature a battle to the death on an unstable surface - Caglistro's being on moving clock gears, while Mouse Detective's battle is on Big Ben's clock hands which are slippery from the rain. As mentioned earlier, both the Count and Ratigan have large hulking bodies which visually contrast between Lupin III's and Basil's lanky and significantly shorter frames. The Count and Ratigan are also armed (with a sword and rat claws respectively), whereas Lupin III had to improvise with a long wrench. Basil is completely unable to defend himself, which accords with his characterization as being entirely Brains, not Brawn. Lupin III is an adventurer, so he fares much better in this battle, but it is still heavily weighed in the Count's favour.

A Near Miss: Both movies feature a brief scene where one of the "good guys" is nearly crushed by the clock gears, only to survive from a split-second escape. Both Damsels, Clarisse and Olivia, are relatively passive in the battle and are heavily protected by Lupin III and Basil. Clarisse, being a young adult rather than a little girl, is noticeably braver and more proactive during the battle. There is brief tension when Lupin III almost looks like he will be crushed, but because of his reputation for getting out of any jam, the audience never has to worry about how he will escape. In comparison, Olivia is helpless to save herself from being crushed, and Basil has to take advantage of his knowledge on the physics of clockwork to rescue her. The scene with Olivia is significantly longer, drawing out the tension.

The Villain Unmasked: Both battles take a turn when the villain is literally, and figuratively, unmasked. A gleeful Lupin III shatters the goat horned helmet, instantly making the Count look less intimidating and more like the pathetic man he is. His stance immediately changes from murderous and dangerous, to bewildered and annoyed. The result reminds the audience that for all his ambition and bluster, the Count is just a petty criminal with delusions of grandeur. Ratigan, in comparison, shatters his own "mask." Merely spotting Basil and Olivia trying to escape from him shatters his mind, and he destroys his own illusions of good breeding and sophistication. Ratigan might be a charismatic and brilliant criminal mastermind, but when he doesn't get his way, he reveals himself to be nothing more than a feral rat.

Falling From The Clock Tower: Clarisse, who is more proactive in this battle than Olivia (for understandable reasons), attempted to knock the Count off the tower to prevent him from activating its secret. He kicks her off him in retaliation, but she and Lupin III managed to fall into the water. They are miraculously (if implausibly) unharmed, and it eventually turns out that their falling off the tower saved their lives, as the Count would be gruesomely crushed between the clock hands triggered by the secret mechanism to point to midnight. In comparison, Big Ben itself is what causes Ratigan's demise. The tolling of the tower's bells (also at midnight) would be already deafening for a human, but are completely disorienting for a rat. Disney are known to kill off their villains by having them fall off something (so as to imply their deaths rather than showing a body), and Ratigan's death is another example. Interestingly, Ratigan's fall from the tower is implicitly shown to be fatal, which contrasts with Lupin III and Clarisse's survival. The films' respective target audiences also are a factor in how their villains are defeated - Cagliostro is aimed at an older audience, so while the Count's death is not explicit, his demise is far more visceral. Knowing exactly where the Count's body is (and what has happened to it) is a more potent image; we know Ratigan likely won't survive his fall, but we don't know where his body will land.

They're pretty good movies, y'know.

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