#post-movie ramblings

[cavalierclavier]

When I broke the cycle, I made sure that the tear was rough. You carry a part of what should be her, and she carries a part of what should be you.

[bixels]

Now that Ghibli's new movie is coming out soon, I've been thinking about anime films and wanna talk about my favorite animated movie ever, Tokyo Godfathers.

TG is a 2003 tragicomedy by Satoshi Kon, following three unhoused people––an alcoholic, a runaway girl, an a trans woman––who find a baby in a dumpster and set off across Tokyo to reunite her with her parents.

If you like the sound of that, go watch it because the rest of this post is spoilers and I have FEELINGS about this movie.

URGHH, the fact that only two moments of true kindness, generosity, and care given to the three protagonists without any expectation of reciprocity are given by a Latin-American immigrant couple and a drag club full of queens and trans women. The fact that, despite her loud and dramatic personality, Hana is the glue that holds the team together and the heart of the whole movie. The fact that this movie pulls no punches at showing the violence and inhumanity committed by "civilized Japanese society" against the unhoused. The fact that Miyuki craves to be loved by her parents and ends up seeing Hana as her true mother. The fact that Miyuki starts off accidentally using transphobic language against Hana, but slowly begins calling her "Miss Hana" out of respect. The fact that, according to Kon, Hana's role in the story is as a mythological trickster god and "disturb the morality and order of society, but also play a role in revitalizing culture." The fact that Hana so desperately wants to be part of a true family, yet is willing to sacrifice her found family so they can be with their own, and is rewarded for her good deeds in the end by becoming a godmother. The fact that, throughout the movie, wind and light have been used to signify the presence of god's hand/influence (this movie's about nondenominational faith––faith in yourself, faith in others, faith in a higher power. Lots of religious are referenced, such as Buddhism/Hinduism, Christianity, and Shintoism), and in the climax of the film, as Hana jumps off a building to save a baby that isn't hers, a gust of wind and a shower of light save her from death. The fact that god saves a trans woman's life because she proved herself a mother, and that shit makes me CRY.

[redwitchrune]

had some time to think and watch people watch the minecraft movie trailer, and i think I've realized my main gripe with it. out of all the directions they could have chosen, why did they go with the one they did???

like. okay. i watched both phil and mumbo watch the trailer who had very different and opposite thoughts. i think mumbo was right in that it seems like it's trying to be an absurd, camp, and silly movie that makes fun of itself. the style (how ever mismatched) leans into that and the humor seems to go in that direction. and I think for what it's trying to be (camp, absurd, making fun of itself), it will probably be an okay movie! the focus won't be on minecraft, it will be on the minecraft world, if that makes sense. the look and mechanics over the feel and vibe.

on the other hand. i hate that they chose this direction. minecraft is such a game of stories, of the hidden stories, of what you make of the mysterious and wonderful world around you. you have the end poem. you have the music. you ha e the ruins. you have new expiernces and wonder and fear. yes it's a big world, but it also feels small. it's just you! in this abandoned and recovering world. and it loves you.

it just feels like that whole aspect of the game doesn't matter here. it's just the surface level appearance, mechanics, and look of the game. it honestly feels more like minecraft legends than normal minecraft, but even then it's missing the whimsy of legends.

yes it looks bad. yes it has like four different art styles. I think for what they're trying to do it will be Okay at best. but what it could've been. that's the real loss. It could've been about nostalgia. about love. about the universe. about making your own world with your own hands. about the quiet emptiness left behind you now have to live in. those raw experiences that won't be considered. whatever

[mychapel-004]

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.

[determunition]

INSCRYPTOBER week 5: MASQUERADE

happy (late) halloween! between lbx, work, and getting smacked with sickness over the past few days this final piece is a bit behind; i was going to pare this down a little in terms of rendering but decided to polish it anyway! i'm happy w how it came out ^^

shoutout to everyone who participated in inscryptober this year, so many talented folks joined and it's been awesome seeing everyone's work :D

[quiverymango]

Important discovery: Sonic can in fact sit on the back of Shadow’s bike!

My friend said this should be a redraw challenge, so take up the opportunity if you’d like, and be sure to tag me so I can see it! ^^

[an-theduckin]

"You know, I'm one sixteenth Banana leaf, and we go through a lot of struggles."

In the first episode when Argos says this, we just treat it as a joke. We just think he's being ignorant and annoying.

But what if he wasn't actually being ignorant?

In Argos deals with death episode, we find out that Argos lived with his great great grandpa and he had no other family relatives, and his grandad was a banana leaf. Now in the void ppl are usually racist to banana leafs, so maybe that's the reason his grandad didn't have a lot of friends (Quote from Argos, "It's just sad..he didn't have any friends. I'm gonna be the only one at his funeral"). And also, in the Argos birthday episode, we find out that Argos never had any friends. This might be because ppl didn't wanna be friends with him cuz his grandad is a banana leaf. Which means that this quote is actually true, he did go through a lot of struggles with loneliness throughout his childhood because he's one sixteenth banana leaf. Now he did worded it weird, like people treat him badly just cuz he's one sixteenth banana leaf and not cuz of his banana leaf grandad, but can we really blame him for it? That man has never had a friend before and the only person he talked to is like small talk with random ppl he work for and also his grandad. Me personally I think this was just him trying to be empathetic and helpful, and not realise that saying that is actually pretty annoying.

[weirdozjunkary]

I was looking at some clips from the third Sonic movie and I realized something…

SONIC MOVIE 3 SPOILERS

Call me stupid (don’t), but the pieces just connected in my brain just now.

Shadow fully believes he killed Tom, right?

Like it’s not a reach, it truly seems like he believes he did to Tom what G.U.N. did to Maria.

He even says to Sonic (forgive me I’m ad libbing) “Now you know my pain. The pain I’ve felt for 50 years!”

It’s even sadder realizing that, at this moment, Shadow thinks Sonic is “like him” now. Fuled by anger, loss and revenge.

I think that he even feels guilt to some degree. He seems to accept his fate—who he’s become— when Sonic manages to pin him down. Presumably believing his death would be beneficial to the world now. Or believing that if he’s dead, the pain he feels will finally stop— that he’ll be with Maria again.

“Go on. FINISH IT! DO IT! IM RIGHT HERE!”

Even when Sonic doesn’t kill him, he’s both confused and baffled. He had been angry for so long, he couldn’t fathom not taking up on the opportunity for revenge.

[couchsterfield]

im not even trying to be a smartass when i say this but i genuinely dont think theres anyone who can match christian bale's performance in american psycho besides jeremy jerma985 elbertson

[star-lights-up]

friends au cherik in which they never break up but have loud arguments that drive their friends crazy

(click for better quality)

[meraki-yao]

BITCH THIS IS AN UNRELEASED ONE

ALEX'S WHOLE ELBOW IS AROUND HENRY'S NECK WE HAVEN'T SEEN THAT BEFORE

See: left, arm on waist, right, hand on shoulder

NOT ONE WHERE HIS WHOLE FUCKING ELBOW IS AROUND HENRY'S NECK

PRIME I SWEAR TO GOD

[allroseshave-their-pricks]

The difference between the HMC book and movie is so wild like the movie is like

Howl: Sophie, my dearest, please try not to completely ruin my home while I'm away

Sophie: I give no promises my love

And the book is like

Howl: hey PINOCCHIO can you try not to turn the god damn house upside down while I'm out for ONCE?

Sophie: if you mean actually CLEAN THE GOD DAMN HOUSE for ONCE than no, you third rate fuckboy. the garden needs pruning

[driftsart]

GUYS OH MY GOD TF ONE I NEED TO SEE IT AGAIN I LOVED IT SO SOO MUCH HELP MEEEEEEE 😭😭😭

[gayfraggle]

SOMBODY, ANYBODY PLEASE. POST THE FULL CAR SCENE ON YT, AND MY LIFE IS YOURS

[nihtscada]

the amount of misinformation about deadpool under a vid just rubbed me the wrong way so here's a rant

deadpool isn't a mutant, he's a mutate, he was born human and experimented on, even if you've only seen the movies you should know this😭🙏

hes a parody of DC's Slade Wilson (Deathstroke) but is still marvel

hes an anti-hero, he does the right things with the wrong methods MOSTLY. bare in mind it fluctuates depending on the writer but that's what he's classed as :)

[adhdfuelednightmare]

More about the wild robot bc I can't get it out of my head but I just appreciate how it explores love in different ways - the unconditional love of a mother, the love forged between friends, the tense, complicated love when it's revealed that things are not what you thought they were

When Roz lets Brightbill go for the first time we also get to see the irony of love, how although a big part of that maternal love is keeping them close, nurturing them, building them up... we see that love is, also letting go. Despite that desire to keep them close, to keep on protecting them, because letting go means you love them enough to know they need to grow and be their own person, that you've done your best, and now it's time to love them by letting go no matter how hard, no matter how much you may miss them

Because even though it's hard, the best part of the love that lets go, is the experience of the love that comes back