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prof-ramses · 7 months

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Breaking down the new LN3 footage

HOLY SHIT HOLY SHIT this was really wild, we basically got a collage of everything to expect from the Necropolis and what do you mean "pre-alpha gameplay footage"? This already looks amazing! Now let's start the actual breakdown

The area on the other side of the mirror seems to be the place where we see Low and Alone get pulled into the mirror in the reveal trailer, so that'll probably the beginning of the beginning for the game.

It's interesting to note that the Necropolis seems to be completely walled off from the surrounding desert.

I might be reaching here but that fact that a crow, an animal that's only previously been associated with the North Wind, is the first living obstacle the kids encounter is very interesting.

I can't, for the life of me, tell what era or region clothes the Dwellers are supposed to be waring so if anyone can tell me, that'd be a big help.

We've had numerous variations of the eye symbol with various meanings ascribed to each, so, again, if anyone can point out any previous instances of this particular version of the eye, please do so.

Quicksand will be a hazard in the Necropolis and more than anything I'm just astonished there wasn't a sand burrower.

The Hercules Beetles are way nastier than I thought, likely because of their disgustingly realistic buzzing, makes feel less bad that Baby already killed most of them.

The bundled bodies around the area are definitely concerning, maybe the Dwellers use to preserve corpses as "offerings" to Monster Baby.

BABY CAN TURN HER EYE BEAMS OFF! This took me completely by surprise, the implications of this are very fascinating to think about.

The kids, or specifically, Low, wake up in a room with padded walls, implying their either in the sewing room of the Seamstress from the Lonely Way (not good), or the Counties Psychiatric Institute (really not good) and on top of that, darkness closes in around them. While we're on it, Lowe wakes up in the same way the protags of previous games do when you respawn and in the same situation that they (and Noone) do too, as their caught by a resident.

One last thing, the blue to grey pulse on the logo screen feels eerily like a heartbeat, and given the top of the "main" mirror almost looks like a heart...

#little nightmares #ln #little nightmares 3 #ln3 #ln Low #ln Alone #ln Noone #ln Monster Baby #ln Seamstress #the sounds of nightmares #tson #ln podcast #ln theory #ln analysis #little nightmares theory #little nightmares analysis #ln North Wind

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queen0fm0nsterz · 1 year

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Mirror monster thoughts wha t do you have

Crawls on the cielinh so I can grab your head and shake out all the thought

MASTERPOST

Randy you know better than to give me such freedom... I'm gonna be talking for a whole longass post now because I do have so many thoughts about the Mirror Monster.

The thing about the comic characters in this franchise is that they stick with you once you find out they exist. This is because they are so unique when compared to the rest that it's almost hard to believe they could even co-exist. Less so the Ferryman, with Mirror Monster being an in-between to his "normalcy" and North Wind's complete shattering of the unspoken rules that usually build a LN antagonist. Congrats to your babygirl for being a wildcard I suppose

The Mirror Man Lore Dump

As discussed previously, the canonicity of Mirror Man is up to debate: however, because of his presence as a jack-in-the-box in VLN, we'll assume he still exists (or has existed) in the universe.

Considering all other rooms have some semblance of imagery leading back to the character residing in them, this one probably follows the same principle.

Taking into account what Mirror Man does, it becomes clear that the paper planes are meant to rappresent his victims. Frail and easy to maneuver, they easily fall into his trap. What's interesting to note is the fact that those who end up falling over on the other side are not crumpled or ruined: they seem to be stored somewhere. Intact, but still trapped on the other side.

It's also important to note that the net doesn't necessarely move or do anything to attract its preys: it stands still, awaiting, knowing that someone will eventually come and get stuck. There are a few exceptions, such as the planes that ended up flying in other directions, and even a piece of paper who, in spite of being stranded away from its place, is not folded as a paper plane. This may rappresent those people who come in contact with the Mirror Monster but have no interest in what he has to offer - such as the Humpback Girl.

(Funnily enough, this is not the first time people are rappresented as pieces of paper in the jack-in-the-boxes rooms. There would be another very enlightening room that follows the same principle --)

(-- But I digress.)

With a Nome standing on the pile of paper, I believe it may not be a stretch to assume that Mirror Man, like many others, would primarily target children. They're easy prey for a reason. However, it's clear that he may not necessarely have limitations considering... the Lady ordeal... though she still doesn't seem to fit the (hypothetic) criteria to be considered part of his hunting grounds.

Going back to the room before moving onward: after combining my braincells to the ones of the peeps in the Box server, we figured out that the piece of machinery in the room could be an old boat engine.

They do share some similarities, but we haven't been able to figure it out for certain... so we'll leave it at that.

However I will say that Mirror Man's fit here greatly resembles the one the man in this painting is wearing, along with the pose being the exact same.

This always struck me as odd because his design in the comic has a completely different colour palette, as you can see on the picture on the right, so I'm wondering if the comics got his coloring wrong somehow... or if they simply changed it overtime.

Here's two pictures for comparison.

Moving on to his comic appearences, Mirror Man is implied to be regarded as some sort of an urban legend in the Humback Girl's hometown -- unlike the previous issue's antagonist, the North Wind, who is instead said to be more of a malevolent spirit. You could say the Mirror Man is... a boogie man of sorts. It is also worth mentioning that none of the children in the Humpback's girl group seem to know who the Mirror Man is before entering the building - only that the place itself is dangerous.

(Thinking about it now, this creates a very interesting parallel with Thin Man as he also operates in a near identical way. Mh. Moving on.)

As mentioned earlier, the Mirror Man waits for his prey to wander in. He doesn't make his presence known immediately, choosing to wait until his victims are instead relaxed and content with their new appearence. He's able to give them what they want and does so only to catch them by surprise afterwards. Cruel.

His powers are tied to the ability of changing people's outward appearences - be it in a way they like or dislike. This happens respectively to the friends of the Humpback Girl, and to the girl herself after she looks into the shattered mirror.

A plausible theory regarding his origin is that he was summoned by the arrival of Humpback Girl, and while I think that is a possibility, I don,'t necessarely think that's the case. I believe that, because her only wish was to leave - something that has nothing to do with what's in the Mirror Man's power capabilities - she was able to see him coming before the others. You can see him lurk behind her shoulder, preparing to attack -- but then he moves quickly behind a different mirror.

I do think her shift in appearence was his direct doing, because it only happens after she looks at the shards of the mirror.

This is what has me believe that Mirror Man did not perish here and simply moved (forcibly?) to another mirror, with Humpback's girl transformation being his petty farewell.

(Diverting from the original point a second, I find it especially cruel how the entire Humpback Girl's situation was nearly a set up if you think about the story's progression. She starts off as being ridiculed and called a coward by her peers, she proves her bravery by fighting to save them only to have this backfire horribly as the others abandon her there. It's terribly upsetting.)

Canonical Mirror Man lore unfortunately ends here... and it genuinely saddens me that such an interesting concept for a character was never brought back again for something. He, the Ferryman and the North Wind were truly done a disservice. I want them back.

Now, when it comes to hypothesis... you know I am a huge enjoyer of the Mirror Man/Lady enemyship. I have many thoughts on the two of them, but because it's something purely hypothetical backed up by nearly nothing, I will not be expanding on it as of now.

Thank you a lot for the ask :]

#little nightmares #little nightmares analysis #little nightmares theory #the mirror man #mirror man #ln theory #ln meta #little nightmares the mirror man #humpback girl #ln humpback girl #the lady #ln the lady #{SHES KINDA THERE IN SPIRIT BUT NOT LITERALLY #i finally have some free time to post analysis mein gott i missed this #thank u sm for asking randy i am now in your walls}

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aroaceleovaldez · 8 months

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once again thinking about the worldbuilding in the riordanverse of "names are power" / "belief is power."

The Tri were only able to become immortal through convincing enough people to worship them that it became true. Monsters and immortals only exist through continued belief, and if enough people believe that they're dead or gone then it becomes true, like Pan. Their varied forms exist and manifest as they're believed in and called upon. Names call attention and epithets summon aspects. They're acknowledgement. Belief. Putting a name to a concept creates it as an individual.

And that's so fascinating when you start applying it to demigods. How much of their abilities are based on belief in themselves, in expectations of each other, in their parents' expectations of them? We've seen mortal figures who became immortal in some form or another because they were remembered. Even the lares - ancestral house gods, who persist because they're remembered. They have a legacy.

At what point does a demigod achieve that status? Rumors and whispers about them so persistent that they slowly become true. "I heard that Jason Grace is the son of two gods, does that make him a god?" "I heard Percy Jackson defeated a titan single-handedly. That he can create hurricanes without breaking a sweat. That he can control blood." After awhile, after enough rumors, does it become impossible to tell where they end and the legends begin? Isn't that what being a demigod is; half-legend?

#pjo #riordanverse #analysis #i went a little prose-y there at the end but i am THINKING THOUGHTS #imagine being a demigod and knowing your EXISTENCE is slowing becoming warped because of others' perceptions of you!#Jason living on a pedestal his entire life and worrying so much that one day he's going to bleed ichor and his fate will be sealed #Percy recognizing that his powers are growing beyond his previous limits in ways that don't seem natural. don't seem right.#and he realizes what's happening and just has to hope the whispering quiets down and the rumors are forgotten so he can live a normal life #also the potential for demigod existential horror #becoming aware that You as a concept is slowly shifting. twisting. to match the perception others have of you #how TERRIFYING is that? like obviously it'd probably only go to an extent for most demigods cause half-mortal #but their powers? etc? SCARY #Percy being aware that his powers are becoming warped and trying to dissuade gossip about himself so it returns to normal #Nico who the more he's welcomed into the camps the more he finds himself being essentially declawed #his rough edges slowly worn away. his powers weakening and becoming less frightening. is it worth it?#and how difficult must that inherently make it for him to allow himself to be known?#and again. shaking Jason petrified that CJ is going to accidentally believe him into immortality. his worst nightmare.

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mylittleponyauprompts · 11 months

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You know Celestia had so much patience during those thousand years during her sister's banishment. She had no time to herself, her time was filled with ruling Equestria and tending to the sky day and night. Did she even get any proper sleep during those thousand years, or was she too busy keeping the kingdom from falling apart and the sky in balance. People say that Celestia should have kept Luna's memory more intact instead of just a children's story book. But i don't think she had the time, and she probably didn't realize her subjects perception of her sister changing with time until it was too late to change it. After so many years of ponies passing down history like a game of telephone, how history is viewed changes and it would become nearly impossible to try and tell them otherwise even if she lived through those events. She's still only one pony afterall. She probably just had to watch as her sister slowly got erased from history, getting turned into a character in a children's story book. She was just too busy with everything else, and yet despite everything she somehow managed to be so patient and kind to her subjects even though she had every right to hold a huge grudge against them. I think the only time she started to spare time for personal students was right around the time she knew Luna would return. And I think both in Twilight Sparkle and Sunset Shimmers cases, she was the best option to train them, it would have been considered more important to train them than some other things she likely dealt with. Like nobles complaining for the millionth time that week. "I'm sorry sir but I cannot make it to the meeting tonight, I have to train my personal student. Yes the one that almost destroyed a building. Would you prefer she go untrained and most certainly destroy MORE buildings? That's what I thought."

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hollowsorrows · 4 months

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who wants to hear my little nightmares analysis on why mono is a metaphor for being othered, more specifically having autism

edit here it is (or just check the reblogs)

#paulas awesome takes #if ur interested in the analysis stuff i rambled jn the reblogs go check that out #little nightmares #i have SO MUCH to talk about regarding this dude

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everythingbrainrot · 4 months

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it's very interesting how many assumptions we make about mono in little nightmares 2. like, people are very quick to dismiss six as evil for what she did at the end. and i'm not saying the game wants you to think she's morally upstanding, the scene where she eats RK, when she kills the guests, and when she drops mono were presented like that on purpose, justified or not, she is not a perfect person doing perfect things.

so, in that line of thinking, why do so many people see mono as this perfect morally upstanding character? the common perception is that he was just a perfect uwu boy who wanted to help six and got betrayed by her, causing him to become the thin man who only wanted to save his past self.

i mean, aside from the fact that the thin man (aka mono) seems to have potentially kidnapped many other children and also went out of his way to warp and mutate six instead of just stopping her....

we don't really know mono's intentions. we don't know that he didn't know about his TV powers (he wakes up next to a tv in the opening scene). we don't know why he was headed for the tower.

i mean... i'm thinking about the film 'timecrimes' - it came up in a good video essay i watched recently. spoilers: the protagonist has to fulfil the time loop, he has to kill his other selves. he has to make everything go perfectly according to plan.

how do we know mono wasn't just trying to fulfil the loop?

i know there's some flaws with this (namely a lot of mono's reactions to things) and i'm not trying to villainise mono at all. this is a shitty world full of suffering children who make choices to survive, and sometimes these choices are shocking and cruel, hence six's entire character.

but, i don't know. i think it's interesting to look at mono through that lens. what if he needed the loop to go perfectly according to plan? what if he needed to reach that signal tower to make sure he'd be there to power it? maybe, thinking about it that way, six was a means to an end. at best, a friend he wanted to make, but one he knew he could never keep.

#shitty garbage “”“analysis”“”“ time #little nightmares #little nightmares 2 #ln2 #ln2 mono #ln mono #ln six #little nightmare mono #little nightmares six

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thepringlesofblood · 4 months

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Anyone know why Cassandra is using she/her pronouns this season? I thought Cassandra used they/them, at least at the end of fhsy. Not a diss or call out or anything, just genuinely curious and mildly confused as a they/them myself

#fhjy #fhjy spoilers #d20 #d20 spoilers #dimension 20 #dimension 20 spoilers #original post #I wrote like a whole literary analysis thing #on gender and the nightmare king for school #and now I’m looking back like uhhhhhhh #maybe I went a little too hard on that lol

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sinnerppony · 5 months

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am i the only one who realized that wu and garmadon are so similar to celestia and luna??

Like one both luna and garmadon got banished by their siblings, both wu and celestia had six students by their side, both siblings had to fight eachother bcz one of them is evil, both luna and garmadon harmed themselves in regret of their actions (luna basically self harmed rewatch s5 to understand), both wu and celestia regret banishing their older brother/younger sister

The consequences of being sun and moon siblings…

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kordeliiius · 9 months

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ok actual sounds of nightmares "analysis" here we go

i've seen other loose theories already stating that noone is being routinely summoned so some sort of "nightmare world" by a higher power, and tbh im really hoping this isnt some dimension-hopping multiverse bs. to me it feels like noone is instead transported to other parts of the world that have been corrupted after falling asleep, or at least receives a glimpse of them as if she were really there, except she doesn't have much control over what she sees. being able to dream mutually with others or even bilocate doesn't seem that far-fetched compared to the other kids' magical powers. the LN world is already fraught with all sorts of magic and i wanna know more about that specifically.

timeline-wise i think we're going even further back in time, even before VLN, which is something i've said i'd like to see! the imagery and layout of the first location is quite similar to the Maw, with furnance connected to a dwelling connected to a prison. not sure if the bath house was a part of it, or if it's somewhere on the mainland. But if it's the former, perhaps we're seeing the Maw under a different governess' reign when it was functionally very different. complete with different subordinates to do her bidding, and a different sort of "shadow" workers that were perhaps born from a similar type of magic. plus the Maw as we know it had a more layered appearance, like it was constantly being built upon over the years. tho the world is so massive that we don't know if there are other similar facilities spread throughout. both seem plausible, but the imagery seems to intentionally invoke something familiar to the audience

speaking of familiar, I also have no doubt in my mind that the man with the impossible face is the Ferryman, and that he's unfathomably old by the time we first saw him. while it's his job to bring kids to the maw, it's not clear yet if he's intentionally showing noone these visions or hunting her down. perhaps something is trying to warn her that he's on her tail. i still think calling him the "candle man" is a bit odd considering we have the wax bellman holding that comparison already

#little nightmares #the sounds of nightmares #analysis #theory #fan theory #kramblings

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somekindofsentience · 2 months

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a place between unreality and lucidity, or understanding the intentions of Chapter 12

CONTENT WARNING: DISCUSSIONS OF DEATH, SUICIDE, AND ABUSE. I ALSO TALK A LOT ABOUT LUCID DREAMING, WHICH CAN BE DISSOCIATIVE FOR READERS, SO PLEASE TAKE CARE OF YOURSELF.

SPOILER WARNING: REFERENCED YUME NIKKI AND OMORI SPOILERS, AND OBVIOUSLY, DREAMSCAPE SPOILERS.

We're back bois, and we're back with my favourite chapter.

I love Chapter 12 so much, the same way I adore the Truth Sequence in Omori. Originally I was going to compare the two, but I realised there's little overlap other than the intentions they're written with.

...so I wrote about the intentions instead. The little bitch boy intentions. You'll see what I mean.

Buckle up, this one takes some insane turns. I had wild epiphanies while churning all this out in a couple hours. I think I may be losing my mind.

understanding what I mean by "lucidity", and discussing dreams as plot devices

Lucidity is a very particular type of plot device that I find difficult to describe - it is a specific type of fragmented narrative that fragments location, exploring an impossibility that often has links to deeper meaning. Typically it is an abstract way of foreshadowing or revealing something to the reader, and it mirrors the concept of a "liminal space".

Dreams in texts have been used as a method of foreshadowing for hundreds of years. While the human brain has no ability to predict the future, but only reframe the past, the uncontrollable fragments of memory that are spat back out at you during unconsciousness have captured human fascination since we first started sleeping.

Dreamscape itself isn't a dream, but it is a different form of consciousness, and the creator has stated that Chapter 12 draws a lot from lucid dreaming, which suggests this counts as part of the 'Lucidity' narrative trope. As someone who does not dream much, I find this shit fascinating. Like I'm sure it's horrific as hell but. It seems so fucking cool.

Perhaps some of the best examples of the use of lucid dreaming to form narrative are Yume Nikki and its fangames, as well as Omori. Yume Nikki was a catalyst for the creation of many RPG maker horror games, and it's an excellent piece of work. No concrete story, just wandering an endless abyss of Madotsuki's mind, observing the horrors within it. The fangames branched off this concept (I personally recommend .flow ) and added more aspects, but never being concrete about the trauma.

Things are illogical in the Yume Nikki dreamverse, but they don't have to be logical, and things don't have to make sense to the player - it is purely up for speculation. At the same time, we know it has to mean something. There's an innate sense of exploration and meaning in dreams, despite the real life version often being meaningless bullshit.

This is where Omori explicitly diverts - it outright states what happened on the Recital day, in a short, distorted sequence known ominously as "The Truth". While the entire game is about lucid dreaming, this section captures the horror due to the illogical nature of it, where Sunny travels from his living room, to a hospital, to stairs, his bedroom, backstage... things are wrong. At the same time, the player is focused on completing the album and collecting the polaroids, with the confusing nature of the locations building to the horror of the final moment.

Despite all this, none of these sequences are the big moment, or even nearing the climax.

Yume Nikki doesn't have a big moment, unless you see the ending as significant enough for that title. It is a game about wandering unreality, and without a plot, it can't have a climax. It uses lucidity to provide a sense of narrative, even when there isn't one, tricking the player into trying to comprehend an impossible universe.

Omori is not building up to that that one sequence, but rather, it is a stepping stone leading to the Final Duet, which is the true climax of the game. It's an emotional release for Sunny and the player, a sense of finality in a game without a proper "ending". The Truth sequence is merely a way for the player to understand plot and build horror, and without the Truth's photo album... we would understand nothing at all. An impossible universe.

This leads to my big theory...

the purpose of chapter 12 - you can't understand it

Chapter 12 is a lying piece of shit and won't admit to us more than cookie crumbs about the future of the Dreamscape universe. And I still love it. And here's why.

Due to the abstract nature of it, we can't understand it. Perhaps Sunny can, to some extent, but since we're not sure the cause nor purpose for it, we can't understand it. We can speculate, but we can't understand. Just like Yume Nikki, we might never properly understand what each segment means.

Here's some little nuggets I've been scrambling through for information.

The beginning talks about time and distortion of it, which mimics some of the issues with time Sunny has in real life. This may be foreshadowing his eviction or declining physical state.

Body horror is incredibly prevalent, particularly self-mutilation. This has several implications, but it likely hints to Sunny's feelings for himself. It may also foreshadow what Mari looked like during the Recital day scene, which I'm starting to realise hasn't actually been shown yet. Interesting.

While this is one of the first times we see Mari as more than a virus or a corpse in the text, it's also completely distorted by Sunny's unreliable narration. Despite the slightly manipulative conversation held between them, Sunny is completely frozen in grief, desperate to beg for her forgiveness.

Sunny sits there with her pain in that hospital, insisting he deserves it. It hints further to Sunny's declining mental state, but that doesn't tell us anything more than his own self-loathing. Both this and the above point foreshadow Mari's potentially abusive nature.

Sunny is completely determined to stay within the lucid dream, and is also very insistent that Mari is somewhere at the end, which turns out to be right. How he knows this is not shown to the reader.

Segments of this are related to Mari's own memory, which provides us with a better understand of the VHS system, and of the accident that lead to her suicide.

The lucid dream is a representation of Sunny's unending trauma through what he perceives to be Mari's eyes, perhaps even a representation of what he feels he needs to do for her forgiveness.

We also learn a bit more about Pianoboy, who we know is a clone of Sunny, and he specifically highlights a connected feeling of isolation. At the same time, it has to go further than that, but we're again limited by understanding. There's more, but not enough to guess what 'more' means.

But those tidbits mean nothing. And I can't do much more than spew nonsense about segments, with no ultimate conclusion.

Because Chapter 12 is not designed to be understood, but rather, it's something to look back on when you finally do understand. It's foreshadowing in its most complex form, hinting ominously to what you don't understand. It is also similar to Black Space in this way - no-one can figure out the truth of the Recital Day from Black Space alone.

I could spend hours trying to understand every symbol, every room, the essence of Chapter 12 itself, and fuck me because i totally would but ultimately, it's all fragments of a deeper narrative, more complex than our limited understanding.

And it's a horrible, horrible thing to do to a reader. An unanswerable segment, dangling understanding right in front of their nose, but making it unreachable. Haunting them with the human desire to see patterns in chaos. What utter cruelty. How could you do this to me, @omoriboii. Why would you do this to me, the analysis God, with the most overthink-y brain in existence, and yet give me, ultimately, nothing to lead to. Why leave me a crumb to look back on, something I can never understand with the information I hold. I may be stupid, but I can understand when I am beat.

It's perfection.

why even torture someone with the inability to understand?

Building horror is incredibly difficult, because it's so easy to do foreshadowing incredibly wrong. We've all seen horror movies that are so bad they're funny, relying entirely on petty jumpscares, terrible props and showing off the killer way too fast-

Wait a minute. Showing off the killer too fast ruins everything? Dammit, I wanted to flex my big sharp knife. That's right guys. I'm the serial killer of this blog. ?????

Anyway, demonstrating the inability to understand something to the reader is a common feeling that gets the emotional brain hooked and the cogs whirring in the logical segments. You need to understand. You develop theories, you discuss them with others, seeking evidence, only to find something that changes your view, ruining everything, forcing you to start again. Being teased is fun. I am kinky

That's my favourite feeling of all time. It's why I spent hours searching for that again after I played Omori. I still remember my first theories of the truth of the game, right up until the one I had just before I discovered the real Truth. Even after that, there was more for me to analyse. Analysis. I love analysis. Yk?

I love a good challenge, and analysing these segments are so much of a challenge that I actually can't do it, which is why I get so hyped over it. Why do I do this to myself?

I actually don't really know how to end this, but I think you get my point. It's fun. I like it. I love suffering. uhh. dreams cool.

new bit: song i wrote this listening to.

today's song, the main title theme from Tomorrow Won't Come for those without.

youtube

i needed a reminder of what horrible liminality feels like, and that goddamn game does it better than anyone. i love it so much. thanks, etherane, your games cursed me with a sick desire for unreality.

special thanks to all the games who ever bullied me for having boring ass dreams.

#i wrote all this on copious amounts of caffeine #dreamscape au #omori dreamscape au #omori au #dreamscape #lucid dreams #sentience's stuff #i'm such a nightmare in this LMAOOO #i've written my own little chapter 12 lucidity within my analysis of chapter 12 #what have i become #omori fanfic #im a fucking mess #i think i lost my mind here #Youtube

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thehitchcockbrunette · 1 year

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Shadow of a Doubt + Incest subtext

1. All in the Family: Alfred Hitchcock’s Shadow of a Doubt by James McLaughlin // 2. Hitchcock/Truffaut (2015) // 3 & 4. Shadow of a Doubt by Diane Negra // 5. Ideology, Genre, Auteur: Shadow of a Doubt - Hitchcock’s Films Revisited by Robin Wood

#shadow of a doubt #i say subtext but tbh i think it borders on text #i'm surprised how little analysis there is out there of this #at least that i could access #there is not enough analysis of this film in general tbh #anyway the romance and the terror.....#i brought you nightmares #family gothic #attempt no3 to get this to post properly #mine: gifs #mine**#plusedits*

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queen0fm0nsterz · 9 months

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GUYS THIS IS LEGIT WAKE UP A TRAILER FUCKING DROPPED

#little nightmares #little nightmares 2 #six #ln six #little nightmares six #mono #ln mono #little nightmares mono #KILLING MYSELF POSTPONED #WHAT THE FUCK #OH MY FUCKING HOD IM IN TEARS #OH MY GOD IM GONNA PUKE #ANALYSIS OF THE TRAILER COMING SOON

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lakesbian · 5 months

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If Mono and Six landed on the infinity train how big do you thin their numbers would be and what arc do you think they’ll have?

unfortunately the basic premise of this question doesn't work because of the dissonance between how infinity train handles character arcs and how little nightmares handles character arcs.

the basic premise of infinity train's worldbuilding is that it's real life except for the addition of the train (and obligatory subtraction of branded items, hence the fictional gas station chain &c). every passenger is written as mundanely and intricately human. they're all Just Some Guy You Could Meet On The Street, which is to say they have intensely complex psyches, nuanced and storied personal problems, and unique personality traits. tulip eats raw onions because she tried one as a kid and was too stubborn to admit to her parents she didn't like it, holds strict worldviews based on narrow/immature ration about the world and struggles to accept changes that don't fit into her preconceived frameworks, and wears a kinda stupid looking tights/skirt combo because she's 13. jesse is still attached to a song about learning to be nice to people he learned in kindergarten, is a serial social masker because he's convinced people will only like him if he's being exactly what they want him to be, and gets character development from talking honestly about his relationship to swimming. and so on and so forth. grace is a cult leader but she's also just, like, some girl who blows raspberries when she's thinking or excited. the depth of the characterization is inextricable from infinity train's narratives, because each narrative is, by dint of the show's most basic premise (follow these people while they fuck around on a train that kidnaps you and only lets you off if you achieve what it deems to be Personal Growth), entirely fueled by rich characterization and character arcs.

little nightmares, by contrast, actually hinges pretty heavily on vague/fuzzy characterization. it's actively difficult to catch a peek of six, mono, or runaway kid's face. the children you play as have names that are less names in the sense we're familiar with and more markers of isolation-induced anonymity: low, alone, and mono. in runaway kid's case, he doesn't even have a name--he's defined entirely by the fact that he's trying to escape. (from what? the world. does he succeed? no.) we don't know what any of these children like or dislike. we don't know where they came from. they don't have favorite colors, or hobbies, or even dialogue outside of the occasional--almost always barely-audible--"hey"s six and mono exchange to get each others attention. all of these children are defined by one thing: the fact that they are young and small and the world wants to eat, change, or destroy them. what most distinguishes each child from one another is the unique way in which they are hurt: six survives, but at the cost of the part of her that knows how to play and hold onto her friends. mono grows into a man who directly perpetuates the cycle that harmed his childhood self. runaway kid is clever, but unlucky, and never makes it out. and this is all because little nightmares is a visceral, but very nonliteral representation of the nonsensical cruelty of childhood. on a narrative level, the huge scope, mystery, and unfairness of the world the kids live in--and how it hurts them--is all-consuming.

all of which is to say that there's no grounded, detailed characterization that could be used to put six or mono on the train. numbers are calculated based on how far a person is from solving the problem that landed them there, and the train doesn't pick people up for problems that can't be addressed by individual development. six and mono don't need individual development--their only problem is living in a society that views them as worthless and in need of breaking (or consumption or destruction and so on). fundamentally impossible quastion to answer due to the differences in how inftr and ln approach characterization. sadly. :(.

#ask #infinity train #little nightmares #but i hope you enjoyed the analysis regardless

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