He wasnt there

>he wasnt there

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2012 was better, Diniz will always be Sup Forums's darling now tho

I was at work dumbass, wanted to watch it on the side but couldn't really. Post webms.

>he saved that shitty picture

I was my friend, I was...

post a better one you fucking gypsy scum

>he didnt save the better pic

Just remembering about this but did the guy who pushed some other guy actually received some kind of penalty for it?

Here you go lads

I was. One of my posts is in the other picture.

He got DQ'd but then deDQ'd later.

>[Muffled Austin Powers Theme in the Background]
i definitely could race walk to that
youtube.com/watch?v=T5ALPzS0QfQ

How will Tokyo 2020 compete? I bet no one will even shit themselves

>Tallent won't ever be disqualified
>AusJOGS

I lost my sides when it actually started playing during the deathmarch

Instantly makes the racewalking 500% sillier looking

based scv

can't prevent tallent

>being NEET

2012 was better

this year was forced

I feel that Death March 2012, while a genre-defining classic by any stretch of the imagination, is overshadowed by 2016 in a number of ways--though they may not be obvious upon first viewing.

Firstly, 2016 tells a more minimalist, personal story, as opposed to 2012's grandiose, tour-de-force epic. The deaths and casualties in 2016 are fewer and more infrequent than in 2012, but each victim feels more personal, realistic and raw--and thus, more meaningful. Who can forget when the Ireland guy went down surprisingly early, only for an user, as if destined by God, bantered "An Irishman passing out on the street at 8 in the morning... who would have thought" (paraphrased).

Indeed, this overarching theme of divine providence can be felt throughout the entire piece. Our setting is Rio de Janiero--Brazil's alleged City of God--and throughout the race we periodically glimpse a BR huemonkey spectator toting a sign that reads "JESUS = HEAVEN NO JESUS = HELL". This sort of subtle religious commentary adds a spiritual, vaguely apocalyptic dimension to the proceedings that its predecessor lacked.

The most profound difference between Rio and London, though, is the significantly more well-conceived and executed storytelling and characters. We are initially introduced to French walker Yohann Diniz as a classic antagonist--the cocksure, excessively French world-record holder who easily leads the pack and dominates the race early on. Meanwhile, the underdog Cho Cho is introduced as our protagonist. However, conventional storytelling structures are brilliantly subverted when Cho Cho receives a DQ for violating one of the sport's nebulous, poorly enforced rules. Almost simultaneously, the previously invincible Diniz shits himself and proceeds to collapse in a heap on the side of the road. What follows is an electric, pulse-pounding thrill-ride that entertains, shocks and delights without sacrificing an ounce of artistic integrity.

Also worthy of praise is the film’s improvement over 2012 on a technical level. Clearly the NBC camera crew are a group of absolute madmen that are dedicated to producing the highest quality obscure quasi-sports broadcasting content, and their efforts shine through here like the blood-feces confection glistening on Diniz’s skin in the hot Braziilian sun. Combining these improvements with a hint of David Lynchian experimentalism and surrealism—at one point, the Austin Powers theme is inexplicably broadcast during the competition for absolutely no reason whatsoever—and the end result is an unforgettable experience that any movie-goer would be loathe to miss.

So, Mike, what did you think of: Death March 2016: Dead Man Rising?

YOU WANNA KNOW HOW I DID IT? THIS IS HOW I DID IT DINIZ, I NEVER SAVED ANYTHING FOR THE WALK BACK
youtu.be/eCQ5WE3mUOA