Limbo, white, Momento II™ Paxsweden.com
Limbo electric towel warmer, 1400 mm high, two hooks, 24W. White steel, chromed hooks, Momento II™
DISCONTINUED — Limbo, black, Momento II™DISCONTINUED — Limbo, chrome, Momento II™DISCONTINUED — Limbo, white, Momento II™
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Lightweight and compact -
Momento II™ timer with the possibility of app control
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Articlenumber
3550-2
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Electrical Supply Phase
1-Phase
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ProtectionIP
IP 44
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InsulationClass
II
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Material
Steel
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Width (mm)
50
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Depth (mm)
112
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Height (mm)
1400
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Installation type
Wall
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Productname
DISCONTINUED — Limbo, white, Momento II™
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Power consumption(W)
24
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Functions
Run on Timer
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Environmental Certificate
WEEE, REACH
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SupplyVoltage (V)
230V AC
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WirelessOption
Bluetooth LE
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EtimCode
EC003624
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EAN 13
7391477355025
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HeatOutput (W)
24
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cord rack with ungrounded plug
Art no: 8340-5
Disney Star Plus ‘Limbo,’ a Canneseries Premiere, Renewed for Season 2
Disney has renewed for a second season Argentine psychological drama “Limbo – Hasta Que Lo Decida,” one of the companies earliest Star Plus Originals in Latin America.
The new order was announced this Saturday Oct. 9 by Leonardo Aranguibel, VP of production at the Walt Disney Company LatAm, in Cannes just after the world premiere of “Limbo” at Canneseries, where the 10-part series was the first to bow in main competition.
The decision to order Season 2 was made given the results of the first 10 episodes, now in post-production, and selection for Canneseries, Aranguibel explained.
Produced by Star Original Productions in partnership with Pablo Bossi’s Pampa Films and Gloriamundi Producciones, the series is developed by Argentina’s Mariano Cohen and Gastón Duprat, writer-directors of the Venice feature “Official Competition,” starring Penelope Cruz and Antonio Banderas, and “The Distinguished Citizen.” “Limbo” is directed by Agustina Macri (“Soledad”) and Fabiana Tiscornia (“La reina del miedo”). All key creators are expected to return for Season Two, added Aranguibel, who executive produces for Disney Latin America alongside Mariana Perez and Fernando Barbosa.
Two years back, Disney teamed with Pampa Films to make “Monzón,” which was selected for France’s Series Mania, closed Spain’s Conecta Fiction and won Best Series at the MipCancún Produ Awards. “Limbo” raises the bar in terms of artistic ambition.
Written by Margarita García Robayo (“Cosas peores”), Ana Navajas (“Estás muy callada hoy”), Nicolás Diodovich (“Terapia alternativa”) and Javier Van de Couter (“Historia de un clan”), the series turns on Sofia (Clara Lago), 28, a young millionaire heiress who lives a life that others can only dream of – or follow on Instagram – party, partying her life away in Madrid nightclubs, doing drugs, alcohol, sex. She also has bubble baths.
But it’s clear from early scenes that something is wrong. Part is physical: She has a hearing impediment, wears a cochlear implant. But she’s hiding from herself and her past.
“At parties, you don’t think. That’s why I like them,” she says in an extended voiceover filling the early stretches of “Limbo.
”
Is Sofia happy? Almost certainly not. Sometimes, she bursts out in tears, for seemingly no reason at all, she admits. Something’s pushed her to live 15 years away from Buenos Aires in exile in Madrid, distant from her family which owns one of Latin America’s biggest cosmetics businesses. Her exile may have something to do with her brothers, who nickname her “Sou Sou,” as in “so so,” decrying her lack of talent, as “the only mediocre part of a exceptional lineage,” she complains.
Then her father dies, forcing Sofia back to Buenos Aires, to contend with a entangled legacy that will expose a dark side of her past, the synopsis says.
Limbo is defined in early subtitles as a “state of neglect or oblivion of the surrounding world. Lack of a sense of reality. A latent state. Suspension of time.” “Limbo…Hasta Que lo Decida”, the series, drives to the heart of one of Latin America’s banes: The disavowal of the ultra rich of their own reality and any responsibility for the region’s endemic sorrows.
It also weighs in as a calling card for the production values and social relevance of Star Plus Originals as they begin to release or hit big festivals around the world, “Limbo” being the first.
Limbo… hasta que lo decida
Courtesy of Disney
Variety talked to Araguibel, Macri and Tiscornia just after the series’ world premiere at Canneseries.
From the very first scene of Sofia sprawled on her bed surrounded by childhood memorabilia while an extended definition of “limbo” plays out over the screen, there’s a sense of the series turning on disavowal – both Sofia’s about her own trauma and the family’s about its true past. Could you comment?
Tiscornia: That’s a very interesting interpretation. “Limbo,” in a metaphorical and deep sense, turns on how a person tries to return to the scenes of her trauma and from a point of view of childhood suffering, find release, advance where she’s been paralyzed, and break through her agglutinated emotions.
Sofia has built a life, but it’s separate from her. Now, she can discover if, returning, she can confront a future with other weapons.
After Sofía gets on a private jet and flies back to Buenos Aires for her father’s funeral, the series narrates her return to a patriarchal context, a family business now run by her two brothers who have rejected her, writing her off as “Sou-Sou.” There’s a sense that the series will increasingly follow Sofia’s empowerment, as she proves her worth while discovering the family’s real past….
Macri: Rejection is maybe too strong a word but, yes, she clearly forms part of a traditional family with a very patriarchal structure and a hugely powerful father who over-protected her, gave her everything she wanted. When the father dies, she can feel a certain sense of liberation to try become who she wants to be.
The series is told – literally when it comes to her voiceover – from Sofia’s point of view, from that of a young hypoacoustic woman, which frees a director from any sense of immediate realism, allowing you to show what Sofía sees, feels and hears when she wants to….
Macri: This was one of the things which really excited me about the project. To know that we had a protagonist who’s a woman, with her deafness and particular way of hearing. This gives her a very singular way of seeing the world. We tried consistently to play as much as we could with this and explore her sensibility when seeing the world to see things as she does….
You take this to the point of Episode Two acquiring a dominant oneiric blue tone, or shooting an intimate scene, her reencounter with her best friend, in mid-shot; or counterpointing action with a contrasting soundtrack…
Aranguibel: It’s key what you’re saying. The early episodes hint subtly at the trauma which leads to her deafness. Not being able to hear transforms her, closes her into herself. It’s one key to the series told by such a present and personal narrator. The original idea came from Diego Lerner, president of Walt Disney Company Latin America. He has a direct connection with people who suffer deafness and with an organization in Argentina.
It was Diego’s idea to work around the theme of deafness and the transformation of a fragile, lost woman; how she finds empowerment and encounters herself and transforms her world.
Tiscornia: The implant and deafness in general hadn’t really been treated in many series. We now have “Sound of Metal” but it’s one of the original aspects of the series….
You teamed with Pampa Films for “Monzon,” Leonardo, which set a new bar in Latin America, I think, for its sound design and soundtrack….
There are various throughlines with “Monzón.” It’s the same production house, Argentina’s Pampa Films. And the composer’s the same, Sergei Grosny. Given Sofía’s hypoacoustic, the soundtrack in “Limbo” can have even larger narrative importance than in “Monzón.” It’s a beautiful piece of work, turning on when Sofía connects and turns off her implant.
Opening Ceremony – Ceremonie d’ouverture assists the Pink Carpet during the 4th annual Canneseries at Palais des Festivals on October 8, 2021 in Cannes, France.
Olivier VIGERIE / Canneseries 2021
Olivier Vigerie
Limbo is a genre-changing game. Part 2 — Games on DTF
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views
Introduction
This is the second article where I analyze the unique and interesting design solutions in the game Limbo . If you have not read the first part, I recommend that you first read it, and then continue reading here. We will now look at aesthetics of exquisite Limbo game.
In addition to the fixed aesthetics, here the aesthetics of the cultural level of the multi-level tetrad will be touched upon — the aesthetic results of fan creativity (films, fan fiction, covers and remixes, etc.)
•Visual design
You (and everyone who has played Limbo) have noticed that this game is in monochrome black and white. This visual style affects the «gray» atmosphere of the game.
Limbo, by the way, received an award in the nomination « Best visual style «. The decision to use this style was innovative for the industry (although there was not much choice, because the engine only supported monochrome). Popular games prior to Limbo were bright, positive, and playful. Limbo from the first minute shows that this place is full of danger, fear and suffering. nine0003
In general, the world is rather empty. We again see how level designers have been guided by minimalism when designing levels. They always have a minimum number of objects; only the essentials .
Light plays a very important role in the game. Firstly, the background filled with a gray glow, from which it is always blurred, is the main source of light. Secondly, GG has white glowing eyes. It is this element that distinguishes the boy from all the other children that we will meet throughout our journey. Because of this, the GG feels more real. Such a background and eyes create an obvious contrast between the GG and the setting, suggesting that he does not belong to this world.
Thirdly, white color and light glow have important objects : worms, butterflies, dangerous sign lighting, etc.
• Sound Design
If you ask about music, many will answer that it is not there. But this is not true. Sound effects and musical accompaniment are one of the most interesting elements of the game. So far, no one (at least I don’t recall) has used acoustic music in games, in particular music that is gathered from ambient sounds.
The sounds were created using old analog equipment and the sounds were run through old tape recorders (wire-recorders and tape-recorders). nine0009 Martin Stig Anderson (sound designer) said «the whole concept of the visuals» is to blur the horizon so the player can «project their own stuff into space». He adds: « I tried the same thing with sound — you start hearing things that isn’t.»
The soundscape and acoustic music create a continuity between representational and abstract sound, thus ignoring the traditional boundary between sound design and music.
This facilitated a smooth transition between diegetic and non-diegetic spaces. Arnt Jensen wanted the sound to suggest a distant, shrouded and secret world, which was in line with Martin’s ideas. Now, playing Limbo, we see that s sound accompaniment is not separated from the diegetic space (Diegesis), , but interacts with it and the player in every possible way (emphasizes the atmosphere, touches the emotion of the scene, announces events). But if you listen closely, it is still a separate world that gives you one more food for thought.
This sound and visual design together creates a disturbing uncertainty throughout the game. But it also affects the plot.
•Story and plot
nine0007
You play as a little boy who has gone to Limbo looking for his sister. Again, previous games have used strong, hardy GGs, further distinguishing Limbo from its predecessors.
Here you will meet many dangers. The main enemies are children, spiders and the environment itself.
Critics noted that the game is quite brutal — everything is trying to kill you. There will be several spiders on your way (this is due to Jenson’s arachnophobia), there will always be traps set by children: spikes, traps, burning tires. However, it is not always clear who these traps are intended for. In any case, when they meet children, they will run away from you, after an attack or defense. You can die drowning even in a small hole. There is an assumption that this world is the embodiment of the fears of GG. Spiders are arachnophobia, children are social phobia, water is hydrophobia. nine0003
Limbo lacks an explicit storyline. There is little direct narration, but this is compensated by the hints of the environment (both the elements of the level themselves and the background, which often changes due to the actions of the player) of which the level consists. For example, in the first part of the game, you will often meet hanged children.
Maybe they had fun themselves… Maybe they were killed by other children.
.. One can only guess.
One of the hanged kids you’ll see
Of course, an open ending plays a significant role, which only fuels interest in the plot, and generates even more assumptions. So we smoothly move on to cultural aesthetics.
The final. The boy approaches his sister, after which the frame changes to a dark screen
Cultural aesthetics
When a person, after playing a game, decides to replay it, watch a YouTube video, or read an article about it (like this one), this indicates an interesting elaboration of the world and the omission of some details of the story. I call this the «understatement principle». nine0003
Limbo is a game that has generated a lot of theories and reasoning, based on which a lot of content has been filmed. It is not my main task now to discuss these theories separately. Plus, it’s quite long. You can find information about it yourself if you are interested.
I want to say that the game designer, although not in control of cultural aesthetics, is still responsible for it . It is his work that influences what will be the results of the artistic activities of the fans. It is worth remembering always! nine0003
Conclusion
The game fully deserves all its awards and accolades. It is well worth your 3-4 hours of your time. And with that I will end. I hope you liked it. Thank you for reading my work and…
See you soon! 🖖🏻
P.s.: you can subscribe to my telegram channel «GAME DESIGN — art», in which I publish articles, posts about game design, games and much more.
First details about Limbo 2
On the website of the Danish Film Institute, in the list of games that were funded by the institute, there was a concept art and a small description of a new game from the Playdead studio, which is codenamed Project 2.
On the website of the Danish Film Institute, in the list of games that were funded by the institute, there was a concept art and a small description of a new game from the Playdead studio, which is codenamed Project 2.
While it is difficult to say for sure whether Project 2 will be a sequel to the original Limbo game. The Danish publication Politiken calls Project 2 the ideological heir to the aforementioned game.
The source writes that this is a color 2.5D platformer that tells the story of a boy’s struggle with the forces of Evil, who are trying to enslave the planet with the help of various experiments with human bodies. The site also says the game is being made for PC, Mac, PS3 and Xbox 360.
It’s worth adding that Playdead started to create a new game in the fall of 2010, noting that they would need about three and a half years, so if nothing changes, the release will not occur until 2014. nine0003
2012-06-14 13:01:00
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