part of my nimona viewing experience. idk why but i got super emotional in the first five minutes.
ID by @peachygos
[ID: A comic juxtaposing screenshots from Nimona 2023 and drawings of a person watching the movie. The first screenshot is Ambrosius's introduction; he grins at the camera as the news anchors introduce him, his name in big print on the screen. The person watching thinks with a bored expression, "Ah. Ok. This guy is gonna be the jackass. Typical golden-boy stuck-up prince that thinks he's better than the underdog. I see where this is going.
The next screenshot is of Ambrosius and Ballister on the platform above the arena, Ambrosius doing his news anchor bit and saying, "Aaand will Ballister be broody on the biggest day of his life?" Ballister laughs at his antics. The person watching now has a small smile, as they think, "Huh! Aw, they're actually nice to each other and are friends! I wasn't expecting that, that's nice-"
The third and final screenshot is a shot from behind of Ballister leaning his head on Ambrosius's shoulder. The caption reads "the knighting ceremony is just moments away." The person watching now has a touched, soft expression, like they're holding back tears. They think "OH." as a partially transparent doodle behind them bends over crying and blubbering, with another doodle showing their heart shot through with an arrow. /end ID]
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I think there's no greater indication that disco elysium is sympathetic towards communism when it literally says "communism is failure" and then the literal gameplay itself rewards trying and failing. The most obvious one being the Shivers check at the FELD mural, which is an Impossible 20 check BUT opens itself up again and again the longer you spend in the world doing things, but even just looking at sheer probabilities, for any given white check, rolling first and THEN putting a point into that skill upon failure is more likely to grant you success than putting a point first and then rolling, but that would require failing first.
Other things too: Precarious world saying you'll 100% fail red checks no matter what (not necessarily a bad thing, btw!! throwing the boule into the sea is a success but like. in some other ways one would want a perfect petanque throw instead. but people wouldn't typically assume that failure is desirable sometimes from the start) persuading you to accept that you'll fail some things that is irrevocable, for a world where everything is just a tiny bit easier.
The faux game over screen when you faint after reading Dora's letter— emulating a sense of failure on the scale of the entire game. When it rolls up most people go "What?? Game over?? No way, what did I do wrong!!" and waking up after that, with no huge or lasting impact on Harry's health or morale really tells the player, "Sometimes things will seem so bad that it all seems like it's coming to an end, but it's not the end, it's really not the end, go drink so water, you can still go on despite this failure"
I'm sure there are other things as well that are eluding me but like. The literal gameplay rewards failing and succeeding far more so than simply succeeding every single time, and I think you get a fuller experience of Elysium that way too
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actually I do want to talk about Sally Jackson a tad more because one criticism I've been hearing about her book counterpart more recently is "book Sally is one-dimensional: the perfect mother with no flaws" and that just has me biting my cheek because one part of her book counterpart that I always thought was ripe with discussion and didn't make it to the show is that Sally states that it was selfish of her to keep Percy close. It's one of the last things she says to him before she's "killed" by the minotaur.
And there's so much that we don't know about Sally because we view her from Percy's eyes. From his perspective we know that she's exceedingly kind, she never raises her voice to him or even Gabe, and she endured a horrible and abusive relationship to protect her son from monsters (of a different kind).
But there are things we can piece together from the text: Sally has known about CHB for a long time, apparently since before Percy was even born because Poseidon told her he wanted to send Percy there; she was told that it was a mistake for her to keep Percy close - who told her that, we're not sure, she only uses the phrase they; she's been in contact with Grover through out the school year; she knows that she can't cross the camp boundary line, which means either Grover or someone else (Chiron? Poseidon?) told her that, and that she understood that there was place that Percy would be safe from monsters.
And all of these little details are so interesting because it does make you wonder just how much she did or didn't know. Was her self assessment right? Was it selfish of her to keep Percy close?
On one hand, she kept him close because she loved him, alongside the fear that if she sent him to camp, she would be saying goodbye for good -- so is it even fair to call the act of keeping him close selfish? Or perhaps, much like Chiron, she assumed keeping Percy in the dark would be safer?
But on the other hand, Percy had been attracting monsters all his childhood, she understood camp was a safe place from monsters, and she had apparently been told explicitly that it was a mistake for her to keep him close.
And then adding in the factors of: Percy is her only family in the entire world, she's been suffering with Gabe for years, sacrificing so much in order to keep Percy safe when he's at home... but even that has a touch of sad irony because when we meet Percy in tlt, its at point when he's not really home at all -- he's been regularly sent off to boarding schools, so much so that he's internalized it as his own short-coming.
And all of this isn't to say "Omg Sally is actually horrible" or to assert definitely that she is selfish... but more to speak to the fact that in the books, she's not an all-perfect 2-dimensional mother. And her self-assessment of selfishness is something that is really interesting to explore and debate given the implications of what she apparently did (or did not) know about the godly world. I feel there's even an argument to be made that Sally being "selfish" could be a reflection of Percy's fatal flaw.
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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