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Okay. So I watched Inception, to see what the fuss was about. I like it. It's ... sort of like Strange Days and the Matrix, crossed with Mission Impossible, The Italian Job, and just a flavour of Bond, James Bond. It's fun, not as impressive as it wants to be, a little bit muddled at times, but the characters, oh, the characters make up for pretty much everything. Especially Arthur, Eames, Saito, and Mol (Mal?) in a very broken-bird kinda way. And Saito. Did I mention Saito? Because I should. He's awesome in a very sure, calm sort of way, where he has power, and knows it, and only pushes it when he's forced to make a point, and I like that. I also like the Cobb/Saito interaction they had going ...
But I think my favourite is Arthur. Which is predictable, yes, but hey. He's an interesting character. Plus, he looks like a dancer in three-piece suits, which is never a bad thing. But I like ... the reality of him. The grounding of him. In a world full of dreams and unstable realities, Arthur is so very, very real. A man with no imagination, and in that world that's a very, very interesting thing. I love that.
It's the way he treats everything he comes across as if it has the exact same degree of reality as everything else in his life, and gives it the exact same degree of consideration. This is a dream, so we do this. Cobb needs this to happen, so we do this. Cobb is mildly insane and his subconscious is prone to taking the shape of his wife in order to shoot me in the leg (which ow, by the way), so we do this. We're in freefall in a dream, and we need a kick, so we bundle our team together with lots of wire, float them down a hall, explode an elevator around them, and home free. Eames makes an actually good point about the usefulness of very big guns, we shall definitely do something about that later ... *grins*
It's just ... he treats all the layers, all the worlds, the same way. These are the rules here, so we act within them. They have no particular value, compared to each other, they just are. He doesn't build. That's not the point of him. He lets other people build and then adapts to whatever they throw at him. He's able to adapt to whatever they throw at him. Because he stays the same. Because he acts the same. Staid, stick-in-the-mud, but where all the others (with the possible exception of Saito, who seems to have held on rather well down in limbo, all things considered) are in constant danger of losing themselves, Cobb to the intricacies of his own mind, Ariadne to the worlds she builds, Eames to the masks he wears ... Arthur doesn't change, doesn't fall. He's ... almost like a totem, except instead of a reminder that this is reality, he's more a force of reality laid over the dream. It doesn't matter to Arthur what's real. It only matters what he has to do about it. That makes him ... solid, in a way none of the others really are. That makes him ... fascinating. *grins, shakes head at self*
Yes. Right. So. Ah. I enjoyed the film? Heh. And the characters. Definitely enjoyed the characters. Um. Obviously.
*shakes head some more, grins sheepishly* We may come back to this one ...
But I think my favourite is Arthur. Which is predictable, yes, but hey. He's an interesting character. Plus, he looks like a dancer in three-piece suits, which is never a bad thing. But I like ... the reality of him. The grounding of him. In a world full of dreams and unstable realities, Arthur is so very, very real. A man with no imagination, and in that world that's a very, very interesting thing. I love that.
It's the way he treats everything he comes across as if it has the exact same degree of reality as everything else in his life, and gives it the exact same degree of consideration. This is a dream, so we do this. Cobb needs this to happen, so we do this. Cobb is mildly insane and his subconscious is prone to taking the shape of his wife in order to shoot me in the leg (which ow, by the way), so we do this. We're in freefall in a dream, and we need a kick, so we bundle our team together with lots of wire, float them down a hall, explode an elevator around them, and home free. Eames makes an actually good point about the usefulness of very big guns, we shall definitely do something about that later ... *grins*
It's just ... he treats all the layers, all the worlds, the same way. These are the rules here, so we act within them. They have no particular value, compared to each other, they just are. He doesn't build. That's not the point of him. He lets other people build and then adapts to whatever they throw at him. He's able to adapt to whatever they throw at him. Because he stays the same. Because he acts the same. Staid, stick-in-the-mud, but where all the others (with the possible exception of Saito, who seems to have held on rather well down in limbo, all things considered) are in constant danger of losing themselves, Cobb to the intricacies of his own mind, Ariadne to the worlds she builds, Eames to the masks he wears ... Arthur doesn't change, doesn't fall. He's ... almost like a totem, except instead of a reminder that this is reality, he's more a force of reality laid over the dream. It doesn't matter to Arthur what's real. It only matters what he has to do about it. That makes him ... solid, in a way none of the others really are. That makes him ... fascinating. *grins, shakes head at self*
Yes. Right. So. Ah. I enjoyed the film? Heh. And the characters. Definitely enjoyed the characters. Um. Obviously.
*shakes head some more, grins sheepishly* We may come back to this one ...
