FUN LITTLE VISUAL DETAILS IN PROMARE - PART 1
...Brought to you by a guy who has rewatched this movie well over 40 times. My insanity for this film is boundless. Here are just some fun little stuff I noticed in Promare. (Most of the stuff I say here are just my own observations so take it all with a grain of salt)
Varys likes basketball! It's easy to miss, but at the start he is shooting a basketball into a hoop
And his locker also has some basketball jerseys inside of it (and what looks like deodorant?)
Speaking of lockers, each member of Burning Rescue has special details on their lockers!
Starting off with the outside, from right to left we have: Varys, Aina, Lucia, Remi, and then Galo (Galo's is not visible in this shot.) All of them have traces of stickers that have been peeled off.
Varys' has a hart hat and some decals, seemingly more basketball-related things. One right to the left of the hard hat has a paw print on it.
Aina's locker has a baseball cap, some rainbow/emoji stickers (one that looks like it just says Inter Net? And maybe a Barbie one?) along with some motivational sticky notes (You are STRONG) and two 'A's. Probably her initials.
Lucia's locker has the most stickers, and to me, it looks like they're mostly of different candy/candy brands. Other than the T and the "ATATA" they just look like candy stuff. She doesn't have any hat hanging there (it would probably be difficult to wear a normal hat with her hair)
(Edit: To quote a-blue-revolution, "Lucia likes videogames!!!! In that close up of the lockers you showed there's an "atata" sticker that looks EXACTLY like the atari logo" There are also some other stuff that show her video game nerdiness. Thank you a-blue-revolution!!)
Remi's locker is just a hard hat and some papers. One's on white paper, and to me it seems printed, like a legal document or something. The other is on yellow paper, and to me looks more handwritten. Who knows what these are.
Here is the outside of Galo's locker. It looks like it has Matoi decals, to the surprise of no one. Some simple characters, the side of a firefighter holding a Matoi, and the tip of a Matoi at the very top. (I'm not completely sure what the dark blue decal in the lower middle is, perhaps a firefighting outfit?)
(Edit: To quote burnt-grapes from the comments: "That dark-blue sticker in the middle of Galo’s locker is actually a Bonshō! They’re large bells used in buddhist in Japan that are typically made of bronze :] (hence the sticker’s colour)" Thank you burnt-grapes!!)
Now for the insides of everybody's lockers:
(I already showed Varys' but here it is again for reference, his hand is blocking a picture of someone playing basketball (you can see it in the next picture))
Aina has some, I think, fashion stickers? There's a figure with a hat in the top left corner, and some sort of ticket or check with what I think is a barcode on the left. To the top right of the mirror, she has a picture of her and her sister (aww). She also has a geometric poster for "Division", and another poster behind that one. My gut is saying a band of some kind?
To match the outside, Lucia's locker is filled to the BRIM with snacks, featuring some great brands such as "Cheetas," "Daritas," "Skettles," "W&W," and what I think is just straight up Milky Ways? And right where her hand is reaching one that says "Trigger." My gut reaction was that it was supposed to be a parody of "Toblerone," but the letters are brown, so it might just be a normal easter egg. She also has some books and red solo cups.
Boring documents on the outside, pinups on the inside. Interesting. Remi also has a picture of him next to a blonde-haired someone, also in a Burning Rescue uniform. (I've heard that that's his girlfriend who got turned into a crocodile, but don't quote me on that) He also has some red solo cups.
(We don't see the inside of Galo's locker, but I'm gonna take a wild guess and say it's probably more Matoi memorabilia)
Speaking of Matoi, when Lucia is working on her computer at the start of the movie, we can see she's looking at Galo's Matoi Tech suit! His Matoi/the folded up version of the suit is on the right, and how he actually fits into the suit is in the middle. (You can see the spikes on the back, identifying it as his special suit)
The computer actually shows all the suits customized for their owner's body types and the suits themselves. Right before Lucia sends out Remi and Varys, the computer shows this:
You can see, Remi's figure is very thin and lanky, and Varys can barely fit in his. Remi's ice canon is contained in his suit attachment, and Vary's is mostly just the arms, with the claw he uses to pry open the door to the scientists.
As Burning Rescue is leaving, a tiny car accompanies them. (if you look closely, you can also count the pixels in that image)
This is Ignis' car, the one he drives throughout the movie. You can see him getting out of it here:
(and a better picture of the car itself)
It seems to have a spoiler on the back. A pretty flashy car overall.
Most people know about this hidden Galo:
But there's actually a second one! As Lucia is fistbumping Varys and Remi, you can see him sulking, partially hidden by the light.
Poor guy. He wants to go so bad.
Aina has a headset with a mouthpiece, which no other characters seem to.
My guess is it's due to the helicopter. It could muffle the sound, and make it so that she can still talk whether she's inside or outside. Or it might be something to do with proximity, since Varys and Remi are both in their suits, and Lucia can have higher quality communication gear in the van that might not be available for Aina's helicopter.
(You can see Lucia and Varys don't have any)
This might just be reading too deeply into it, but right at the beginning, Vary's is launched out of a canon. Perhaps this is foreshadowing halfway through the movie when Lio gets launched?
This also shows the "shape symbolism," which is perhaps the coolest visual detail of all. According to the Wiki, squares are used to represent Promepolis, the city, Kray, Freeze Force, that general sphere. Triangles are used to represent the Burnish. And circles symbolize the freedom/the future. Once you notice that it's EVERYWHERE. The lens flares, the buildings, the clothing of characters, everywhere. And even on the canons here, you can see that Varys gets launched out of a square one, and Lio gets launched out of a triangle.
Goofy little detail is Lucia uses a joystick in the van, oddly enough. While holding it, she twiddles her fingers as if she's typing on a keyboard. Either there are sensory inputs on the ball of the joystick itself, or she's just excited.
(Here, while complaining about Galo being missing, she uses a genuine game controller to move a robot's hand. She likes video games)
Part 2
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okay though, i am sort of dying over the izzy’s like a little kid who feels like his friend was stolen away comment from con as much as i am the he’s too emotionally immature to identify love (and call it such) one.
the love thing is like... i think sometimes when we talk about izzy and love we end up at cross-purposes because we’ve all got a different working definition of love, and i’ve always fallen into the bluest eye camp where love is never any better than the lover; so izzy can love, in his izzy way, and not have it resemble any healthy definition of love on EARTH.
which is why it’s so perfect he never labels it? izzy doesn’t do any honest introspection! if he did, he wouldn’t be fuckin izzy. so he just feels things, surges and ebbs of something he won’t name. dude’s got this ugly, thorny thicket in his chest, and to reach his own heart he’d have to thrust his hands inside the ugliest, sharpest parts and then own them, get to know them, and call them his own.
izzy’s not emotionally mature: his love is nameless and childish.
which is why the kid thing is perfect? because the way izzy deals with ed trying to change and stede... existing, the reaction of a child: they stole my friend. they broke his brain, they changed him; he’s mine, and they can’t have him.
( ‘that bitch stole my man’; not NOT an adult version of this same logical fallacy. )
because the adult truth is people do not get stolen. they make choices and new connections, and nobody cast a terrible spell over them to turn them into someone new: they just liked those people too. and it’s entirely normal to feel jealous and possessive over a friend, or long for people to be what we want them to be so they can love us like we want them to love us.
but lucius is the one who actually has that one right: people in love don’t own each other. nobody stole our man or our friend, and acting like they did does a disservice to everybody involved.
god, i love that.
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idk I really love the ideas explored in cosmic horror and I think those ideas could be used in non-horror genres, or in less straightforward combination with other genres to create really interesting fiction. Cosmic horror is like: an event happened. It was terrible, and beautiful, and utterly beyond previous understanding. Like trauma it can only be lived through, not told or explained, and so surviving it is the ultimate isolation for those who see it alone, and a supreme bond for those with shared experience. It has destroyed your previous worldviews, changed your understanding of everything, altered your mind, changed perhaps even your body. You are different and you cannot explain why or how. You have been cast adrift from the old world and are now at least eternally on the edge of a new one. You can choose to turn away from this new reality but you cannot leave it behind, no more than you can change the neural pathways in your brain or the pattern of your cells.
And like, maybe this is horrible for you. Or maybe it was once. Maybe this is only the temporary anguish of growth and you will emerge transformed into something else. Maybe this horror is only the fear of unfamiliarity and inexperience, and like a first taste or a first sexual experience, fear will give way to something strange, but desirable. Maybe you will come not only to enjoy the new, but prefer it. Rather than isolate you, maybe you will be joined to a new community. In losing your old understanding, reality, self, maybe you have found freedom.
Wouldn't a caterpillar fear change if it could understand what would happen to it, that it would first be unmade in order to be made anew? Wouldn't the cocoon be a place of total horror, the future butterfly self a nightmare scenario? And then, after all, when it has changed-- it's a no more an immature crawling thing, but something more profound, with avenues of movement and understanding beyond anything it's old self could have conceived of. Would that still be a horrific reality for the butterfly, or what it had been meant for all along?
Even if the moth could be warned that the fire would kill it, wouldnt there still be an attraction in the flames, even as they burned it?
We are frightened of many things that pose no danger to us, and no ill will. And anything frightening, looked at long enough, will lose its fearfulness, become mundane, absurd, attractive. If you look into the abyss long enough, what will look back at you? What do you bring with you into the abyss, and how will the abyss itself be changed your influence? And will the abyss, altered intimately by your presence, experience horror at the change and fear of the one who brought it?
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