In Miztontli Félix

Compro 0431b-0435b

This was my absolute FAVORITE PSA as a 90’s kid: House Hippo

Who’s still searching for those house hippos to this day?

Mikochi’s Art and Comics

Inspired by @neofox, I did a redraw of Lara-Su from The Lara-Su Chronicles, an infamous comic project by Ken Penders. I love drawing characters wearing fancy clothing, though.

EDIT: I have colored the sketch ♥

A Bit of Bother is a storybook I wrote and illustrated based on characters from A.A. Milne’s Winnie-The-Pooh, which is now public domain! It’s about sealing with negative emotions. It was read by Sarah Golding. Music is by Evan Schaeffer.

This is definitely a topic that I have a lot of thoughts on, though unfortunately I’m not aware of that many outside articles on the topic, which is a shame because I think the fact that it has to be addressed at all is very, very telling. @karenpages has a very good meta post about Spider-Man: Homecoming in general that heavily touches on the movie’s economics here that I highly recommend.

I think there’s one thing we have to be very clear on, though: the MCU didn’t want Spider-Man to be poor, because it wanted to make a fun movie, and being poor isn’t fun. I’m not being facetious, and I’m not trying to be edgy by hating on the popular and current Spider-Man film adaptation; if you look at the film, this is literally what’s going on. You cannot, in good faith, argue that MCU Spider-Man honestly experiences financial difficulties in the finished film. I know there’s a deleted scene involving unpaid bills, and I appreciate that, but the point is that scene was deleted, and it is not in the final product. MCU Peter Parker, unlike basically every other version of the character, doesn’t need to have a job. He doesn’t need to work for the Bugle to support himself and his aunt. This too is related to the erasure of Peter Parker’s Jewish coding and history -- he’s just an ordinary, relatable kid in the MCU, and for the MCU that means he’s not Jewish and he’s definitely not poor, because that wouldn’t be very relatable, would it, regardless of the fact that far more people are in bad financial situations than the opposite. In 616 comics canon, during Peter’s teen years, Aunt May is too frail or in too ill health to work. Peter explicitly has to get a job in order to support his family. He even laments the fact that Medicare doesn’t cover enough of the costs for her healthcare, which, if we’re going to talk about relatable content, if you’re not independently wealthy and you have had an ill relative, I’m sure you can understand the stress involved there. In 616, there’s absolutely no denying that Peter is aware of the stress of being poor, and that he feels deeply not just for himself and for his family but for complete strangers who are also facing financial hard times. He’s very empathetic, the way only someone who has experienced these kinds of hardships can be:

Amazing Spider-Man #50 -- it is depressing how long ago this comic was published and how, when you look at it, very little has changed.

Spider-Man: Homecoming’s ad for Marvel’s partner, Synchrony Bank -- spot the difference. Not only is using Spider-Man to advertise savings accounts totally out of touch with the material when one of the things Spider-Man as a hero is most famous for is living paycheck to paycheck like an ordinary schmuck, but it’s totally glossing over the fact that in comics canon Peter knows that banks are not the ordinary person’s friend. In Marvel Fanfare #42, for example, he blackmails a bank manager with said manager’s sexual affair in order to make sure he apologizes and gives a single mother her job as a teller back after she’s fired because she won’t respond to said manager’s sexual advances. This is the Spider-Man we deserve and that we need. When talking about superheroes and the economic climate, it’s important to address the fact that superheroes shouldn’t only care about beating up the big bad guy of the picture. If they don’t honestly care about the disenfranchised, they aren’t super -- and that’s always what has made Spider-Man special, because he comes from a background where he uniquely suited to understand the plight of those in need. He defends people in apartment buildings where the landlords are trying to push them out so they can raise the rents and gentrify the neighborhood. He saves victims from muggers. These are ordinary people, without great financial means. He’s angry -- justifiably -- at the abuse of the elderly, at neglected children, at people who prey on the victims of society. He doesn’t whine because he wanted to spend time with his crush on a fancy European school vacation. 

The MCU’s Spider-Man, on the other hand, eschews the idea that Peter Parker is poor, and it does this in a very subtle but very simple and powerful way that I’m going to outline, because this is very easy to miss. That’s the point of it. They wanted to do away with the notion that Peter Parker is poor -- because that’s so depressing, nobody wants to think about poverty in their fun summer movie -- while being careful not to do it so blatantly that their erasure was noticed by their greater audience. It’s not as simple as moving Peter to a mansion, or having him throw around hundred dollar bills. No, the way you know MCU Peter isn’t poor is very simple, and it goes by very fast. I’ve said this before, but the way the MCU employs the concept of fun within their Spider-Man franchise is dangerous in terms of what it allows them to erase all with barely any fan reaction at all, because of course we all want to have fun, don’t we? If anything, those among us in more troubled financial situations are more desperate to have fun than most, because we see so little of it compared to the stress. Those in good financial situations are less likely to notice entirely because the notion simply never occurs to them; they exist in a place of financial comfort and a good portion of them don’t question that reality. They may be aware of the alternative, but it’s not pertinent to them, because they don’t experience it personally. Everything is different when it’s personal.

Now I’ve always been very clear about my belief that the MCU didn’t do wrong by Spider-Man right off the bat; in his first appearance within the MCU’s continuity in Captain America: Civil War, he appears to live in quite a nice and modernly furnished apartment (as opposed to his more traditional childhood home in a freestanding house in Forest Hills, Queens, usually somewhat old fashionedly furnished to reflect the Parker family’s current lack of finances and the age of both Ben and May, a setting that was dismissed by Homecoming’s screenwriters are “old fashioned”), but the MCU’s sets in general tend to be lacking in the department of personal character. Basically, every room looks like an IKEA show room. I mean, they put a cross in the room of Wanda Maximoff, the daughter of Magneto, one of the most famous Jewish characters of all time. To say the MCU’s set design is both lacking and careless is to say that grass is green. It’s hard to fault the Parker apartment for this specifically when everything looks like a magazine layout or a Macy’s showroom. In CACW, Peter dumpster dives for tech and has created, albeit shabbily compared to the more advanced wardrobes of the other heroes, his own costume. Everything is as we would expect of Peter Parker in the moment, being a bright and creative young man who is good at problem solving and creating his own tech with limited resources. Spider-Man: Homecoming near immediately changes that with about one line.

Early on in Spider-Man: Homecoming, Peter loses his backpack by carelessly tossing it on the ground, a scene that completely broke the suspension of belief for me. I find it hard to believe any inner city kid -- especially one we’re expected to believe is a genius -- would toss their belongings on the ground in public, walk away, and still expect them to be there when they get back. It’s especially grating when, in comics, Peter regularly does leave his belongings outside -- webbed up out of sight and out of reach. Surely no child who is aware of their family’s financial struggles would treat their personal belongings with such a lack of care, additionally. Sure enough, when MCU Peter returns to the scene of the backpack drop, his stuff is gone. Shocker. When he confesses this to Aunt May, she doesn’t express concern over how they’ll replace the bag or the contents wherein -- something that, depending on how many textbooks or how much school equipment was within, could be very expensive -- instead simply saying they can replace it, no problem, it’s just like all the other backpacks he’s lost, revealing that this isn’t the first time and that this is not an issue for them because they can afford to continually replace things due to his carelessness. The MCU Parkers aren’t poor. I cannot stress this enough. They aren’t poor because they movie has not portrayed them as such. They do not have financial troubles. They may not be billionaires, but the movie treats them as safely comfortable. Peter is not expected to be financially responsible or even to have the kind of common sense that prevents you from leaving your backpack on the street lest it be stolen. He feels no responsibility to provide financially, a total opposite to 616 Peter, who supported both himself and May with his job at the Daily Bugle. 

”She’s pawning her jewelry! She must be desperate for money! But she doesn’t want me to know! She doesn’t want me to worry!” -- Amazing Spider-Man #1. As in, literally the second appearance of the character after Amazing Fantasy #15. This is not incidental stuff, this is not in the background; financial worries were baked into the character at his very inception and at his core. It’s like if you created a version of Batman who kept all his investigative tools in a storage rental he paid by the month and the plot frequently centered on him worrying about how he was going to make the rent.

(Amazing Spider-Man #24)

“The way you supported [May] and yourself throughout high school by selling pictures to the Bugle. We’re so proud.” “Someone had to.” - Amazing Spider-Man #377

Previous movie adaptations of Spider-Man have never before left this aspect of the Parkers out. In the Raimi movies obviously Aunt May and Uncle Ben are quite a bit older than Peter as they are in the comics, and you can tell from the films that money is an issue. Peter works menial jobs such as pizza delivery in able to make money. In The Amazing Spider-Man series, the financial worries are directly addressed in The Amazing Spider-Man 2, which makes it clear that Peter is working for the Bugle and that he is contributing to the household finances:

May’s plot in The Amazing Spider-Man 2 is very rooted in the financial aspect of their identities -- here she’s hiding from Peter that she’s started taking nursing classes, explicitly stated later that it’s so she can pay for him to go to college (”I have to take nursing classes with 22 year old kids so I can pay for you to go college”) because she doesn’t want him to worry. Spider-Man: Homecoming’s screenwriters were very disrespectful to this version of May -- and I would say the character of May in general -- saying that their version is a professional, she’s not “waiting at home for Peter to bring the eggs.” Except we don’t know what MCU May does for a living. It’s not important, because the MCU doesn’t view May herself as important. She clearly does something, but is it interior design? Is it investment management? Is it a whole lot of tax fraud? It’s never made clear. The Webb movies, on the other hand, tell us exactly what May does: she works as a waitress. She is taking classes to be a nurse. This information about May is viewed as being worthy of being in the movie itself, because it takes her seriously as a character and as an influence in Peter’s life. It doesn’t gloss over the financial troubles she faces.

Let me be very clear in my beliefs that you cannot tell a valid Spider-Man story if you do not at the very least address the fact that the Parkers are not economically well off and go into Peter’s social standing because of that fact. By having him jet set with his whole class -- really? a whole class of kids from Queens? on a whole ass European vacation to multiple countries? I 100% have a harder time believing this than I do a radioactive spider-bite -- or by removing the need for him to make his own costume because everything is provided by billionaires or above government agencies. The fact that J Jonah Jameson will be appearing in Far From Home when this Peter has no relationship with him and no need (and for Peter in comics and most adaptations it very much is a need) for a job at the Bugle is highly suspect -- JJJ doesn’t mean anything without his relationship with Peter and with Spider-Man. Without them, he’s just a “bring me pictures of Spider-Man” meme. There’s no story. There’s no meaning. There’s no connection. It’s an empty appearance without that push and pull between the characters -- and without realizing that Jameson is a rich man, albeit a self-made one, and Peter is quite commonly his broke employee.

Amazing Spider-Man #99, where Peter is lobbying for a salary because he plans to ask Gwen to marry him and he wants to be able to support her financially. In 616 canon, Peter wants to provide and Peter wants to protect, and one way he’s able to protect is by providing. He’s very aware of the value of money. He’s not naive about that in the least because he knows exactly what it’s like to not have money. To erase that from the character is to lessen him, but the MCU doesn’t care about the character. It doesn’t care about the values put forward by Spider-Man as a story. It certainly doesn’t care about responsibility.

Add to that Marvel's weird fetish for wanting to keep Peter a teenager which he hasn't been since the late 60s in the comics & is only in high school for 2 out of the 5 movies pre MCU.

This is definitely a topic that I have a lot of thoughts on, though unfortunately I’m not aware of that many outside articles on the topic, which is a shame because I think the fact that it has to be addressed at all is very, very telling. @karenpages has a very good meta post about Spider-Man: Homecoming in general that heavily touches on the movie’s economics here that I highly recommend.

I think there’s one thing we have to be very clear on, though: the MCU didn’t want Spider-Man to be poor, because it wanted to make a fun movie, and being poor isn’t fun. I’m not being facetious, and I’m not trying to be edgy by hating on the popular and current Spider-Man film adaptation; if you look at the film, this is literally what’s going on. You cannot, in good faith, argue that MCU Spider-Man honestly experiences financial difficulties in the finished film. I know there’s a deleted scene involving unpaid bills, and I appreciate that, but the point is that scene was deleted, and it is not in the final product. MCU Peter Parker, unlike basically every other version of the character, doesn’t need to have a job. He doesn’t need to work for the Bugle to support himself and his aunt. This too is related to the erasure of Peter Parker’s Jewish coding and history -- he’s just an ordinary, relatable kid in the MCU, and for the MCU that means he’s not Jewish and he’s definitely not poor, because that wouldn’t be very relatable, would it, regardless of the fact that far more people are in bad financial situations than the opposite. In 616 comics canon, during Peter’s teen years, Aunt May is too frail or in too ill health to work. Peter explicitly has to get a job in order to support his family. He even laments the fact that Medicare doesn’t cover enough of the costs for her healthcare, which, if we’re going to talk about relatable content, if you’re not independently wealthy and you have had an ill relative, I’m sure you can understand the stress involved there. In 616, there’s absolutely no denying that Peter is aware of the stress of being poor, and that he feels deeply not just for himself and for his family but for complete strangers who are also facing financial hard times. He’s very empathetic, the way only someone who has experienced these kinds of hardships can be:

Amazing Spider-Man #50 -- it is depressing how long ago this comic was published and how, when you look at it, very little has changed.

Spider-Man: Homecoming’s ad for Marvel’s partner, Synchrony Bank -- spot the difference. Not only is using Spider-Man to advertise savings accounts totally out of touch with the material when one of the things Spider-Man as a hero is most famous for is living paycheck to paycheck like an ordinary schmuck, but it’s totally glossing over the fact that in comics canon Peter knows that banks are not the ordinary person’s friend. In Marvel Fanfare #42, for example, he blackmails a bank manager with said manager’s sexual affair in order to make sure he apologizes and gives a single mother her job as a teller back after she’s fired because she won’t respond to said manager’s sexual advances. This is the Spider-Man we deserve and that we need. When talking about superheroes and the economic climate, it’s important to address the fact that superheroes shouldn’t only care about beating up the big bad guy of the picture. If they don’t honestly care about the disenfranchised, they aren’t super -- and that’s always what has made Spider-Man special, because he comes from a background where he uniquely suited to understand the plight of those in need. He defends people in apartment buildings where the landlords are trying to push them out so they can raise the rents and gentrify the neighborhood. He saves victims from muggers. These are ordinary people, without great financial means. He’s angry -- justifiably -- at the abuse of the elderly, at neglected children, at people who prey on the victims of society. He doesn’t whine because he wanted to spend time with his crush on a fancy European school vacation. 

The MCU’s Spider-Man, on the other hand, eschews the idea that Peter Parker is poor, and it does this in a very subtle but very simple and powerful way that I’m going to outline, because this is very easy to miss. That’s the point of it. They wanted to do away with the notion that Peter Parker is poor -- because that’s so depressing, nobody wants to think about poverty in their fun summer movie -- while being careful not to do it so blatantly that their erasure was noticed by their greater audience. It’s not as simple as moving Peter to a mansion, or having him throw around hundred dollar bills. No, the way you know MCU Peter isn’t poor is very simple, and it goes by very fast. I’ve said this before, but the way the MCU employs the concept of fun within their Spider-Man franchise is dangerous in terms of what it allows them to erase all with barely any fan reaction at all, because of course we all want to have fun, don’t we? If anything, those among us in more troubled financial situations are more desperate to have fun than most, because we see so little of it compared to the stress. Those in good financial situations are less likely to notice entirely because the notion simply never occurs to them; they exist in a place of financial comfort and a good portion of them don’t question that reality. They may be aware of the alternative, but it’s not pertinent to them, because they don’t experience it personally. Everything is different when it’s personal.

Now I’ve always been very clear about my belief that the MCU didn’t do wrong by Spider-Man right off the bat; in his first appearance within the MCU’s continuity in Captain America: Civil War, he appears to live in quite a nice and modernly furnished apartment (as opposed to his more traditional childhood home in a freestanding house in Forest Hills, Queens, usually somewhat old fashionedly furnished to reflect the Parker family’s current lack of finances and the age of both Ben and May, a setting that was dismissed by Homecoming’s screenwriters are “old fashioned”), but the MCU’s sets in general tend to be lacking in the department of personal character. Basically, every room looks like an IKEA show room. I mean, they put a cross in the room of Wanda Maximoff, the daughter of Magneto, one of the most famous Jewish characters of all time. To say the MCU’s set design is both lacking and careless is to say that grass is green. It’s hard to fault the Parker apartment for this specifically when everything looks like a magazine layout or a Macy’s showroom. In CACW, Peter dumpster dives for tech and has created, albeit shabbily compared to the more advanced wardrobes of the other heroes, his own costume. Everything is as we would expect of Peter Parker in the moment, being a bright and creative young man who is good at problem solving and creating his own tech with limited resources. Spider-Man: Homecoming near immediately changes that with about one line.

Early on in Spider-Man: Homecoming, Peter loses his backpack by carelessly tossing it on the ground, a scene that completely broke the suspension of belief for me. I find it hard to believe any inner city kid -- especially one we’re expected to believe is a genius -- would toss their belongings on the ground in public, walk away, and still expect them to be there when they get back. It’s especially grating when, in comics, Peter regularly does leave his belongings outside -- webbed up out of sight and out of reach. Surely no child who is aware of their family’s financial struggles would treat their personal belongings with such a lack of care, additionally. Sure enough, when MCU Peter returns to the scene of the backpack drop, his stuff is gone. Shocker. When he confesses this to Aunt May, she doesn’t express concern over how they’ll replace the bag or the contents wherein -- something that, depending on how many textbooks or how much school equipment was within, could be very expensive -- instead simply saying they can replace it, no problem, it’s just like all the other backpacks he’s lost, revealing that this isn’t the first time and that this is not an issue for them because they can afford to continually replace things due to his carelessness. The MCU Parkers aren’t poor. I cannot stress this enough. They aren’t poor because they movie has not portrayed them as such. They do not have financial troubles. They may not be billionaires, but the movie treats them as safely comfortable. Peter is not expected to be financially responsible or even to have the kind of common sense that prevents you from leaving your backpack on the street lest it be stolen. He feels no responsibility to provide financially, a total opposite to 616 Peter, who supported both himself and May with his job at the Daily Bugle. 

”She’s pawning her jewelry! She must be desperate for money! But she doesn’t want me to know! She doesn’t want me to worry!” -- Amazing Spider-Man #1. As in, literally the second appearance of the character after Amazing Fantasy #15. This is not incidental stuff, this is not in the background; financial worries were baked into the character at his very inception and at his core. It’s like if you created a version of Batman who kept all his investigative tools in a storage rental he paid by the month and the plot frequently centered on him worrying about how he was going to make the rent.

(Amazing Spider-Man #24)

“The way you supported [May] and yourself throughout high school by selling pictures to the Bugle. We’re so proud.” “Someone had to.” - Amazing Spider-Man #377

Previous movie adaptations of Spider-Man have never before left this aspect of the Parkers out. In the Raimi movies obviously Aunt May and Uncle Ben are quite a bit older than Peter as they are in the comics, and you can tell from the films that money is an issue. Peter works menial jobs such as pizza delivery in able to make money. In The Amazing Spider-Man series, the financial worries are directly addressed in The Amazing Spider-Man 2, which makes it clear that Peter is working for the Bugle and that he is contributing to the household finances:

May’s plot in The Amazing Spider-Man 2 is very rooted in the financial aspect of their identities -- here she’s hiding from Peter that she’s started taking nursing classes, explicitly stated later that it’s so she can pay for him to go to college (”I have to take nursing classes with 22 year old kids so I can pay for you to go college”) because she doesn’t want him to worry. Spider-Man: Homecoming’s screenwriters were very disrespectful to this version of May -- and I would say the character of May in general -- saying that their version is a professional, she’s not “waiting at home for Peter to bring the eggs.” Except we don’t know what MCU May does for a living. It’s not important, because the MCU doesn’t view May herself as important. She clearly does something, but is it interior design? Is it investment management? Is it a whole lot of tax fraud? It’s never made clear. The Webb movies, on the other hand, tell us exactly what May does: she works as a waitress. She is taking classes to be a nurse. This information about May is viewed as being worthy of being in the movie itself, because it takes her seriously as a character and as an influence in Peter’s life. It doesn’t gloss over the financial troubles she faces.

Let me be very clear in my beliefs that you cannot tell a valid Spider-Man story if you do not at the very least address the fact that the Parkers are not economically well off and go into Peter’s social standing because of that fact. By having him jet set with his whole class -- really? a whole class of kids from Queens? on a whole ass European vacation to multiple countries? I 100% have a harder time believing this than I do a radioactive spider-bite -- or by removing the need for him to make his own costume because everything is provided by billionaires or above government agencies. The fact that J Jonah Jameson will be appearing in Far From Home when this Peter has no relationship with him and no need (and for Peter in comics and most adaptations it very much is a need) for a job at the Bugle is highly suspect -- JJJ doesn’t mean anything without his relationship with Peter and with Spider-Man. Without them, he’s just a “bring me pictures of Spider-Man” meme. There’s no story. There’s no meaning. There’s no connection. It’s an empty appearance without that push and pull between the characters -- and without realizing that Jameson is a rich man, albeit a self-made one, and Peter is quite commonly his broke employee.

Amazing Spider-Man #99, where Peter is lobbying for a salary because he plans to ask Gwen to marry him and he wants to be able to support her financially. In 616 canon, Peter wants to provide and Peter wants to protect, and one way he’s able to protect is by providing. He’s very aware of the value of money. He’s not naive about that in the least because he knows exactly what it’s like to not have money. To erase that from the character is to lessen him, but the MCU doesn’t care about the character. It doesn’t care about the values put forward by Spider-Man as a story. It certainly doesn’t care about responsibility.

Underrated Space fam

the fact that people are not free to use and reuse, and remix from the works of past authors is absurd.

ERB Inc loves to sue people for using Tarzan. Who is that benefiting. The author has been dead since 1950

It’s one thing to have a system of copyright that protects initial sales and the rights of your own work but at a certain point it stops benefitting anyone.

Copyright was meant to push art and creativity forward by giving authors and artists security it was not meant to benefit billion dollar corporations who scan for copyrighted stuff with AI algorithms.

The whole concept of the copyright system as established and pushed by the US onto other nations is absurd and its even more absurd in the US itself.