Ok so I’ve fallen down a rabbit hole of researching period food & recipes, and,,,,
"one fifteenth century recipe contains the word "Chickens" four times-with four different spellings, of which the first is "Schyconys.""
excuse me medieval people but what the fuck
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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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I'm gonna be honest I don't know why I made this. Think it was another one of those ideas I have right after getting out of the shower. Regardless...
Might keep this as one of the things he can do with his magic. He literally steals your form and puts it in a box and puts you in a new one. Maybe if you can open the box you can have your body back. But good luck getting that tape off with your fingerless plushie hands! :3
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Had a dream last night that Twitter launched a new verified checkmark thing shaped like a tiny skull & bones, as part of a new feature called HurtYourVIP which allows users to pay to insult a famous Twitter user they don’t like, via videocall. There’s a minimum amount of followers or influence or something that makes you eligible to be insulted (and branded with the skull checkmark); the insulter pays 10€ and other users interested in this insulting interaction can pay 1€ to access the livestream. The insultee receives no money and is not allowed to insult back and if they refuse the videocall their account is perma-banned. All the money goes to Twitter for obscure purposes except a small % donated to anti-bullying charities to balance things out
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i know we all get on morpheus for being a little bitch but if my purpose in life was to deal w all of humanities innermost thoughts through their fucking dreams AND nightmares all while being a sibling to multiple extroverts who will not leave me tf alone and mind their business i’d be an asshole too
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I love how Morpheus was just like
oh 👀
you want me to end his punishment? 🤔
you want him to stop having ideas? 😌💭
well 🙂 if that's what you want 🤷🏻♂️
and the bastard never had another idea in his life
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The LAYERS needed in a modern/human Dreamling au. Some level of Endless family dysfunction, obviously. Hob's family can be be dead or not, it's all good. Are they old enough to have individually gained the awareness they are off-puttingly intense and should hide it a bit at first, or still in that "no, why would I need to Elsa this" stage?
Option A is both of them trying to play it cool, like "don't scare him off" except they so badly want to go from zero to sixty.
(Death and Desire have ruthlessly drilled Dream with flashcards about how to react appropriately in situations.
Desire: it's your one-month anniversary, what do you do?
Dream: [hesitantly] NOT propose?
Desire and Death, conferring, because that's technically correct but the delivery was suspect.
Death, encouragingly: Good start. And?
Dream: a nice dinner and maybe a walk?
Desire: well done!
Death: and for a three-month anniversary?
Dream: give them a key to my flat.
Desire: [airhorn] NO. RED CARD.)
Option B makes them the classic anecdotal "my grandparents got engaged within seven days of meeting each other and still are happy together".
(Death, rubbing her temples: so you met this guy--
Dream: Hob
Death: -- Hob, and within 1 day you gave notice to the Registrar's Office and figured out the best day to get married. And Hob agreed to this?
Dream: NO.
Death: oh thank go-
Dream: Hob SUGGESTED this.
Death: . . .
Dream: are you going to be a witness or not?
Death, 29 days later in the Registrar's Office, to Hob's witness: Is he sane?
Johanna Constantine, drinking heavily from a large flask: unfortunately yes, by all legal definitions.
Death: fuck
Johanna: [passing the flask over] if your brother's even a tenth as intense as Hob, they'll be fine. Probably.
Death, brightening: Is Hob that bad?
Johanna: You know how sometimes you meet somebody and think "oof, they're a bit much, best give them a wide berth"?
Death: yeah.
Johanna: Hob's like a camouflaged hole in the ground of muchness. Except he's done the hole up all nice and he knows that sometimes you just want to be left alone in the hole to sulk and rattle the spikes for a bit, and occasionally get a F&M hamper tossed in.
Death: [hmmmmmmm'ing approvingly]
Johanna, morose: the bastard.
In the background, Hob and Dream are pressing their foreheads together and basking in each other's presence)
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