Inception/WMG: Difference between revisions

== I am dreaming this right now. ==

There are a lot of things trying to tell me the world is not real. Socrates, Descartes, The Matrix and Inception are just the first things I can come up with. This idea, that the world is not real, is something so infectious and frequent within my life and my history, it almost seems like someone is trying to tell me something.

 

Not an extractor, not someone who's trying to pull me out, but my own subconscious is desperately asking me to wake up, to see that its all a dream. I think I'll go jump out the window now, and see how that works. Wish me luck, see you in the real world!

== The third dream, the snowy fortress, was created by a dreamer who was a fan of Metal Gear Solid ==

Think about it. It's a very snowy, fortress-esque stronghold, with a higher degree of combat and troop concentration, much like Shadow Moses. Plus, behind the giant door, where {{spoiler|Fischer's father was dying, and the safe was located}}, looked very much like the VR mission rooms from Metal Gear. Don't forget the [[Air Vent Passageway]] escape.

* This troper, too, thought, "this is a sneaking mission". But before that, I assumed Fischer liked playing ''[[Modern Warfare]]''.

* Then one can safely concludes that Eames is a MGS fanboy, since this level is hosted by him. This explains his unparalleled badassery throughout the film because he had Solid Snake as a role model.

** I had this same theory, but I assumed that Eames, with his ability to assume any persona within the dream, just really wanted to be Decoy Octopus.

** Considering Bond has always been a big inspiration for MGS, I think we're just looking at two things that used the same inspiration.

* You're all forgetting that while Eames is the dreamer, Ariadne is the Architect, and therefore designed the maze. She would be the fan of MGS/Bond.

** I don't think Ariadne ever created from memory again, despite knowing that Cobb was doing it. So unlikely.

Mal hired Saito to bring Cobb out of the limbo that was a mix of Cobb's "real world" and what Cobb thought was other people's dream layers. Cobb's being on the run, was due to his Projections mobilizing themselves against Saito's interference. Defense mechanisms don't necessarily have to show as the Projections getting directly and physically aggressive. Legal and societal pressure could have been a reflection of Cobb's particular defense mechanism

 

At the end of the movie he's convinced that {{spoiler|his father wanted him to be his own man}}. What better way to do that than to {{spoiler|give up business}} and become a terrorist for hire.

* ...When you really think about it, most of the movie takes place on a plane.

 

== It's a dream up until Cobb leaves the plane at the end. ==

* This is now my personal canon.

* This was my canon the moment I walked out of the theater.

** No, it's not a given. Not entirely. If you applied this logic to the real-life sequences, {{spoiler|Then that could mean that Cobb's reality is just another dream.}}

 

After Tom was dumped was dumped by Summer, had a bad relationship with Autumm, and couldn't get a job in Architecture he met Cobb, changed his name to Arthur, and got involved subconscious etc. That's why all the dreams he hosts are buildings with modern architecture.

* I'm so glad I'm not the only one who thought this. If it wasn't for you, I would've posted this myself. Also, when he said in the beginning that he wanted to go back to America, I thought he wanted to go back to see Summer.

The box is [[Magic From Technology]] or a [[Magic Feather]], with the sedatives being part of the necessary ritual for entering dreams, like the hallucinogenic mushrooms of a spirit rite. When Mal died, her spirit escaped into "the next reality," which was in fact Limbo, where the souls of the unquiet dead dwell, preying terribly and subtly on the minds of those trapped there. She was literally haunting Cobb.

 

Not intentionally, of course, but...

* Oh my god, yes.

* {{spoiler|It doesn't matter to Cobb. Earlier in the film, he's downright obsessive about being sure of his conscious state. But when he sees his children, and is free to interact with them again (either legally or emotionally), he simply walks away from the top. And since his emotional arc is now complete, the result doesn't matter. He's where he wants to be}}

** It may not matter to Cobb, but it sure as heck matters to his children. If he really is still stuck in limbo, then the real James and Phillipa are now orphans and will probably grow up thinking that their father killed their mother.

* Alternate theory: {{spoiler|It doesn't matter, still, but it's because it's Cobb's dream at the end. Remember, the point of the totem was to make sure you're not in somebody else's dream, but it doesn't matter if you're in your own, because your own mind knows the weight and feel of your totem, and will make it fall. So even if the top falls, it means nothing to Cobb if he's still in his own dream.}}

** Cobb would never know if he were in his own dreams or the real world because if he was in a dream and wished subconsciously for the top to fall, it would. The top actually doesn't have any meaning, so the result at the end doesn't matter. Alternately, since the ending cuts off before we see whether or not the top will fall, [[Tethercat Principle|it never does]]. The top is spinning forever and will never stop, thus Cobb can never escape from the dream.

It's OURS. The audience. We are the only ones who experience all the goings on. The characters represent different points of human psychology. Mal ( as in malware, malicious malfunctioning etc.) is a destructive idea that prevents us from moving forward in our lives. Ariadne is a reconstructive idea helping us to get rid of Mal. Cobb is our proxy.

* Arthur is our self-confidence and integrity, and Eames is our latent homosexuality that we come to accept because it's just so fucking awesome.

 

== The number of inceptions that occur over the course of this movie: ==

**** Although if you think of a coma as a psudo-Limbo with there being extremely punctuated time dilation you could have enough time, but aging would still be a problem.

 

The PASIV was created as a collaboration between Miles and renowned Psychonauts such as Sasha Nein and Rasputin Aquato as a means for non-psychics to enter minds similarly to how true psychics use the Psycho-Portal. Each PASIV device is powered by a small fragment of Psitanium, which amplifies the brain waves of normal humans to a sufficient level that they can enter sleeping minds, though it's not powerful enough to let them into the minds of waking people. Miles specifically chose Ariadne in the hope that proximity to the psitanium in the PASIV would help uncover her latent psychic abilities.

 

* So, um, [[Fridge Horror|where's Mal now...?]]

 

There is no other earthly way to explain two parallel worlds where trains just happen to run through streets without any posted warnings. Besides, it'd be just like mentally-unstable Cobb to hire {{spoiler|the Cobra Commander}} for his jobs.

** No earthly way, if you ignore the fact that one train was moving ''down'' a street in a dream and the other was going across a street on rails in a bad movie.

Viewed through this lens, the film becomes an allegorical representation for a renewal of faith. Cobb tried building his home in a dream world, and staked all his hopes in Mal, who rested on a very unstable foundation. When his life came crashing down around him, he didn't know how to react, and the inception was what he needed to let go of the past and rebuild himself on a solid rock.

 

 

== The ending ''is'' the real world. ==

Mal would have tried to initiate a kick that sent Cobb back into the real world by now.

 

{{spoiler|He spoofed a deal that Cobb had with Cobol, then left the architect behind for Cobol without any fuss. Cobol tries to gun down Cobb, but they never bother Saito. Perhaps they're working for him, or terrified of him.}}

 

Something that started bothering me was that Cobb said that he was staying behind to look for Saito who must have been dead, but there is no reason for Cobb to think that Saito was dead. So maybe he was lying to get rid of Ariadne.

 

 

Look at the final plane scene: Cobb looks an awful lot like Leonard Shelby. Mal also looks quite similar to Leonard's wife. Presumably, Cobb's time in Limbo had actually damaged his brain somewhat, and sensitized it to further damage from the dream sedatives, as well as other damage. After a certain point, Cobb's brain start to experience Anterograde Amnesia, and Cobb's memories become falsified, either deliberately or accidentally (Perhaps because of a blurred perspective on reality, or because he genuinely confuses past dreams and experiences together), including the memory of the death of his wife.

This also explains Leonard Shelby's unusual thievery and fighting skills, which rather than being somehow learned in the attempt to find his wife's killer, are actually Cobb's skills both from dream fighting, ad from living as an illegal idea thief.

 

So Leonard Shelby has destroyed the last thing in his life that served to distract him from the consequences of his actions. He's been further traumatised from the repeated murders and his brain has been shown to be actively lying to him and degenerating more and more. Unable to live the dream of hunting down the killer of his wife he turns to his own dreams and create a vast conspiracy in his subconscious, involving children and being an international crime thief who is able to enter other peoples dream. Eventually, in his own way he comes to terms with the suicide/murder of his wife at his own hands but is trapped in his own mind and the need to keep up the fiction he has created, that humans can enter peoples dreams. That uncertainty is represented by the spinning top that he never quite gets to see if it falls or not.

 

 

== [[The Cell]] is a prequel to Inception ==

 

== Everything what wasn't stated to be a dream was real ==