#room analysis

As an attempt to get better at drawing, or more like sketching, backgrounds and perspective, I'll be trying (my best) to draw some of the MC's rooms inspired by the WHB's kingdom's aesthetics.

SO HERE IS THE FIRST, Hades:

I'm still getting used to colouring with the grayscale so don't mind the colors.

If you are interested in the thought behind this room feel free to keep reading my rambles after the cut! (It's kinda long, there is a TLDR at the end)

I remember seeing a birthday post (so mad i missed his birthday LMAO) that was wondering why Gentu is hanging around two 21 year olds as a teenager and assumed he just kinda lived with them AND THAT PERSON WAS HALF RIGHT!!!!!! LOOK

YALL REMEMBER THIS SHOT FROM THE WALL AMV?? WHERE HES AURAFARMING FOR NO REASON????? Yeah shack he's on top of is where he lives and that shack is a part of the same building that has Crown Pizza aka Mimi's/Dimi's pizza shop

Same street and you see the Crown Pizza sign matches in the second image!!! (cough i'm aware it's street vs avenue and the building looks a little different but hey Mimi's drone faces are on both and it's from the same MV so we ball)

"How do you know it's Gentus place and not just A Shack" 

(Note the second image is a cobbled together version of a couple screenshots, the beige is where Gentu was cut out)

EASTSIDE AMV!!! The curtain door and the slanted roof match, and we can see a bed plus all of Gentus posters and drawings meaning it's a lived-in space.

I don't have a clue if i'm stating the obvious but if I didn't realize then there's a half chance someone else didn't either <3

ANYWAY ONTO HIS ROOM!!!!! I like doing room analysis(?) stuff i've done it twice already for my two other guys

MULTIPLE TECH KNUCKLES POSTERS!!!

There's also one in the band room Mimi, Rebel, Gentu, and Nomu practice in 

On streams Xierra and Jacob have said multiple times that it's Gentu's favorite band!!! They briefly described it as being more experimental/out-there music teehee

He also has a map that shows where various Psyren cameras are so he can take em out!!!

I also think there's a hint of a Wukong (from the Kami Gang) doodle on a flour bag, similar to the one Gentu uses with Kappa

Spray paint, tags, and drawings, of course.

Maybe some of these are photos, but they have details like blank backgrounds and graffiti lettering that make me think otherwise.

WANTED POSTER??? SLAY?????

There's also the faintest Good Kid poster behind it teehee I PROMISE ITS THERE

You notice how everything Gentu owns is either run down or patched up. The curtains are ripped, the blanket has stitches, the nails are bent, the walls are eroded,

Guy's resourceful as hell!!! Literally nothing he owns looks new or bought; he's doing okay for himself with everything's he's scrapped up. But I also have questions semi-related that!!!

I wonder why Gentu lives alone in such a small space even when he has friends who could and I'd assume would help him out if he asked!! Especially Mimi!!! Helping is a huge part of her character and she cares a lot about Gentu!!!! Either A) they don't know he lives up there somehow (which I highly highly doubt because he's gone up to the roof in front of them/without tryna hide it before, and one of Mimi's propellers are up there which I assume she installed herself)

or B) he doesn't let them interfere with anything in that might take away his independence or could be used against him (remember this kid has trust issues!!! and does hide secrets even from his best friends!!! Rebel and Mimi didn't know he went to the Smackdowns for example, and of course he hid HIRO from them during the span of Eastside)

ANYWHIZZLE final note have a layout of his room with and without labels i promise im normal about him

Photo credit: @theonebyler

It's called a chevron sign and this is what it represents:

It's difficult to see at first because it's blocked by the chair, but I think that was intentional. The sign is basically warning you about a sharp turn to the closet as it's pointing in the direction of the one way sign. Part of Mike's storyline is about coming to terms with his sexuality and his feelings for Will. However the GA won't catch onto this until s5 because they purposely hid Mike's POV for the majority of s4.

Room is a film about a boy and his mom. Regardless of what you've heard about its harrowing plot or the divisive New York Times bestselling novel it's been adapted from, the film is, at its core, a story of a boy (played by standout Jacob Tremblay) and his mother (the always impressive Brie Larson). Yes, the mother was kidnapped as a teenager and raped repeatedly by her captor, then gave birth to her son and raised him for five years in the titular soundproof room within a garden shed that became the entire world to young Jack, and then (there are really no spoilers in saying) the young family manages to escape Room, only to find themselves in a nightmare of unsympathetic story-hungry press, an emotionally immature (grand)father, and the constant presence of post-traumatic stress. But in all the revealed psychology of the difficult scenarios comprising Room, there are broader intimations of universal experiences. For who among us can’t recall the warm comfort of a mother’s unconditional love, or perhaps the occasional feeling that she’s being too overprotective (or, for the parents among us, perhaps the fear that we’re being too overprotective)?

Perhaps that’s a copout—an easy way to talk around the harsher, more difficult realities and experiences within the film (which it does offer throughout—even in the gripping escape sequence that had me holding my breath and gripping my seat almost as hard as I was two years ago during Gravity). So too would be an auteuristic analysis of Room, but that’s where I’d like to go. Is it just me, or does director Lenny Abrahamson have a knack for taking cinematic devices (I’d almost call them gimmicks if they weren’t so well-employed) and finding lucid human emotion in, around, and through the device? In Frank, it was a band of disparate musicians led by paper-mâché-headed Frank that gave Abrahamson the canvas he needed to explore the dynamics of human relationships and strained emotional communication. And though I’m not familiar with his previous credits (What Richard Did, Garage, and Adam & Paul), here in Room, he takes an eleven-by-eleven-foot room of lead-lined walls and constricted childhood development and uses it to explore the very nature of the innocence of youth, the bounds of a mother’s love, and the process of burdensome closure. Much could also be said and debated about the perspective of Abrahamson’s camera here (Emma Donoghue’s book was written from Jack’s POV; Abrahamson’s film brings those words to the screen via voiceover, but his camera—while staying with Jack for the entire picture—naturally maintains a fair amount of objective distance, allowing the audience room to breathe while sometimes making it more difficult, as our own higher understanding makes the pain all too palpable), but I'll wrap it up with this: Room makes for a difficult but singular moviegoing experience with two standout performances that certainly should not be missed.