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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In the middle of Thriller Bark rn and I feel like they ramped up the sexism big time UGH the plot points resolving around the Absalom guy are just the worst, you could have it all without the downright SA mr Oda you know that, and now Sanji saying the Invisible fruit was his dream... My dude I thought your dream was the all blue ffs
And Nami being nerfed again and used as a prop, what's new
Also I obv knew about Brook and his pants deal but I didn't know anything else about him apart from some plot points and I was surprised he had such a nice voice and I love his skeleton jokes and he's very fun but AGAIN you could have it all without the pants thing....
It's not like I didn't know this would be happening, it's just annoying when I watch it and I feel there's more of it than there has been so far and it's more explicit ://
Can I see the part Zoro almost dies already? lol
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thinking about that one post about how izzy is a code-era closeted gay whose queerness is confined to symbolism and implication, and how that puts him out of step with all the rainbow muppets
thinking about how ofmd is great at having the literal alongside the metaphorical; piracy has always been symbolically queer from the moment that stede left his wife and family to seek self-actualisation on the margins of society - but then they're all literally queer too
thinking about the new unicorn, and the crew accepting and welcoming izzy as part of their community, and part of the revenge in a way that's open and obvious to anyone
thinking about the man who was so panicked by "have you ever been sketched?" now cracking jokes about gay sex and his own kinks
thinking about how izzy was already starting to side with the crew and accept the comfort and support they were offering when "above all else is loyalty to one's captain" managed to become a clumsy and awkward "I have love for you". thinking about how by ep7 izzy "bonnet has done something to my boss's brain" hands is able to (in the same place!) casually drop his love into conversation
thinking about izzy in drag singing a love song and being cheered on and celebrated and utterly part of a community, not just the symbolic pirate family but very explicitly the queer community as well and crying and crying and crying
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His hands were covered in it. Red, thin, but rich on his tongue. Thicker than wine. Thicker than water. Dark as anger, as vengeance, as grief. He hadn’t known what he was doing. How could he? No one had ever died before. They were the first—the first children, the first progeny, linked forever by birth. Scorned forever by order. How was Cain supposed to know better? When God had split them, made two bodies filled by one soul, he hadn’t been even about it. He hadn’t been kind, judicious in dividing their halves. Abel was loved. Cain was what was left once that love had found a shape to inhabit. A box of corks, the wax rinds from cheeses, scraps of paper and the dull pits of plums. Neither whole without the other, a gleaming carapace and the organs beneath. Cain was wrath, violence, the hand dragging you down to the ground. Abel was the grass beneath bare feet, bread clean of dust, fruit ripened on the vine. Sometimes, Cain wondered if Abel wanted to die— if an awareness of it was given to him, which Cain found himself lacking. Cain hadn’t known what death was, you see. Not until he’d already killed. The scent of the deed stuck to him. Murder. Hunger. Blood. His hands were covered in it.
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