A huge, isolated eye stares out at the viewer. Its left, inner corner has a vivid, viscous quality. The anatomical detailing of this area and its surface sheen contrast with the matte, dead-black of the eye’s pupil, which floats, unmoored, against a limpid, cloud-filled sky of cerulean blue. Although the areas…
The Voice of Space (La Voix des airs, 1931) is an oil painting by René Magritte. Four oil versions exist of the image. The most famous is that held in the Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice. Another publicly displayed version is held at the Albright-Knox Art Gallery, Buffalo, New…
The Adulation of Space (French: L’éloge de l’espace) is a painting in oil on canvas, 81 × 116 cm, created between 1927–28 by Belgian surrealist artist René Magritte. It is held in a private collection.
The enigmatic title of the work, as with the majority of Magritte’s, was suggested by one of his…
The Adulation of Space L’éloge de l’espace 1928 by René Magritte
The Adulation of Space (French: L’éloge de l’espace) is a painting in oil on canvas, 81 × 116 cm, created between 1927–28 by Belgian surrealist artist René Magritte. It is held in a private collection.
The enigmatic title of the work, as with the majority of Magritte’s, was suggested by one…
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Rene Magritte - Atlantis (L'Atlantide) 1927 early artworks
Rene Magritte – Atlantis L’Atlantide 1927
Atlantis (L’Atlantide) 1927 by René Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
The reckless sleeper, 1927 René surrealism paintings meaning facts biography inspiration analysis list sleep art http://www.ARTisHARD.gr
Reckless Sleeper 1927 by René Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging…
Rene #Magritte - The Man from the Sea 1927 #art #paintings#
Let Out of School 1928 by René Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Magritte Rene Early works
Rene Magritte was born in Lessines, in the province of…
Rene #Magritte - Let Out of #School 1928 #art #paintings
Let Out of School 1928 by René Magritte
Let Out of School 1928 by René Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Rene #Magritte - The #Meaning of #Night 1928 #art #paintings
Rene Magritte le double secret The double secret 1928 HD
The Meaning of Night 1928 by Rene Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Rene Magritte le double secret The double secret 1928 HD
The double secret Le Double Secret 1928 by Rene Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Rene #Magritte Young Girl Eating a #Bird 1928 #art #paintings
Young Girl Eating a Bird 1928 by Rene Magritte
René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality.
Magritte Rene Early life
Rene Magritte was born in Lessines, in the province…
I’m thinking so much about table read of the pitchfork episode right now, but since it isn’t officially out yet I’m gonna put those thoughts under the cut
What gets me about this episode is just how simple the conflict between the bros was set up to be. Cuphead wants to be a bit more independent from Mugman, but ends up hurting his feelings with the way he communicates this, and ultimately makes it up to him by blowing stuff up together and making that Mt. Mugmore sculpture (which is still the cutest thing ever, okay).
But I think that conflict is going be exacerbated significantly now that Mugman’s been captured by the Devil. I mean, think about the last thing Cuphead said before that happened:
“There’s nothing you can take away from me that I care about.”
Probably a result of him putting up a brave/unflappable front in the face of danger, because obviously Cuphead cares about many things, but imagine how Mugman must feel. If he felt like he wasn’t being appreciated at the start of the episode, then he must really be going through it by the end.
Sure, he (hopefully) saw the instant regret on Cuphead’s face from the elevator, but words still hurt and it’s not like he was given a chance to apologize.
And once Cuphead realizes that was the last thing he said before Mugman got captured?? Can you imagine the guilt??? The guy’s already had nightmares about this exact scenario, someone give him a break
I don’t know how much it’ll affect episodes outside this mini-arc, but I can’t help but feel like Cuphead’s going to be rethinking how he treats his brother. Not that he ever really treated him badly - I personally think they’re very sweet! But he can be a bit thoughtless and tends to rope Mugman into stuff against his will, and I think the severity of the situation is going to make him overblow those problems in his mind.
It’d also be arguably the first time that him messing around with the Devil and acting blasé about the danger he poses actually has notable consequences, which I for one can’t wait to see him deal with because denial has kinda been his whole strategy until now.
I’m not expecting like… genre-changing levels of angst here, but I think you could fit at least most of this in while still having the sequence of events be wacky and fun. The writers have actually done a great job of this so far (the sweater two-parter comes to mind), so I’m really looking forward to seeing how this arc goes!
I never noticed until just now, but why are there so many parallels between the skelebros’ and Dreemurr siblings’ rooms???
Papyrus and Asriel both have their room (or half the room) situated on the left, they both have a computer in them, and they’re both vibrantly decorated to showcase their interests/accomplishments. They both have a picture on the wall near some piece of text - a picture that references their species in some way, at that.
(Asriel may not be a flower in this universe but he was a flower in Undertale so it’s still relevant)
Their rooms are very tidy, and their beds both have some kind of pattern on the blankets. They’ve also likely been unused in quite a while, given that Asriel is at college and Papyrus rarely sleeps. You can tell a lot about them by looking at their rooms; Papyrus loves reading and action figures and racecars, while Asriel seems to love stars and flowers and is very successful in competitions.
Sans and Kris, though… their rooms are so barren. No decorations on the walls, no computer, a lamp on a dresser with nothing else on it. Their beds are more unkempt, to varying degrees. They’ve both got something on the floor they haven’t bothered to clean up (Sans’s socks, the stain on Kris’s floor), and a seemingly random object that doesn’t immediately seem like it would have a purpose to their characters.
In Sans’s case, that object is the treadmill; he certainly doesn’t seem the type to keep exercise equipment in his room. It’s possible he put that there to mess with you, as Papyrus asks if Sans is pranking you when he sees you on it in the dark, but his comment on the treadmill itself is vague enough that you could argue whether or not it was always there.
Meanwhile, Kris has the birdcage on a wagon. I don’t know what anyone thought its purpose was until the end of chapter 1, but I’m pretty sure no one guessed that it would be a mini soul prison of all things. (Still not sure what the point of the wagon is, though.)
That being said, both Sans and Papyrus have something similarly odd in the bottom-right corner of their rooms: the self-perpetuating trash tornado, and a box full of Papyrus’s bone attacks. I don’t know what it is about bottom right corners that are apparently a magnet for weird lore, but I thought it was worth pointing out.
Of course, this isn’t the only instance of Kris’s room that we see, because they also have two custom-made rooms in the Dark World:
The first is made by Ralsei, and it’s more or less a mirror image of Asriel’s side of their room. There’s a few ways you could interpret this, but I think it’s fair to say that it’s representative of Kris looking up to their brother and wanting to be more like him. Sans may not want to emulate Papyrus, but it’s obvious that he thinks the world of his brother, similar to Kris.
The second room has a piano and a giant stack of bath bombs, the latter of which Kris has a history of flushing down toilets as a prank. Sans is also a big fan of pranks, and he also owns a musical instrument (the trombone). In general, there are a decent number of small but noticeable parallels between Sans and Kris.
Likewise, it’s fitting that Asriel and Papyrus have parallel rooms in this scenario, given that they were friends in Undertale - or rather, Papyrus was friends with Flowey.
I’m not sure what all these parallels mean in the long run, if anything at all, but it feels like something worth taking note of. I mean, two pairs of siblings across two games with correlating rooms and personality traits? There’s potential there
Have you ever noticed how we can’t actually see his slippers in his overworld sprite?
We know from official art and merchandise (and Smash Bros) that they’re pink, so why is there no pink on his actual sprite? In all likelihood it’s a simple oversight, or they only decided they would be pink after the game’s release (like Kirby!) but we can go deeper.
Take a moment to think about when we get to see that he’s even wearing slippers: his boss fight. A fight that takes place at arguably his lowest point; not a single person you’ve encountered has been spared, and he seems aware of the possibility of the world itself ending if you get past him.
And where exactly has he been the whole run? He might be following you around more stealthily than usual, but in this scenario it’s not hard to imagine that he’d spend a lot of time in his room.
His house.
Where you would expect someone to be wearing slippers.
I find it completely believable that he would teleport straight from his house to the final corridor without bothering to switch shoes first - this is Sans we’re talking about, after all. But that still leaves the question: what’s he wearing in his overworld sprite, then?
The funniest option is that he’s not wearing any shoes. Just walks around in the snow barefoot all day like a champ
But as far as actual alternatives, there are exactly two instances I could find of Official Sans Material in which he wears sneakers instead:
Granted, these shoes aren’t completely white like his overworld sprite, but they do have white tips, and I think including a dark color (like the one on the plush) on his sprite would confuse where his pants end and shoes begin.
And here’s the real kicker: the plush is actually smaller than the version that wears slippers. Just like how his in-game sprite without the slippers is smaller than the one with them. Coincidence?? Quite possibly, but it’s fun to think about.
I FORGOT YOU CAN SEE HIS SLIPPERS IN THE TRUE PACIFIST RUN TOO
…I’m still sticking with the idea that he teleports from his house to the corridor though, considering that he vanishes from all his sentry stations at some point and you can’t find him anywhere else
Have you ever noticed how we can’t actually see his slippers in his overworld sprite?
We know from official art and merchandise (and Smash Bros) that they’re pink, so why is there no pink on his actual sprite? In all likelihood it’s a simple oversight, or they only decided they would be pink after the game’s release (like Kirby!) but we can go deeper.
Take a moment to think about when we get to see that he’s even wearing slippers: his boss fight. A fight that takes place at arguably his lowest point; not a single person you’ve encountered has been spared, and he seems aware of the possibility of the world itself ending if you get past him.
And where exactly has he been the whole run? He might be following you around more stealthily than usual, but in this scenario it’s not hard to imagine that he’d spend a lot of time in his room.
His house.
Where you would expect someone to be wearing slippers.
I find it completely believable that he would teleport straight from his house to the final corridor without bothering to switch shoes first - this is Sans we’re talking about, after all. But that still leaves the question: what’s he wearing in his overworld sprite, then?
The funniest option is that he’s not wearing any shoes. Just walks around in the snow barefoot all day like a champ
But as far as actual alternatives, there are exactly two instances I could find of Official Sans Material in which he wears sneakers instead:
Granted, these shoes aren’t completely white like his overworld sprite, but they do have white tips, and I think including a dark color (like the one on the plush) on his sprite would confuse where his pants end and shoes begin.
And here’s the real kicker: the plush is actually smaller than the version that wears slippers. Just like how his in-game sprite without the slippers is smaller than the one with them. Coincidence?? Quite possibly, but it’s fun to think about.
I know it’s been analyzed to death at this point, but I rewatched the Sans fight and it’s only now occuring to me just how… weird it is to witness??
Like we can talk about lore implications all we want and it’d be fun but when you take a step back for a moment, it’s really just. Sans venting at you for about ten minutes straight.
Everything he knows about the timelines, his nihilism regarding resets, going out of his way to call the player out on their motivations multiple times. It’s like everything he was repressing in all the other timelines finally broke to the surface, and he still somehow manages to be fairly composed with his word choice.
(He’s significantly less composed when he’s throwing you around the battle box as fast as he physically can until he just can’t do it anymore. All the more evidence that this fight is just him losing it)
But here’s the thing. He’s also doing his best to get you to give up. And as much as I applaud him for breaking the game’s mechanics wide open, disabling invincibility frames and attacking you in the menu… he really fails at making you want to give up.
Because as much as he claims to know “our type,” he forgets one crucial detail: we love being told things.
He understands that we’re doing the No Mercy route just because we can, but he neglects “curiosity” as a motivating factor. We want to learn more by exploring different routes, and in his frustration, Sans gives us exactly what we want.
(We also get a challenge from him, and what gamer dedicated enough to get past Undyne wouldn’t enjoy that)
And that’s kind of. Sad, in a way?? Even when he locks us into his turn, he can’t stop himself from talking. Everything he does to make us frustrated or bored doesn’t work because despite everything, we still like Sans. We want to hear what he has to say. And he has a lot to say that he would normally keep close to his chest otherwise.
I don’t know if that’s what the dynamic is meant to be like in canon, given how ambiguous Frisk’s motivations are and how we don’t technically know if there’s a “player” involved in the first place, but that’s just how it reads to me. And I think Sans having this slightly flawed perception of what the anomaly wants from him is a really interesting angle for his character and the fight as a whole
