also in terms of the bolas playlist it's fascinating to me that the songs added by each person have a slight tendency to represent a consistent aspect of bolas
like
the songs added by slime are their chaos
the songs added by philza are their rebellion
the songs added by cellbit are their rage
the songs added by baghera are their anguish
it's so fucking FASCINATING TO ME but i don't know enough music theory to elaborate lmfao this is Vibes Only
(mouse's songs i can't boil down to an easy noun which is why they aren't mentioned lmao anyway they go hard asf)
(also i went on the longest fucking unhinged elaboration in the tags lmfao i almost didn't have enough tags left to tag "long tags" at the end
(i could have even gone on longer in terms of where their characters were at entering purgatory [philza: cage for a cage; cellbit: fed worker murders; baghera: her past as a federation experiment; slime: turning into a code because of the code pretending to be his daughter] but i ran out of space and also time it's 4AM AAAAA)
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The Batman (2022) isn't perfect by any means, but it is still a phenomenal film and one of the best pieces of Bat-media in recent memory.
Firstly, the aesthetic. Seemingly small but an incredibly important part. BTAS was broody, '89 was gothic, Forever was campy, TDK was... bad. And TB I think finds a real sweet spot in between vibes. It's dark, serious, it's got a technological noir, and yet still has vibrancy and color and (the key to my heart) neon.
One scene, you'll be sitting in an abandoned tunnel with shadows and muddy colors, the next you'll be surrounded by police under white lights, and the next you'll be in a night club with LEDs of every color you can think.
The fights. This film has some of the best Batman fights I've ever seen period. Really just action in general. The night club, the hallway, the finale. It's not like TDK where every fight is slow, precise, methodical, and honestly boring. Each fight or chase here is energetic and entertaining. The choreography is excellent, the stakes are legitimately high, and the settings are always unique.
The night club is crowded and overwhelming, with people swinging, shouting, and grabbing at Bats who aren't even apart of the fight. His skills and equipment save his life multiple times, whether it's block a bullet with a precise pipe throw or survive a shotgun blast with his armor. When he finally grabs Penguin you feel as overwhelmed and animalistic as he does.
The precinct escape is tight and tense. From the punch to the jump, every second makes you feel the absolute abominable stress of trying to escape a building like this. Officers pouring out of every room, bullets whizzing by and beaming off his suit. Merely seconds to get the flight suit on before they come pouring out to the roof. We experience the fall with him as his nerves spike, all culminating in a quick second decision that ends with him crashing into the side of the road.
Gotham. The beloved city feels full here. Subways are crowded, streets are packed. The crime feels real. Vandals, gang violence, thieves, assassins, crime families. It's not just militants and killers. We see the systemic issues in place that cause these. We see the feelings and social strains that make people do this. It's like you're taking a peak into another world with context and history you don't know but understand. It feels right.
The characterizations. I'm not a huge fan of the whole "Bruce Wayne is the mask, Batman is the real you" thing inflamed by TDK. And I really don't like "the Waynes were corrupt and did bad things, even for good reasons".
I think there's so much more to say about the two very different, very real sides to Bruce's personality. The one that comes out as billionaire playboy philanthropist, and the one that comes out as a violent and vengeful demon. Both who are willing to suffer for their causes. And I think there's so much more when the Waynes die from a mugging. That the crime is so bad it took the highest. That it could take anyone at any time, even the beloved elite.
However it does something right that most other Bat-media fails at. It makes Batman a symbol of hope. It demonstrates a growth in himself. That he can do more good to inspire the people than to instill fear in them.
Pandaredd made a good video on this, but in Crisis On Two Earths, Bats' opposite is represented as the ultimate nihilist. This means that at his core, Batman is really the ultimate optimist. And that makes sense. You don't put on a suit and fight crime, you don't try to create resources to help people, you don't befriend and reform your own Rogues gallery unless you believe you can change something. That all the work you do, all the suffering you experience will be worth it when you get to know the world healed.
And that's something The Batman understands. Batman started as a symbol of fear. So that every criminal hesitates at an alley. Panics at a shadow. But he became something else. A symbol of optimism. So that people can walk the streets at night. That they can get the help they need. That they can look into the sky with hope.
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i. i listened to the villain song from Wish and. oh my god. that is not a fucking villain song. we're bein punk'd.
I'M GONNA JUST SAY THIS i think the concept for the villain was actually kinda interesting but I feel like the villain song needs to be rewritten ASAP and istg if the movie is as *incoherent noise* as the villain song, then i fell like it'll need to be redone/reimagined, too
Petition to remake the movie but in 2D animation, with a better storyline and a better villain song (i would even like to see people on the internet get together to make it happen)
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