Babe Wake Up Its Out Of Touch Blackbeard Thursday

You know, i can see why people would say Kakashi would lose a fight to Hashirama and Naruto. He would. They’re litterally god status shinobi

I think Minato and Tobirama are overrated but i’n tired of fighting with thise fans

But Hiruzen and Tsunade are Hokage’s who Kakashi is on par with. Stats wise Kakashi is between them (Hiruzen has 34, Kakashi 34.5 and Tsunade 35) meaning they’re all very close in skill. Tsunade obviously has her 100 healings which would make her incredably difficult to defeat obviously

But I think people are REALLY over hyping hiruzen. He’s known as the strongest of his generation and the professor but like… His biggest accomplishment is knowing a crap ton of jutsu’s

Which is obv impressive but Kakashi knows more

Both Kakashi and Hiruzen have all the elements mastered

Both of them are incredibly strong and talented shinobi known for being the strongest of their gen (with Kakashi’s friend actually being as strong as him and surpassing him by using the eighth gate while Hiruzen’s friend just stole Uchiha eyes and died a meaningless death but that doesn’t count towards them personally)

How does Kakashi keep getting religated to ‘weakest Hokage’ when Hiruzen and Tsunade are the same level of him, each with different skills

lazy day

If Wallace (Wallace and Gromit) died in his sleep, the contraptions that get him out of bed would still deliver his lifeless corpse into the dining room, likely for Gromit to clean up

kakashi six feet amv

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

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

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

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

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

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

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

Kakashi & Gai on a double date with Kurenai & Asuma pls!!!

oh they’re idiots

little anatomy practice with the favourite ninja

thank u for requesting gaalee @zakuramoloss this is exactly what my heart needed 😤💕🏖

First thing you see after you zoom in is how you die

How you dying 👀