is it jsut me or do i get a lil sad whenever i play either one of splatoon's dlcs when i want to go back to splatsville/inkopolis square?? like i mean, it says "imagine splatsville" when you wanna go back in side order. even when you finish the dlcs it STILL says 'imagine' instead of 'go to ___'
like is eight just trapped there now? can they not be freed from their own dlcs?
i know thats not how nintendo intended for that button to be interpreted and i know eight probably actually goes back but i cant help but interprete it that way
very angsty, 10/10 would play dlcs again lets go lesbians
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taliesin and laura remain truly so fantastic at making characters who… don’t necessarily have something extremely and inherently in common but do have experiences that were caused by similar sources and that lead them to have quite different opinions/ideas about things but in ways that are typically very reconcilable? which is a lot of qualifiers but it’s a through line of vex/percy with nobility, jester & cad with loneliness (and also god stuff but in a different post maybe someday i’ll talk about how actually their god stuff is intensely related to their different experiences of loneliness), and now imogen & ashton with being left behind.
like vex was this character who technically had a claim to nobility due to her blood but at the same time was burdened because of that same claim. and percy who was born into and raised by nobility but that nobility ended up making his family the targets of a massacre. and then vex who lets down her walls and Do I Look Like I Come From Money? and percy giving her the title grand mistress of the grey hunt because it has nothing to do with blood, or his love for her, or anything aside from the fact that it’s something she can prove herself worthy of simply by virtue of who she Is, not who someone makes her. and percy and vex’s conversation about forgiveness and it’s necessity for growth as probably two of the characters most inclined to hold grudges.
and caduceus clay who gets left behind with nothing but his Belief while his family goes off into the world. and jester lavorre who gets shut inside with no company except her Belief as her mother protects her from the world. and they both get the burden of loneliness and the understanding of love’s nonmalicious imperfection. and caduceus having a panic attack on a ship and jester telling him that the world is a lot bigger than his cemetery and that means he has to break out of his comfort zone to find his path. and caduceus telling jester that he doesn’t think she gets as much credit as she ought to and she deserves more pastries. and jester thanking caduceus for showing her how cool it is to actually heal people and caduceus asking if she wants to use his shield while he doesn’t need it.
and ashton who was left broken and dying on the ground and was given inescapable pain as their means of survival. and imogen who was left behind by the only person who could provide true understanding of the pain she’d one day come to feel. and ashton who’s a barbarian, who wields their rage casually and unapologetically and who sees the Shittiness of the world but is unrelenting in his version of optimism. and imogen who is weighed down by pessimism she doesn’t Want to have but hasn’t cracked how to undo and who doesn’t admit her anger until it comes up again and again and again and carries it like a burden or like guilt, who we only see really Grasp and feel Confidence about her anger being something good in front of others when she has those conversations with ashton. and like. ashton who looks at imogen and sees a superhero. imogen venturing through ashton’s mind and holding his bleeding and exhausted head and saying i’m sorry. i’m sorry. and imogen who looks at ashton and sees someone special. and fucking “we got him killed.” and “no, we didn’t. don’t you dare. […] we are not what fucking killed that man. […] we are his eventual victory. we are his fucking revenge.” and “i’ll be his revenge.” and “i have no fucking doubt.”
and in general rp wise they both tend to make some of my favourite characters (also typically the ones i find most frustrating) because they both tend to make flaws that are easy to hate and they make those flaws very central to their characters but i think that’s also what makes their character interactions so deeply compelling because so frequently it’s like. yes yes these two characters have like. a helix of things they have in common but also things they deeply disagree on but they’re going to spider-man point at the things that are the same and they’re going to honour their differences while doing so. and it’s just. i always enjoy it so much and i was psyched when i heard about an imogen and ashton side pit stop in last nights episode and i was not let down when i watched the episode today.
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*nonchalantly guides the Star Wars discourse fandom into an unsuspecting walk-in closest full of dusty, bootleg props from the original trilogy, sneaks out while it's distracted and locks the door behind it, muffled bangs and angry screams echoing through the halls*
That hyperspace scene from The Last Jedi is honestly such a beautiful and serene thing to look at and I can't help but appreciate all the hard work that the VFX artists put into those shots
It's the context, too. It gets so much out of the filmmaking surrounding it. I sometimes talk about how we lose touch with real tension in genre films, and that scene is a great example as this cathartic beat that directly caps a tightly wound trifecta of concurrent plotlines, each catastrophically going wrong and getting worse by the minute. And the buildup deftly emphasizes and turns up the noise alongside everything else: shuttles filled with our last shreds of hope screeching as they consecutively explode from enemy fire, the kids upstairs yelling silly in their tug-of-war-force-edition, the ones downstairs literally counting down the seconds to their very public execution, john williams just going ham in the background, and it all twists and twists and twists that knob until the sound is deafening and scene cuts match the speed of your heartbeat and everyone is moments away from losing and then the decision.
The decision. To cut through all that tension and every thread of impending doom all at once with silence. Such a simple trick to pull, but so effective. Questions and answers, that good storytelling. Ups and downs, setups and payoffs, tension and release, something high, something low. Deafen us with the noise of an imminent failure hydra and then follow with just one moment of self-sacrifice so vast and indomitable that it drowns everything out by being singular and quiet.
It is such a classic example of tension-building and resolution with compounding stakes that become almost too much just before rewarding viewers with a catharsis that feels at once earned yet surprising. Not talking about the writing here, or the story, or the plot details, or the even bigger context, or even how correct this all is vis-a-vis character arcs or The Mythos or whatever. We can let that closet door be, I'm not talking to those folks. Just marveling at the pure filmmaking instincts at play; their intentionality, their deftness, and how hard they work to really earn that stunning handful of shots.
And yes; I can't imagine a VFX artist serving a context this elegant and then not giving it their all. It was a triumph of every technical discipline involved, and I loved their cohesion in matching the audio design in terms of restraint. All of it, visuals included: tightly framed, minimal cuts, monochrome coloring, a single - maybe even a story-driven - source of light, adequate room to breathe and linger by the end (so we can breathe out too!); it was all about focusing it into something deliberate, inarguable, final. The opposite of the chaos preceding it.
Great set piece, great closer. Again; nothing to do with it being a star wars anything, simply remarking on cinematic grammar correctly engaging with and responding to its audience in the moment.
(and going through that aforementioned whiplash of tension and release was especially moving in the theater. Double especially considering the more rounded edges in any tension-building throughout the bookend installments. I don't get preachy often, but some cinematic staples stand the test of time for a reason! Just be intentional with it. And have lots of setups. And pay all of them off)
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