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Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

One of my personal favorites: in Citizen Kane, when Kane first meets Susan at her home, we see the snowglobe from the deathbed scene on her vanity table. I'm not sure whether it's intentional or not, but I always thought that was a nice bit of continuity, especially since his affair with Susan marks the point where Kane's life starts the long, painful decline that ultimately leads to the deathbed scene, so the snowglobe represents both the snowy landscapes of his childhood and the first step in his downfall.

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Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Powaqoatse posted:

Any other word than children would be stupid. "Youngsters" would be just as bad as younglings.

Anakin killed all the babbys who coudlnt frigth back

they need to do way instain jedi> who kill thier yuonglngs

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Krispy Wafer posted:

That's the thing about good action movies, there's actual care taken in casting the bad guys. Die Hard is another example. They're all Eurotrash (plus 1 Asian and 1 Black), but they're distinctive looking Eurotrash with personalities. I'd add the Nazis in Inglorious Basterds to that list as well.

Isn't it a major point in Inglorious Basterds that, other than Hans Lande, the Nazis are all given nuanced, "heroic"-style characterization (and several fall into distinct war-movie-hero tropes, like the noble self-sacrificing commander and the scared young guy with a wife and baby at home) and that the Basterds themselves are all given broad, crude characterization of the sort used for villains and thugs? At least, I always assumed that was a deliberate choice on Tarantino's part.

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

CaptainCrunch posted:

My personal favorite fake name is from the “Prey” novels.

Detective Del Capslock.

Dean Koontz once wrote a detective-turned-priest named Thomas Vanadium and for some reason that dogshit name has stuck with me

Thomas Vanadium!

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Teriyaki Hairpiece posted:

Bilbo's actual name was "Bilba" but Tolkien didn't want you to think his hero was a lady

J.R.R. Tolkien deciding that he needed to figure out a bunch of character names in the "original" language of Middle-Earth, since obviously the characters weren't diegetically speaking English, is the most endearingly dorky thing in the history of the world

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

credburn posted:

That's generally King's whole thing.

Which if you can get behind, great. For me, I struggle with it, because while King is not interested in providing explanations, the characters in his books also aren't interested in finding one. If a portal opened up in my pantry, it's one thing to go on an adventure through it, but I don't think I'd ever stop asking or wondering or trying to figure out why there is a portal in my pantry. King's characters just shrug it off and go on to experience some fantasy horror.

I would argue that's actually a strength of King's, insofar as his explanations are usually kind of dumb or silly -- you get stuff like "The Mangler" where the explanation is just "someone accidentally dropped something in an industrial laundry machine that completed an arcane ritual to make it animate and evil," which is an okay dark joke but not interesting or compelling at all. I suspect he has enough self-awareness as a writer that he's deliberately writing stories with sufficient immediacy of action that he can avoid coming up with an explanation that won't be satisfying anyway.

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Pet Sematary is another great example of "the whys and hows of this horror scenario are completely irrelevant to the story at hand and would suck the air out of the room if we decided to explore them, instead of telling the drat story," so, uh, thanks R&M

Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Time traveling five minutes into the past just to get a nice thorough exfoliation

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Antivehicular
Dec 30, 2011


I wanna sing one for the cars
That are right now headed silent down the highway
And it's dark and there is nobody driving And something has got to give

Carthag Tuek posted:

you can find it if you google the title, iirc its mostly 1950s style peopel talking on phones being shocked that humanity is becoming so gay

You can really tell good style parody of mid-century SF B-movies by how much time is taken up by footage of people on the phone, having lengthy expository conversations in generic office and laboratory sets, driving cars, and parking cars

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