movies from disney are like “generational trauma!! generational trauma!!! generational trauma!!!” while netflix are like “unloved?? here is an old guy he’s your father figure from now on”
people are calling Ballistar and Ambrosius old men and I really have to wonder how old people think they are because they’re very obviously in their early 30s at the absolute oldest
I love the world-building of Nimona where everything is so modern but still has a medieval aesthetic. As someone who’s working on a modern yet still very cultural fictional place, I’m taking notes from Nimona
It’s too bad Ambrosius didn’t have as much screentime in the movie compared to the other characters, this scene, while bittersweet knowing how much his life has changed in such a short amount of time and he is stuck at a crossroad with what decision he has to make, was also pretty funny knowing that he is just as energetic and unhinged as Ballister and Nimona are alot of the time even though he doesn’t show it.
Hey uh. Something about the religious trauma themes in Nimona. the “it goes against the word of Gloreth”. The ancient scrolls used as justification for murder and destruction of everything different to yourselves, when the tale of Gloreth has been changed and corrupted so much over time that it has changed the complexity of what truly happened/ is no longer relevant or useful. The visual similarities between the swords of the knights and the crucifix. Used to injure and maim the ‘villain’, who is actually the misunderstood and shunned hero who will come back and save the sinners who shunned them. Ballister telling the director that she can have the sword, he’s not interested in crucifying, dropping the sword again when he finally sees and accepts Nimona at the end of the film. ANYWAY
I love the film version of nimona but I do find it very funny how they’re like ‘ambrosius cut off ballister’s arm but he didn’t mean to 😢😢😢 he was just traumatised and reacting to a dangerous situation 😢😢😢’ whereas in the comic it’s like ‘ambrosius shot ballister with a laser canon that took off his whole fucking arm just because he couldn’t bear to lose lol. Lmao, even’
no NO bc SHHHH SHHHH. Rewatching the movie again knowing the context of nimona’s backstory just HIT In such a fresh way. SHHHH NO bc. shes been living like this for a THOUSAND years. She is an immortal being and she has seen this kingdom be built from the ground up for the entirety of its one thousand years. And the only reason it exists at all, the iron fist of the institute and the knight’s duty to protect inhbaitants inside the wall against monsters outside of it… is because of her. Gloreth’s will to create a league of knights only exists because of NIMONA. And a thousand years she stands surrounded by all this as it grows bigger and bigger. An entire kingdom built just so it can protect a threat that doesnt exist outside of HER. In a world where entire legislations and bills are made to target a small minority, where groups of adults agree to push a rule just so that the ONLY transgender kid in a small town cant play the sport they want - I cannot see how it isn’t similar at all. This shot hurts me so much because it is us settling into the realization that the world has expanded so far beyond nimona all because it will never want her. A thousand years of this…. why shouldn’t she finally give in?
nimona the graphic novel: the institution is an inherently fascist organization that uses fear and bigotry to keep an iron fist around the throat of the kingdom. it does not protect the people, it suppresses and controls them.
nimona the movie: really in the end it’s just one bad egg and once they’re removed the system still works! see that knight is playing soccer with those kids! even the dick knight is nice now! yay happy ending!
*Clenches fist* thematic color scheme,, opposing narrative before converging and becoming one,, Nimona being the one to both push and close the gap between them,,
(Trigender, Akoiromantic, Demisexual, They/Them pronouns, 28/03/94, Aries, INTJ-T.) I forget the real world exists.
