My beloved OC Khaine whom I love very much

ponyo au 🐬🐳

1, 2, 3, 4

Botw is such an interesting take on post apocalypse, because it isn't really dystopian. It is a wound healed over, a world that has forgotten the end of itself, and in that, has begun anew. Grandparents whisper their nightmares into the wind, and smile at their kin. The garrisons that remain are sodden ashes in the dirt, a burial ground, and the most fertile soil for miles. You do not know the past that your body remembers. You do not know the voices that linger, and yet you follow. You follow, because the world has forgotten you, and you have nothing that is yours to remember.

. moon kitty (2021)

Fandom Problem #8215:

When a show set in a historical time period decides to make the sex trade look glamorized when in reality pretty much all the women involved were sold against their will into it, and in some time periods and locations, where women were willing to MUTILATE THEMSELVES to prove their love to a client so he'd buy her, and she wouldn't have to work in the brothel, anymore.

This isn't like Onlyfans where the women are in control, people! How can so many fantasy writers understand why forced marriage was wrong, but then turn around and romanticize sex slavery!?

masks and helmets that hides someone's face in such a way that they become the face themselves my beloved

these are all creatures to me

Angel of War, angular and strange, gleaming silver and gold, Angel of Wonder, pure and one-eyed, looking to stars new and old, Angel of Harvest, simple and hidden, bring nature's sweetness to all, Angel of Health, mysterious and fine, beacon when life starts to fall, Angel of the Deep, crooked and cage-like, guide us across the sea, Angel of Solace, protect us from evil, lead us to where we are free.

Was inspired by the previous post a while back, and had been working on this on and off for a long while.

You can see the full-resolution versions on My Patreon.

I love all of these. The angel of the the deep's wings are canvas, held up by an anchor. The angel of war's wings are blades, and its shield is a coffin. The angel of solace is a mutant, its arms deforming into wings. Geiger counter in hand, it guides us through the danger only it knows. Was this angel once a man? Corrupted now beyond hope, he can at least save others from the same fate.

this shit is so incredibly cool that i cannot and refuse to attempt to properly articulate it

Man it's super emotional when you realize how similar the angels of harvest and wonder are- both round, singular eyed in white cloth. From the beginning of time to the end of time, humans will cultivate new and wonderous technologies to bring us forward, whether it's simply to settle down instead of being nomadic or to reach the heavens themselves.....

Not like that!! It’s gonna get tangled

The Animal is Speaking

It’s always there.

In the hollow of your chest,

the shadow that flickers when no one’s looking,

the raw, wet sound of your pulse.

Small at first,

like a whisper pressed between your ribs,

but growing louder every time you swallow it down.

The animal has always been there.

Quiet.

Patient.

Waiting for you to stop lying.

Tell me, when your heart breaks,

when the whole world burns through you

like an unforgiving forest fire,

do you really believe you can grieve politely?

Do you really believe in silence?

There is no such thing as "soft."

Not here,

where survival is carved into your bones

before you can even speak its name.

Do you think your ancestors bled for you

just so you could drown in your own apology?

They were not gentle.

They were claws.

They were dirt under nails.

They were teeth grinding against the ropes of this life,

tearing loose even as they bled.

Do you ever feel it—

when they tell you to sit still,

to speak softly,

to obey?

That thing in your stomach,

the refusal that claws its way up your spine screaming:

"No. No. I wasn’t made for this.”

I don’t care how many suits you wear,

how many times you say “yes” when you long to say “no.”

The animal is not impressed.

It watches you with those dark, unblinking eyes,

waiting for the moment you break.

Because you will.

You always do.

When the world finds the edge of you

and pushes, because it always does,

when your fragile mask cracks wide open,

what do you have left

but what you’ve spent your whole life pretending doesn’t exist?

Do you think rage makes you ugly?

Do you think hunger writes you weak?

No.

Rage is your birthright.

Hunger is how you survive.

You are not made of glass.

You are flesh,

grit,

blood poured hot into the mold of a spine.

You are not afraid, all the way down.

Do you hear me?

Do you feel me crawling inside your chest?

This is not a metaphor.

This is the truth of you.

Your pain—the raw, aching wound—is not failure.

It is proof.

Proof that you have scraped your knees on the edge of existence

and stood back up,

gritting your teeth against the taste of dirt.

You cannot hide from it any longer.

The beast won’t let you.

It will drag itself from the cave of your mouth

whether you invite it or not.

So let it in.

Let it crawl up your throat

and scream.

Scream loud enough to shatter the lies.

Let them see your broken edges glint in the sun.

Let them hear your voice—

feral, cracked, unapologetic.

You owe no one softness.

You owe no one a version of you that doesn’t taste

like blood and sky.

Destroy what doesn’t fit.

Burn what holds you down.

Let them call you wild.

Let them call you mean.

They’ve never had teeth like yours.

No fool in April

(Saw Bender and Pomni crack ship art and it made me wanna draw jester joke ship lol Can you believe this is my first time drawing Quackerjack?)

Why A Goofy Movie IS Disney Kino

Around my Elementary era I used to go to a church for a couple summers. In the mornings I remember the counselors would put on A Goofy Movie in the VHS, and they would replay that film plenty of times. It was like every off day or break time they'd run that film and casually recite some of the lines. I was in that phase where I really didn't like Disney so I put off watching it with the others, but... I kept it in mind. It was much later where I finally watched it for real and thought it was great. Now? I realized that it's one of my Top Five all-timers from Disney. I also realized the streets were onto something when saying black people relish this movie considering the church I went to is pre-dominantly black standing. So you know what? I'll set the record straight for why this Goofy movie is possibly peak. This ain't no April Fools, let's really do this...

The Beloved

I don't think I'm exaggerative when I say Roxanne's the embodiment of why this film works the way it does because for the love interest they thankfully don't have her fall under ANY narrative traps. She's not the declared popular girl, she's not the one good girl guarded by a clique of plastics, she's not somebody who makes herself so hard to get despite Max's anxieties. She's just a nice, likeable, approachable character who doesn't shy away from actually being into Max without it feeling contrived or weird. For as little screentime as she gets, as short as this film can be, you get both why Max would be into her and why he's frustrated when their get together is shut down thanks to Goofy's impromptu road trip.

And again, there exists no narrative traps with her once the film gets going. Neither PJ or Bobby or anybody else threatens to move in on her while Max was away. There's one scene of a dude trying to get with Roxanne before Max performs Powerline at the assembly but after that, it's basically on Max that he tries to lie in order to prevent anything wrong from happening. Despite the fact that she was already won over with that performance, like dude successfully shooted his shot, it's Max who stretches the truth for the sake of keeping the girl of his dreams impressed. At the same time, the film's beginning shows exactly why he does that too.

The Fears

Max's nightmare of him turning into Goofy in front of Roxanne is never brought up again, but is the crux of Max's increased distance toward his father. It's not that he hates his dad, and I can appreciate that it never goes that far to where Max tries to cut Goofy deep with insults, but fears of his father's nature being what scares Roxanne away. The fact that he's ashamed of having his father's laugh says a lot and I say it later contrasts well to Goofy's call with the principal.

Some would say the Principal exaggerating Max's stunt to where he tells the father his son could end up on death row was out of place, but it shows that distance Goofy feels exists with him and Max at the time. Goofy loves his boy but naturally thinks he's not doing enough. He feels he has to do this in the same extent Max wants no part in Goofy's antics this summer. There exists that contrasted fear of what familial bonding does to each other in a way I don't think has been explored before in any other Disney film, especially since this is the rare time this actually is explored.

That's where the road trip I think was necessary for the both of them. This would've been a wholly different movie if they just stayed at home with the whole Powerline pay-per-view watch party at Roxanne's friend's house... tch, remember pay-per-view? I say isolating Max and Goofy to this fishing trip not only keeps things dynamic in their roller coaster of a bond, but prevents Roxanne from just being around and possibly there to just play family counselor with the other supporting characters. I say it's like The Spongebob Movie where it would've been something to involve the supporting cast more, in this film's case it does things better, but was a necessary sacrifice in keeping things focused.

The Communication

For me, the two's initial fears are why "talking it out" was never gonna be as easy as people would believe. On rewatch, you could tell Max was constantly biting his tongue before saying something to his father that he'd instantly regret. In the same case, Goofy's arrogance never becomes purely antagonistic while you see why Max is justifiably annoyed and resentful. It never gets to where Max nor Goofy start to hate each other or are the villain in each other's life, but you get why sharing their true feelings is just not on their minds right now. Which is where we get to what I say is one of two important turning points with the movie.

After seeing that his attempts of bonding clearly backfiring, it'd make sense that Goofy would trust Max the trip map after the latter makes a gambit altering the path to LA for Powerline's stage show. He tries Pete's advice but sees being his tender self is inherently what drives Max away. Before shit hits the fan, there's a montage to show that fun can be had with this road trip and Max isn't so against being with his dad. It does make me wonder of the economy of this world because we're talking a carnival trip, a baseball game, a couple tourists sites, with enough for a night out a motel. Sorry, current day financial instability got me brain wandering. Speaking of motel, we get to one of my favorite scenes overall...

Now I haven't brought up Pete at all until now because he does enough as the opposite to Goofy at first. As opposed to the ever optimistic and caring guy Goofy is, Pete is clearly self-interested, cynical, above it all kind of parent that does make me wish his wife Peg was in this to set him straight and also step on m- He's not the villain of this story also, never really antagonizes Goofy and Max to any extent, but builds off the Principal Mazur in making Goofy out to presume the worst in his son. That's where this scene comes in, with Goofy and Pete looking to chill in a hot tub before the latter heeds in to warn Goofy about Max rerouting the map to LA. Goofy's actually stunned by this and what works is the dramatic irony. You already know it's true, Pete IS telling the truth, but it's still a massive gut punch when Goofy finally realizes. Pete was looking to show Goofy his way of parenting was weak compared to his "under the thumb" approach, but you can tell Goofy's disbelief is real given how Pete went about things. It's the embodiment of the whole "love vs respect" dichotomy that, since the Goof Troop cartoon which this is adapting, comes to ahead when Pete is made right but went about it the wrong way.

The increased devastation in Goofy's eyes is kinda haunting. It never gets to the point where he finally sees what Pete and the Principal sees in Max, that he's a wholly bad kid, but the betrayal he feels is justified when Max indeed made that choice. Yet you see where Max was coming from at the same time which is why that first turning point mattered. He never agreed to this vacation before it started to get good, but now it was too late for Goofy to see that. All of this leading to the film's best scene that isn't the finale, when Goofy gives Max one final chance to prove the naysaying wrong... and Max makes his choice. Leading to this... iconic frame.

The hurt seen in Goofy's eyes is not understated. He's as much mad at Max for proving his suspicions right as he is himself for supposedly buying into it. And it's not that Disney characters like Goofy or Mickey we haven't get mad, but I don't think anything else has captured purely exhausted disappointment quite like this movie. It's after this where we get the film's best sequence where the duo are chasing down their car, somehow more in sync under goofy shenanigans than in any real downtime before they end up floating down a river. Where they finally spill the truth.

Rebuilding the Foundation

Goof Troop is not a series I think most remember as much as this movie, and that's fine. Not like it's homework, but it works to know the show getting into the duo's estranged relationship here. Max is often embarrassed of his dad but loves him nonetheless because he is a loving father. Goofy is always well-meaning but clumsy in execution. It worked for that series and it works here for a turning point in both their lives. Not that Goofy is going through a mid-life crisis, that's for the sequel, but he is unsure of how much he's done for his high school bound son. It's not like Ducktales where they're on some fantastical journey to learn along the way, this was as grounded an adventure that Goofy was allowed to have where finally having a heart to heart with Max feels natural.

"I've got my own life now" vs "I just wanted to be a part of it"

Max is the protagonist, there's no doubt about that, and Goofy takes that role more around the middle, but I love that with this scene of them finally confessing, they both truly share it. Max of course had his frustrations, his ire surrounding this sudden road trip he states very clear that didn't want to go on, but he finally sees the length Goofy went through just to have that closeness like old times. In some fashion, Max finally learns to respect his dad as much as love him and Goofy learns that loving his son is not always about what he thinks is right. This goes into the musical number "Nobody Else But You", but you'll notice I haven't dived into the numbers which are all good. It's hard enough to work an original perspective on something many done better than you.

Sideways did a masterful video about this, show him some love in my honor

So after both experiencing a brush with death at the hands of raging rapids and a waterfall, it's the first time in the whole film where they hug. It's a strong hug for what they mutually come to know.

It's not about the fact they both survived, it's that for the first time ever they see eye to eye and care for each other. They peace up the quarrel surrounding this vacation before, but now they understand why they're inseparable as father and son. And for a movie like this to actually build up to this moment in ways that feel... natural? Like I said in the beginning, it never feels like A Goofy Movie falls for any narrative traps that would've made the story less impactful. Max is never too vile towards Goofy, Goofy's never so ignorant of how his boy feels, you get that there's love but it's clearly been distant. Even as a kid, you saw both perspectives and for the 80 minutes this feature has, they knew also how to not rush things nor leave any loose ends. All this, and it wasn't even a film made in the main house. Speaking of loose ends and seeing eye to eye...

The Ecstatic Finale

Aside from a couple moments, we don't get much of the actual Powerline performing until the very end. I remember the Powerline performance was a cool finale, but I was prepared for how it is such fucking heat! Tevin Campbell sounds happy to have sung the euphoric "I 2 I" which goes stupid hard while I love that Powerline himself is just a swell guy.

Bro got two randos jumping on stage and since they pop off, he doesn't just stop the show and have them leave; he rolls with it in such a rewarding moment for both the characters and audience seeing this film. I love that this is going on the same time Roxanne gets to see it happen at the pay-per-view watch party and I believe this was the one time Max wasn't thinking of her when he was celebrating with his dad and his number 1 pop star onstage.

Remember pay-per-view? Heh, anyways...

The Impact

So, I've seen this film in particular be cherished by the black community, enough for Donald Glover's Atlanta show to make an entire episode based around the making of this film and how black millennials are the most fond of A Goofy Movie. ToonrificTariq expressed this in his video, of how it was one of the first Disney films before Princess and the Frog to acknowledge black people's existence in a considerate, grounded way and gave some comfort in seeing ourselves with it. I honestly can't top that, but I can take it slightly further.

To me, A Goofy Movie is not only just that good of a film, it's the one where black people across generations can grasp the thematic values that this offers and there's no twist to anything. Princess and the Frog and Pixar's Soul are worthwhile movies, the latter exploring the black experience slightly more and better, but they unfortunately came with caveats like taking away the lead's own body just to gain perspective. People can see themselves in Joe Gardner's journey but there's a disconnect with what the story does to accomplish this. Max and Goofy are put in perilous hijinks but nothing that comes off as a magical asspull or a metaphorical obstacle made real. The worst these two deal with are Bigfoot and mother nature herself but those never get in the way of the interpersonal problem they share. Once more, NO narrative traps. The climax with them finally on better terms is given the necessary weight and I say that overall resonates stronger for the black audiences that might've needed this.

The Conclusion

This film is on par with Shrek, Wall-E, and The Spongebob Movie where I could on about how it's great but I think I went on enough. I'll conclude with this though. I... don't really care for Disney anymore. Aside a cartoon or two from their DTVA department or like, one anticipated film in the far off future I just look beyond them for stuff I want to see and stopped pretending they can redeem things in my eyes. A Goofy Movie is not just some underrated blast from the past, adapting a Disney Afternoon show barely remembered, it's a movie I say did so much without expectation. Of all the TV based theatricals, out of every Disney film in their vast (monopolized) library, this one truly sticks with me because it does so much to earn that. I'm glad more have grown up to get to say that. I'm glad Elementary era me gets to be vindicated for keeping this beautiful feature in mind to say this. What else is there to say?

It's the Best

he makes me want to bite my entire arm off

Donald Duck and his family with Talespin group in Cape Suzette - Ducktales and Talespin crossover - My Style - Disney crossovers - Disney Afternoon - Duckverse and Jungle Book/Talespin - Happy 35th anniversary Talespin!

First of all, Happy April Fools’ Day! Now a new surprise, otherwise I did this related to a given context that was on Deviantart related to the Disney crossover so I did it in my own way. I wanted to do more, but unfortunately I didn’t get there because of my problems. After Winnie the Pooh, the next Disney crossover I did was related to Disney Afternoon and one of my favorite series that I enjoyed a few years ago, which is the legendary Talespin from 1990.

You know about Disney's version of The Jungle Book, and you know that some of those characters were also the main characters in Talespin at Cape Suzette, a city-state inhabited by anthropomorphic animals who run it and the action takes place in the late 1930s. Talespin itself is named after "tailspin", the rapid descent of an aircraft in a steep spiral, and on the fact that tale is another word for "story", and was inspired by Hikōtei Jidai, a manga written by Hayao Miyazaki and later adapted into a film in 1992. It is about Baloo (real name Baloo von Bruinwald XIII) who is a pilot and works for "Higher for Hire" owned by Rebecca Cunningham who has a six-year-old daughter named Molly. Baloo is often referred to as "Papa Bear" and his best friend is his pet named Louie. He flies a modified Conwing L-16 named the Sea Duck. He is later joined by Kit Cloudkicker, who was an orphan and former member of the air pirates and becomes Baloo's navigator, as well as Baloo's adopted son. Baloo's opponents are Don Carnage and his Air Pirates, business tycoon Shere-Khan and the Thembria Air Force led by Colonel Ivanod Spigot. It was definitely a great series and I would like to watch it again, and there are really worthwhile things to watch. At the same time, there are a lot of dark scenes and it is definitely not for young children, but for a little older and certainly for adults. Created by the ideas of Jymn Magon and Mark Zaslove.

I drew this crossover Talespin together with Donald Duck and his family since in my opinion there are a lot of similarities between these characters, and it would make sense for them to live in the same period (Donald Duck and his family were created in the 1930s, and 1940s and Duckburg is often shown as in the 1940s and 1950s in older comics) so I placed the OG Ducktales in the late 1930s where they were really appropriately dressed for that period. There are also similarities and differences between these characters that I have linked to, I also apologize for not adding Launchpad and some other characters, because it would have been appropriate to do so, but not all the characters would have fit in one of my drawings. Donald Duck is a sailor anyway, and certainly a pilot, and he also has a lot of parental care and love with his girlfriend Daisy, so he is similar to Baloo who has similar problems, Daisy is with Rebecca Cunningham, and they also have a lot of their own anger problems especially when their boyfriends betray them, Donald's nephews Huey, Dewey and Louie are with Kit Cloudkicker who make mischief, but also help their parents (especially Kit is good with Louie since they have similar personalities), Webby Vanderquack (her Quacky Patch doll), Scrooge's adopted niece is with Molly Cunningham, little sweet girls who seek attention, but are very useful for their ways, plus they have a similar age, Scrooge McDuck as the richest duck in Duckburg is with the owner of Khan Industries run by Shere Khan. The others are Louie who runs a pub and a cocktail bar and of course a certain Don Carnage, the leader of the air pirates. Behind them you can see a 1930s airplane and a Sea Duck being driven by Baloo. Also an interesting fact is that Donald Duck comic book writer Don Rosa also wrote for two episodes of Talespin. Sorry for any mistakes I made and about the background.

I really hope you like this drawing and this idea and this crossover and feel free to like and reblog this. Just don't copy my ideas, these versions of these characters and these crossovers without mentioning me. Thanks! Also happy 35th anniversary to Talespin as they are celebrating this year, as well as happy 40th anniversary to DTVA and Disney Afternoon! And yes, happy April Fools’ Day!

Also this: https://www.youtube.com/watch?v=AM94EFNizOY https://www.youtube.com/watch?v=BF4b7Ha3rKI

the talespin comic “the gates of shambhala” would have made such an incredible 2-parter episode and while i’m glad it exists in any form, i would give anything to see it fully animated and voice acted 🥲

Same! I love seeing more of Don Karnage's code of honor

GOOD.