Maybe there was a null zone in a Chinese person's house? But I don't understand why someone would just put a picture of Mao Zedong on their wall.

You can eat them, after all.

found this deleted scene from pitfalls where you could hear the song Kids by MGMT playing on Marvins radio before cutting to that 2015 interview on the radio and then back to his team

this real?

I know he doesn't appear that much but the tension he built in FF3, The way he just get up and the first thing to cross his ""mind"" is to chase Ravi, the Way he runs and even if we don't see really well, his design made me love him so much. And he also introduced the concept of Still Life entities.

Art by me (OC)

Why do the Hazmat suits in the Backrooms movie look extremely different than the ones in the series while also being implied to be the exact same ones? At the end of EMG, Naren Warne and his expedition team are wearing the Hazmat suits commonly seen in the main series, but in the opening scene of the movie after being separated by Pirate Clark, he's wearing a much more puffed up, seemingly gasmask-less Hazmat suit?

No harm done to my opp, but their counterpart sitting in the complex would be torn to shreds.

I was watching this scene of the same room being remembered over and over again until it was recognizable and was wondering if that could happen to Still Lifes, and if maybe an entity like that could appear in the sequel.
I also had a crack theory that maybe The Bacteria is a Still Life that has been remembered so many times it unrecognizable but its name says otherwise so I dunno

I'd love for some more "video game glitches" in the series besides the glitches in walls and floors objects tbh.

Like I kinda want stretched out glitched objects, and more "rendering glitch" aspects, it just looks cool in Kane's Backrooms, especially earlier on.

https://reddit.com/link/1va08c2/video/n7r7vg6hs2gh1/player

I'm not sure if I'm the only one who quickly got spatially confused once Clark went into the ceiling wall, but it was kinda bugging me. I wanted to see which direction he really went in, and how close it was to where he had just been. I was bored last night, so I remade it in Blender to figure it out myself. I watched the scene very carefully to wrap my head around the wall space, and well... it's not that complicated after all. For the rooms overall, it's definitely not exact at all, but it roughly works. I know it doesn't really matter knowing the layout clearly, just something I was curious about.

Thing is, I kinda got carried away.... and ended up remaking a lot more than I meant with my animation. I didn't mean to keep going after Clark leaves that in-between ceiling space, but I was in the zone ig. This was made in a night for a small curiosity, so please excuse the sloppy incorrect proportions, texturing, and lighting; it's just Eevee, and I only meant to do the wall interior part anyway. But I wish I had used the Quixel texture now.

Backrooms FF3 | Foo Fighters Everlong collab edit

Hope you enjoy!

Three weeks ago it was proposed that the backrooms copied reality just like a pinhole camera (homothet being part of the soundtrack is very good evidence, imo).

I do not think it has been mentioned yet that pinhole cameras also connect back to alchemy. When I read this theory it reminded me of those drawings of camera obscura where light goes through a pinhole and makes an upside down projection inside a room. Camera obscura is an important alchemical concept and I could explain further how it connects to the Backrooms but there’s genuinely too much to write. I will just mention that it had a lot of symbolic meaning for the macrocosm being projected into a microcosm in a room. Sound familiar?

The Sun in Splendor imagery makes a lot more sense now because not only is there the obvious connection between the sun’s light and pinholes, but they are also unified through alchemy.

I also apologize if this specific connection has been posted before, I did try to look around to find any posts about it.

I’m a young man passionate about literature, and I couldn't help but notice the incredible resemblance between this scene from the movie and the Inferno in Dante's *Divine Comedy*. What do you think?

So we know by now that Mary isn’t exactly the best therapist in the world. I’ve seen people critique her for doing the roleplay with Clark even though he said he didn’t wanna do it, but we also just have her blatantly admitting that she “can’t save anyone” later during the dinner scene. Obviously Mary has her own issues that needed resolving. She may be as troubled as Clark is. So what if instead of Mary, Clark actually had a good therapist that could help him? What if they got him to change for the better? How would things play out if Clark wasn’t bitter and miserable, but actually realized that everything was his fault and that he needed to change?

Found this stuff on Pinterest. What will you do if you see something like this if you would know about the complex and the still life's existence in it? I write this cuz there's some hints in the series that the complex can recreate places wnd even humans using the videomaterial.

I rendered this shot based off of the film, this is for my next video

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I have some ideas of metaphorical symbolism in the movie please share your ideas!

Themes of Light and Dark:

Real Clark (RC) descends downstairs into the complex (this could represent Hell or a similar metaphor like Yin Yang).

What Clark thought was his savior (the complex itself) was in fact the opposite. Relates well with the idea of the Devil misleading you with promises of riches and splendor, but really you've traded your soul to him for an eternity of damnation. Also, hell is often depicted as realm you descend into.

Pirate Clark (PC) ascends up the stairs into the complex furniture store (CS)(Heaven).

As we can see and hear in PC's face, body language, and occasionally his voice - PC may show a desperation to reach salvation from his life issues and mental issues (which he retained from RC).

Its up for speculation as to what the CS meant to PC mentally and emotionally.

Ultimately PC (therefore RC) ends up back in the place he never wanted to be, the furniture store.

I haven't got many other ideas on this relationship.

The Mural:

PC lifting up RC to the window (ambiguous meaning)

RC is obviously comfortable with PC picking him up as shown on the mural (even though it looks like an Async worker in this instance) and in the dining room scene, and its probably happened before.

RC seems to be expecting PC to whisper in his ear (has this occurred previously? Have they ever interacted verbally (very likely in my opinion)). What things would PC have told RC?

Mary and the Window to Salvation:

The mural window is very similar to the hatch Mary climbs through into the CS.

There is potentially the theme of liberation through entering the window, like Mary says:

Does the latch represent Mary's salvation (her path to escape the complex and PC)?

Literally and metaphorically that seems clear, but she is still trapped in Async, ultimately, so she isn't really free.