@v-lost-boy-v - Tumblr Blog

Sad kittens 🥺

i can't stop thinking about that scene in the beginning where simon is at the control panel and that shadowy figure darts off to the side where the computer is. and then parallel to that scene towards the end where simon is at the back of the sub and looks over to the control panel and sees that horrific (almost humanoid?) creature with too many teeth sitting in the chair and simon quickly darts over to hide by the computer almost like what that shadowy figure did in that earlier scene

idk maybe i'm still iswm pilled but that felt like some eldritch time loop shit. or simon literally seeing himself for the monster he is (or thinks himself to be)? or both???

crunchity-munchity

Oh and also they are missing the same arm and the monster is mutated on the same side of its head that simon gets the injuries on btw

(Also the arm he loses is the one that had the leaf pendant)

The SYMBOLISM

thedgeofsleep

YOU GET IT

seeing that creature in the chair, it's like simon catches a glimpse of his inevitable future where he embraces himself as the monstrous butcher and dies and his horrifyingly mangled body joins the other monsters at the bottom of the blood ocean

beauty-rex

ghostofhelena

What I am going to get the most amusement and joy out of from this whole experience (outside of the movie itself and watching Mark succeed and achieve a longtime dream of his) is 100% watching Hollywood (like mainstream Hollywood and the entertainment industry, who still do not see Youtubers like Mark as legitimate creators) lose their fucking minds over how successful this film is.

This movie is officially in more theaters than Zootopia 2 and I guarantee you there are going to be studio heads and execs banging their heads against the wall because how does a self-financed, indie horror debut feature film by a relatively "unknown" (unknown outside of the sphere of Youtubers and streamers/gamers; I known In Space got nominated for an Emmy but Mark did say he was largely ignored by the media at the ceremony) filmmaker, based on an indie horror game, create this much traction?

Mark is an anomaly in the entertainment industry and I love that for him.

illumiiiz

guy who is burnt out beyond recognition and can barely get through the workday just to collapse into bed when he gets home voice: I have got to make art again. it will heal me

rcntlydcccased

I offer you: pirate silco

#oh my fucking god #MY MAAAAAAAAN #SILCO AS A PIRATE???#man this made my day #RAAAAAH

amlugon

Made myself a little sad drawing this 👍

cryptotheism

Man, the flesh sucks. I'm gonna abandon it for the machine.

cryptotheism

Hey was anyone gonna telle that the machine is also subject to change? The nature of my decay is just different now. Shit sucks. I'm gonna abandon the machine for the divine.

cryptotheism

Bad news about the divine

frenchublog

queersatanic

yimra-deactivated20250209

What the fuck

screampotato

This is absolutely fascinating. I've now been looking at Alex Colville's paintings and trying to work out what it is about them that makes them look like CGI and how/why he did that in a world where CGI didn't exist yet. Here's what I've got so far:

- Total lack of atmospheric perspective (things don't fade into the distance)

- Very realistic shading but no or only very faint shadows cast by ambient light.

- Limited interaction between objects and environment (shadows, ripples etc)

- Flat textures and consistent lighting used for backgrounds that would usually show a lot of variation in lighting, colour and texture

- Bodies apparently modelled piece by piece rather than drawn from life, and in a very stiff way so that the bodies show the pose but don't communicate the body language that would usually go with it. They look like dolls.

- Odd composition that cuts off parts that would usually be considered important (like the person's head in the snowy driving scene)

- Very precise drawing of structures and perspective combined with all the simplistic elements I've already listed. In other words, details in the "wrong" places.

What's fascinating about this is that in early or bad CGI, these things come from the fact that the machine is modelling very precisely the shapes and perspectives and colours, but missing out on some parts that are difficult to render (shadows, atmospheric perspective) and being completely unable to pose bodies in such a way as to convey emotion or body language.

But Colville wasn't a computer, so he did these same things *on purpose*. For some reason he was *aiming* for that precise-but-all-wrong look. I mean, mission accomplished! The question in my mind is, did he do this because he was trying to make the pictures unsettling and alienating, or because in some way, this was how he actually saw the world?

xradiorental-deactivated2025072

omf i never thought i'd find posts about alex colville on tumblr, but! he's a local artist where i'm from & i work at a library/archives and have processed a lot of documents related to his art. just wanted to give my two cents!

my impression is that colville did see the world as an unsettling place and a lot of his work was fueled by this general ~malaise?? but in a lot of cases, he was trying to express particular fears or traumas. for instance, this painting (horse and train) was apparently inspired by a really tragic experience his wife had:

iirc she was in a horrible automobile crash, as the car she was in collided with a train. i find it genuinely horrifying to look at, knowing the context, but a lot of colville's work is like that? idk he just seems to capture the feeling you get in nightmares where everything is treacle-ish and slow and inevitable.