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I just finished rewatching Prometheus after Covenant inspired me. The main thing that jumped out at me: the "Engineer Pyramid" is variously described as a mountain, a tomb, and a weapons facility, but none of them quite fit. The pyramid is a dead ringer for the Sanchi Stupa, a place of meditation that allegedly contains the remains of the Buddha Siddhartha. The very urn-like imagery of the goo capsules, and the fact that the sacrificial engineer from the opening turns into a similar goo, really backs up the idea of the whole place as a stupa to me. I don't have a handle on what that would mean, or where the great disaster that destroyed its inhabitants fits in, but any explanation or analysis I might come up with would need to revolve around that. Does this fit in with what other people have said about the movie? I see bits and pieces of this same imagery shining through in Covenant, though I'm having a hard time expressing it, and a major character wiping out the people involved and lying about what happened the whole time doesn't help.
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Jun 26, 2017 03:51
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I've always thought it was cool that the Space Jockey's wreck was described as a "haunted house" so the next logical step of that is a whole advanced culture based around funerary architecture. The stupa connection is interesting to me, but the colossal burial mound is definitely not the domain of any particular civilization or religious custom. What it does bring to mind to me is the Victorian fascination with pseudoantiquity/classical trappings, which of course is reactionary pessimism. Only the past or the imagined past was good, and the present is pointless. In the engineer's heaven, they dress like monks or shepherds to aestheticize this philosophy. Their laboratories look like mausoleums. They definitely listen to New Order.
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Jun 26, 2017 04:31
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Pointless, or degenerate
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Jun 26, 2017 04:40
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But more wonderful than the lore of old men and the lore of books is the secret lore of ocean. -H.P. Lovecraft Alien: Covenant is not a movie about the origin of the Xenomorph. Alien: Covenant is not a movie about David overthrowing his masters. Alien: Covenant is not even a movie about Avatar. Alien: Covenant is a movie about Ridley Scott looking back and realizing the monstrosity that has formed in the wake of his original sin - Alien, the 1979 cinematic masterpiece about working class space truckers trapped between an immovable object (the Xenomorph) and an unstoppable force (Weyland-Yutani) - shined bright - oh, so bright. What Alien 79 spawns in it's wake is a wholly organic monstrosity of films, comics, games, toys, novels - and it would go on to influence the arts for decades to come. In games alone, SuperBunnyHop details just how far Alien infects videogames in a nice 9 minute roundup: https://www.youtube.com/watch?v=iYtQmayyDLA The behemoth, Ridley Scott, awakens from his slumber. He looks down upon the mountaintop and sees what the villagers have created. He looks down in abject horror. The simpletons - Cameron, with his Aliens, made an action film. A genre-defining science fiction action flick. Out of my horror classic? You monster. Aliens: Colonial Marines is what? What is this mess you have left in my wake? In these decades, there is an Alien canon? You plebeians. You monsters. Ridley succumbs to an almost Lovecraftian horror as it infects his mind, realizing his creation has been stripped from him, and has spawned infections that go beyond anything his simple mind could possibly conceive. They've gone and they've ruined Alien. These bastards. The world is indeed comic, but the joke is on mankind. -H.P. Lovecraft And thus, Ridley Scott unleashes Prometheus. A jab back at the humans who have taken his masterpiece and created a monstrosity. The smartest men and women travel across the galaxy in pursuit of the "canon" origin of humanity, and stumble over themselves in a Benny Hill esque fashion, whether being crushed by a giant wheel or having their spacesuit melted through. It's darkly funny, and they are ridiculed by David, the Mary Sue self-insert for Ridley Scott, the all-seeing enlightened one, disgusted with what humanity has become. As he jets off with Shaw in the Engineers' ship at the end of Prometheus, only David/Scott know the truth of their mission. Shaw is immediately cast off before the actual film, a footnote to kickstart Covenant's story. This was never about Shaw or finding answers. This was about David/Ridley taking back what was once his - here's your loving xeno, I do declare. This is my Alien now. Horrors, I believe, should be original - the use of common myths and legends being a weakening influence. -H.P. Lovecraft Alien: Covenant is a Lovecraftian film in the sense that it does not take place within our known galaxy, it does not take place on Origae-6, it does not even take place on our physical plane. Alien: Covenant is a film that takes the audience into the mountains of madness and into the psyche of Ridley Scott himself - reeling within the horrors of the post-Alien world he realizes he now exists within. His self-insert Mary Sue, David, hovers over the Engineers, the Keepers of the Canon, all those creators who have birthed the fictional universe that Alien: Covenant slots itself into between Prometheus and Alien '79 - and brutally exterminates them. This is Ridley's darkest fantasy - undoing everything that has leeched off the symbiotic relationship between them and his precious masterpiece. David/Ridley are experimenting on the black goo, and see all the humans in the universe as disposable, fodder for his creative genius. With Not-Ripley, and the rest of the crew of the colony ship, on a colonialist mission to infect some other, pristine, untouched world of pure imagination, are lured off-course and dragged into the darkness of Ridley's psyche. As they set foot on this new world looking for answers, one of the crewmembers is infected with the black goo through his ear, his mind now corrupted and subject to the terrors David/Ridley seek to inflict on these human cattle. What we are now forced to endure is a wibbly-wobby, timey-wavey Eldritch nightmare where all we thought we knew about the Xenomorph is thrown out the loving window. The chestburster scene ends with a baby xenomorph erupting from one of the crewmembers' chest, as David/Ridley watch on with near orgasmic glee - "ah, I have created this. This, this is mine now. Nobody else's." Where is the chestburster? Why is it fully formed into a tiny xenomorph? Why is this weirdly passive and comforting music playing in the background? The process of delving into the black abyss is to me the keenest form of fascination. -H.P. Lovecraft We are not in the world with the rules we know, we are in Ridley's mind. There are no rules, no established conditions for the scary monster and are left uncertain of what to expect. The consensus is gone. David/Ridley have reclaimed Alien, and the Xenomorph. What now will he do with this original seed, free to seek out whatever infinite horrors with his toy now returned? This is the true horror of the film, this is the true nightmare inflicted, and what the audience are left to witness - Ridley Scott, throwing all the rules and logic out the window, creates what is largely a derivative. The xenomorph is CGI and loses its bite. The old tensions and fake-outs don't deliver the same thrills as they're supposed to. Ridley Scott manages to create Alien: Greatest Hits and fails to realize the true brilliance of the previous glory he once held. An audience hoping to see Ridley succeed, leaves the theater empty, and distanced. The man has his old toy again, and in his hands is stuck living past glories instead of bringing us to new ones. As the Covenant sequel gets greenlighted, general audiences and hardcore fans are left less than satisfied - why are we shoehorning Fassbender into the origin story of the Xenomorph? Why do I lack even disdain for these human characters that I once held in Prometheus? Alien: Covenant is a tragedy about a man lost in his quest to pursue that spark of original creation, and in the end, lost in the infinite murkiness of familiarity. Gazing upon the infinite plateau of the extended universe that has followed Alien '79, Ridley Scott looks on in horror, and embarks on a quest to reclaim what was once his. In this journey, he fails, his greatest achievement now trapping him in a cocoon, a infinite complex of extended universes now spawning from his chest - the sequels of Alien: Covenant and Ridley's attempt to tie the black comedy Prometheus to the horror classic Alien '79 never reaching the same glory of nearly four decades ago, and in some ways inferior to extended universe tales such as Earth Hive. Ridley Scott has locked himself within a prison of creation, and as the audience peeks inside, we find only a man who has lost the plot. Taintrunner fucked around with this message at 08:59 on Jun 26, 2017 |
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Jun 26, 2017 08:51
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where did you copy/paste that from
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Jun 26, 2017 08:58
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Taintrunner posted:But more wonderful than the lore of old men and the lore of books is the secret lore of ocean. -H.P. Lovecraft This is remarkable on that nearly every response to the film it presents is attributed to Scott, the creators and fans of derivative works, the general audience, and the hardcore fans. Obviously what is being presented is your own reaction, but filtered through a series of imagined external perspectives until the very end. I get the impression that you feel that Scott has seized this insane, presumptuous power by reclaiming his work from fandom, and that you actually admires this, but that his doing so is fatal hubris without an essential spark which brings his vision into a state of creative unity with the various aspects of "the audience." I read the quotes by Lovecraft as ironic commentary on your own thesis. Lovecraft preferred writing for himself, not for the audience.
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Jun 26, 2017 09:16
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Why do you guys keep thinking that these movies are about nerd fandom? I know you guys were once frequent or currently are frequent consumers of that media, but Ridley Scott is probably barely aware of that poo poo. I think it's more fair to say that these movies are just Ridley exploring his religious views. I know the post was meant to be funny but that is a common sentiment in this thread.
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Jun 26, 2017 09:19
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Ridley Scott has said that the reason he put then Alien in the movie was because of the "good response to Prometheus on social media, except that everyone wanted the Xenomorphs back" Which is funny because neither is true.
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Jun 26, 2017 09:22
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CelticPredator posted:Ridley Scott has said that the reason he put then Alien in the movie was because of the "good response to Prometheus on social media, except that everyone wanted the Xenomorphs back"  That's like a Trump tweet level of denial!
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Jun 26, 2017 09:35
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There has always been quite a level of denial here.
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Jun 26, 2017 09:55
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Attributing everything to a single person - the director, Ridley Scott, I think, takes away from recognizing the immense creative talent of other artists that's behind the successss of the Alien movie and it's sequels.
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Jun 26, 2017 11:04
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Monglo posted:Attributing everything to a single person - the director, Ridley Scott, I think, takes away from recognizing the immense creative talent of other artists that's behind the successss of the Alien movie and it's sequels. Lindelof definitely had a big influence on Prometheus. It fits pretty snugly into his oeuvre
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Jun 26, 2017 13:50
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Whatever level of denial Ridley has to go to in order to keep cranking out these movies, I'm all for it.
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Jun 26, 2017 14:49
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DeimosRising posted:Pointless, or degenerate Either really.
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Jun 26, 2017 15:15
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You guys have the wrong movie, Scott was only in denial for Exodus.
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Jun 26, 2017 15:29
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Shanty posted:You guys have the wrong movie, Scott was only in denial for Exodus. Nah, I'm pretty sure he knows that very few people saw/liked Exodus. Personally I thought it was ok, not really bad enough to deserve all the hate it got(other than the white-washing complaints).
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Jun 26, 2017 15:34
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Basebf555 posted:Whatever level of denial Ridley has to go to in order to keep cranking out these movies, I'm all for it. Dude's 79 years old. His experience with social media is probably his grandkids saying "see this is called Twitter, see all the nice things people are saying about your movies?"
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Jun 26, 2017 15:46
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Guy A. Person posted:Dude's 79 years old. His experience with social media is probably his grandkids saying "see this is called Twitter, see all the nice things people are saying about your movies?" I'd say that any director, regardless of age, would be wise to isolate themselves from social media as much as possible. At least as it relates to their own work, but the best thing is probably to ignore it all together.
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Jun 26, 2017 15:51
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Yeah for sure. I just think "denial" is probably the wrong word, I think he only has the vaguest idea of what is happening on social media re: his last two Alien movies
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Jun 26, 2017 15:53
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Hodgepodge posted:This is remarkable on that nearly every response to the film it presents is attributed to Scott, the creators and fans of derivative works, the general audience, and the hardcore fans. Obviously what is being presented is your own reaction, but filtered through a series of imagined external perspectives until the very end. Yeah, for real. Like, most of it is this bizarre fantasy about an old English guy none of us have ever met, but then you stumble across bits like this: Taintrunner posted:The chestburster scene ends with a baby xenomorph erupting from one of the crewmembers' chest, as David/Ridley watch on with near orgasmic glee - "ah, I have created this. This, this is mine now. Nobody else's." Where is the chestburster? Why is it fully formed into a tiny xenomorph? Why is this weirdly passive and comforting music playing in the background? Taintrunner posted:We are not in the world with the rules we know, we are in Ridley's mind. There are no rules, no established conditions for the scary monster and are left uncertain of what to expect. The consensus is gone. David/Ridley have reclaimed Alien, and the Xenomorph. What now will he do with this original seed, free to seek out whatever infinite horrors with his toy now returned? This is the true horror of the film, this is the true nightmare inflicted, and what the audience are left to witness - Ridley Scott, throwing all the rules and logic out the window, creates what is largely a derivative. The rules! He's ignoring the rules! He got it all wrong! He's doing this to spite me!
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Jun 26, 2017 17:31
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Guy A. Person posted:Dude's 79 years old. His experience with social media is probably his grandkids saying "see this is called Twitter, see all the nice things people are saying about your movies?" Ridley actually seems a lot more open to new things than most old people. He says dude all the time. He seems like a chill guy.
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Jun 26, 2017 18:20
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Taintrunner posted:[Way too many words.] I went through your entire rambling post and isolated the parts where you actually talk about the film. This was all I could find: Taintrunner posted:Alien: Covenant ... does not take place on Origae-6 ... The xenomorph is CGI ... That part is true. Covenant takes place on a different, unnamed planet.
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Jun 26, 2017 18:49
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CelticPredator posted:Ridley actually seems a lot more open to new things than most old people. He says dude all the time. He seems like a chill guy. He's also a producer first and foremost. When he's talking about positive reception on Twitter/etc., I mean polarizing or not do you remember the mega-hype for Prometheus on social media? Covenant wasn't as strong but people were still super excited once that trailer dropped. The movie's going to suck because the we see the Alien in broad daylight or "oh no CG" was only a thing on this and some other forums. Folks were excited. It wouldn't surprise me if he's talking more in those terms of build up to the opening weekend and just that they were being talked about constantly and passed whatever benchmark $$$ he had in his head for them. But even then with Prometheus, like 90% of people I ever spoke to where it came up in a conversation, if they weren't a mega-Alien-fan they were just like "oh yeah it was alright the squid scene was crazy, I loved the robot." And that's not a knock against what people's ability to critique a film or whatever, just outside of turbonerd circles I don't think these movies were nearly as divisive as we make them out to be here. Neo Rasa fucked around with this message at 21:22 on Jun 26, 2017 |
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Jun 26, 2017 21:18
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Ferrinus posted:The rules! He's ignoring the rules! He got it all wrong! He's doing this to spite me! It is not a coincidence that David wipes an entire planet of engineers and then the film proceeds to throw out any established knowledge or rules about the xenomorph in service of a film that is largely derivative of previous works. On Ridley Scott's return to purestrain Alien, he makes an effort to not only a) wipe an entire planet full of creators, but also b) utterly make up poo poo about anything fans might bring with them about the xenomorph and how they work. All of this is, again, in service of creating what is largely Alien: Greatest Hits instead of a meaningful or even rewarding story with the tools of the Alien universe. Where I have read the film, the cultural context it exists in, and statements of the director regarding his feelings on the works that have followed Alien, as well as posts within this very thread, including one suggesting he is "stunting on 'dem hoes," implies a level of spite that must be read in order to properly comprehend the work. SuperMechagodzilla posted:I went through your entire rambling post and isolated the parts where you actually talk about the film. This gimmick is getting tired and people are starting to get sick of it. In my time here and looking at how your style of reading film has infected this forum, the fatal flaw is that you and others use this toolset of critical reading to lionize directors, imagining a creative space free of constraints, personal flaws, or anything that might suggest a film or the director behind it could have ever done anything wrong. It's a near utopian fantasy of artistic fervor that does not line up with reality and the demands of Hollywood blockbuster manufacturing, and wastes thousands of words for near monolithic interpretations of cinema that is targeted almost exclusively at emotionally stunted adult children. A legitimizing of the infantile, so bloated with baby fat that when someone else attempts to read the film or engage with your reading of the film in a critical manner, your reflex is "buuhh you're rambling you didn't talk about the film i'm talking about the film write better or get out buuhhh buuugghhh" like a little babby and it's just exhausting. If you disagree with my reading of the film then actually engage with that reading of the film. If you can't handle someone looking beyond the text of the film itself and incorporating aspects from the larger cultural discourse around the work to extrapolate a critical read of the film and what it represents, especially as people in this very thread have debated the Lovecraftian connections to the horror of Alien, then I don't know what to tell you. I did not like the film, but I found a greater appreciation of it and what it represents by sitting and thinking about my dislike of the film and it's faults as an inferior derivative of previous greats. If your only accepted ideal of reading cinema ends in simply lionizing every director of the endless nerd property schlock factory as some sort of masterpiece subversive intellectual galactic brain, then it's quite simply inherently limited and tunnel-visioned. If you really want people to see films the way you do and engage with them critically on whatever level you see yourself engaging with cinema on, then you should do so in a more constructive, and less condescending fashion.
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Jun 26, 2017 22:46
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Taintrunner posted:It is not a coincidence that David wipes an entire planet of engineers He doesn't do this tho. He wipes out a planet seeded by the Engineers. And "wipe out" isn't even correct. He's accelerated the biological hierarchy on the planet, as there are still goo created creatures inhabiting the planet (as evidenced by David's grotesquerie) by the time the Covenant crew shows up. ruddiger fucked around with this message at 22:55 on Jun 26, 2017 |
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Jun 26, 2017 22:52
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Taintrunner posted:This gimmick is getting tired and people are starting to get sick of it. In my time here and looking at how your style of reading film has infected this forum, the fatal flaw is that you and others use this toolset of critical reading to lionize directors, imagining a creative space free of constraints, personal flaws, or anything that might suggest a film or the director behind it could have ever done anything wrong. It's a near utopian fantasy of artistic fervor that does not line up with reality and the demands of Hollywood blockbuster manufacturing, and wastes thousands of words for near monolithic interpretations of cinema that is targeted almost exclusively at emotionally stunted adult children. This is way off; SMG definitely never focuses on "lionizing directors". He keeps saying to read the films themselves precisely in contrast to talking on and on about what we assume the filmmakers intended (and also to get away from what you and I are doing right now, posting about posting). Lord Krangdar fucked around with this message at 22:54 on Jun 26, 2017 |
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Jun 26, 2017 22:52
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Taintrunner posted:It is not a coincidence that David wipes an entire planet of engineers and then the film proceeds to throw out any established knowledge or rules about the xenomorph in service of a film that is largely derivative of previous works. On Ridley Scott's return to purestrain Alien, he makes an effort to not only a) wipe an entire planet full of creators, but also b) utterly make up poo poo about anything fans might bring with them about the xenomorph and how they work. All of this is, again, in service of creating what is largely Alien: Greatest Hits instead of a meaningful or even rewarding story with the tools of the Alien universe. Where I have read the film, the cultural context it exists in, and statements of the director regarding his feelings on the works that have followed Alien, as well as posts within this very thread, including one suggesting he is "stunting on 'dem hoes," implies a level of spite that must be read in order to properly comprehend the work. Okay, first off it can't be largely derivative of previous works if it throws all the rules and conventions out the window. Second, I don't think "a planet full of creators" is at all correct here because those dudes were wearing cassocks and holding their hands up in worship to David's ship. They weren't the exosuit-wearing starship pilots encountered in Prometheus. Third, I can't parse "makes an effort to utterly make up poo poo about anything fans might bring with them about the xenomorph and how they work". All I get is anger on your part about a lack of respect for "the Alien universe". But there was never such a thing, and it's not some kind of personal insult or act of spite to fail to pretend that there is.
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Jun 26, 2017 22:52
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Taintrunner posted:If you disagree with my reading of the film then actually engage with that reading of the film. If you can't handle someone looking beyond the text of the film itself and incorporating aspects from the larger cultural discourse around the work to extrapolate a critical read of the film and what it represents, especially as people in this very thread have debated the Lovecraftian connections to the horror of Alien, then I don't know what to tell you. You haven't written about your reading of the film. You've written ten paragraphs of Ridley Scott fanfiction.
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Jun 26, 2017 22:53
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HUNDU THE BEAST GOD posted:I've always thought it was cool that the Space Jockey's wreck was described as a "haunted house" so the next logical step of that is a whole advanced culture based around funerary architecture. The stupa connection is interesting to me, but the colossal burial mound is definitely not the domain of any particular civilization or religious custom. What it does bring to mind to me is the Victorian fascination with pseudoantiquity/classical trappings, which of course is reactionary pessimism. Only the past or the imagined past was good, and the present is pointless. In the engineer's heaven, they dress like monks or shepherds to aestheticize this philosophy. Their laboratories look like mausoleums. They definitely listen to New Order. This is something I had not considered, that the planet in Covenant is not the Engineer's homeworld, but a place that they have carefully cultivated to be paradise. What David destroyed is their utopia, but not their entire civilization. This does make the original title "Paradise Lost" make more sense. He is the serpent. Lord Krangdar posted:This is way off; SMG definitely never focuses on "lionizing directors". He keeps saying to read the films themselves precisely in contrast to talking on and on about what we assume the filmmakers intended (and also to get away from what you and I are doing right now, posting about posting). SMG basically calls anyone who reads a film differently than him a moron or accuses them of not reading the film correctly, as if SMG's reading is the only correct take. His posting is a fun gimmick, but it gets a little old after a while and really tends to derail any conversation about a film. SimonCat fucked around with this message at 22:58 on Jun 26, 2017 |
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Jun 26, 2017 22:55
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HUNDU THE BEAST GOD posted:I've always thought it was cool that the Space Jockey's wreck was described as a "haunted house" so the next logical step of that is a whole advanced culture based around funerary architecture. The stupa connection is interesting to me, but the colossal burial mound is definitely not the domain of any particular civilization or religious custom. What it does bring to mind to me is the Victorian fascination with pseudoantiquity/classical trappings, which of course is reactionary pessimism. Only the past or the imagined past was good, and the present is pointless. In the engineer's heaven, they dress like monks or shepherds to aestheticize this philosophy. Their laboratories look like mausoleums. They definitely listen to New Order. The Engineers' creations listen to New Order. The Engineers themselves only listen to Joy Division.
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Jun 26, 2017 22:57
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SimonCat posted:SMG basically calls anyone who reads a film differently than him a moron or accuses them of not reading the film correctly, as if SMG's reading is the only correct take. His posting is a fun gimmick, but it gets a little old after a while and really tends to derail any conversation about a film. True or not, that's not relevant to the accusation that his shtick is all about "lionizing directors" and saying they can never do anything wrong. The reading of the film SMG put forth centers around seeing David and Walter as two aspects of the same character, and the idea that the monsters and hazards of the planet can be seen as an externalization of the tensions between the couples on the Covenant. It is not all about praising Ridley Scott or calling other posters morons, and any derailing is coming from interactions between posters and can't be pinned on any one person.
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Jun 26, 2017 23:02
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SimonCat posted:This is something I had not considered, that the planet in Covenant is not the Engineer's homeworld, but a place that they have carefully cultivated to be paradise. What David destroyed is their utopia, but not their entire civilization. This does make the original title "Paradise Lost" make more sense. He is the serpent. What I want to know is, what were they expecting, if not David?
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Jun 26, 2017 23:10
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If anyone here is a fan of alien and has an audible account then I suggest getting the audiobooks for Out of the Shadows and river of pain. They are played as audio dramas with multiple actors and a spot on Sigourney Weaver impersonator.
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Jun 26, 2017 23:14
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HUNDU THE BEAST GOD posted:What I want to know is, what were they expecting, if not David? David came in an Engineer ship, so they probably expected the actual Engineers.
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Jun 26, 2017 23:19
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Lord Krangdar posted:David came in an Engineer ship, so they probably expected the actual Engineers. Yes, I know. But what were they waiting for? It didn't seem like a "hail the conquering hero" kind of thing, unless they are truly desperate for meaning.
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Jun 26, 2017 23:23
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HUNDU THE BEAST GOD posted:Yes, I know. But what were they waiting for? It didn't seem like a "hail the conquering hero" kind of thing, unless they are truly desperate for meaning. Perhaps "Paradise" is the Engineer's equivalent to the Island. Like, all the blue guys on the ground are groomed to want to be a sacrifice of the type shown at the beginning of Prometheus.
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Jun 26, 2017 23:29
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HUNDU THE BEAST GOD posted:Yes, I know. But what were they waiting for? It didn't seem like a "hail the conquering hero" kind of thing, unless they are truly desperate for meaning. Well in Prometheus the existence of the star map hieroglyphics that Shaw found implied that at one point humanity and the Engineers co-mingled and communicated at least somewhat amicably. So maybe that's the sort of relationship the Juggernaut-riding Engineers had with the people of that planet.
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Jun 26, 2017 23:37
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HUNDU THE BEAST GOD posted:Yes, I know. But what were they waiting for? It didn't seem like a "hail the conquering hero" kind of thing, unless they are truly desperate for meaning. The opening scene of Prometheus always made me think that there was some other alien race that the engineers worshiped and which had passed the black goo onto the engineers - it always looked to me like the design of the spaceship disappearing into the clouds as that dude drank from his cup was different from that of the rest of the engineers. Now it looks like the engineers themselves are dramatically divided, with like some kind of sacrificial underclass of robe-wearing dupes who are unknowingly revering their own kinsmen as gods.
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Jun 26, 2017 23:38
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HUNDU THE BEAST GOD posted:Yes, I know. But what were they waiting for? It didn't seem like a "hail the conquering hero" kind of thing, unless they are truly desperate for meaning. Porn. They were promised that one day, porn would be delivered unto them by the gods.
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Jun 26, 2017 23:39
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HUNDU THE BEAST GOD posted:What I want to know is, what were they expecting, if not David? The ones we see in Prometheus are way more advanced and you don't see them from behind often but they have bio-mechanical stuff built into them for their armor to connect to and stuff. This made me figure that whoever the main creators are, they had these more advanced engineers as liaisons between them and their (or the engineers themselves') creations. It could also just be that the engineers are extremely ancient to the point where this planet is some forgotten backwater or whatever, but I think they were really expecting that engineer ship to come back and have ones similar to who we see in Prometheus on it. To go into fan-fiction/headcannon territory, I also thought that maybe what's going on is each of these worlds is like petri dish, and the same way so many of our myths involves one singular badass who "ascends," maybe they pop in every couple of years to see if whatever their version of a single ultimate best life form is has appeared for them to take back. Hodgepodge posted:Porn. They were promised that one day, porn would be delivered unto them by the gods.  Black space, a massive, alien craft slowly drifts across our plane of view in the distance. Close up of the ship approaching head-on. A shot of the interior, mechanical hum, a computer activates and a massive, elephantine-armored being awakens from his bio-mechanical cockpit. The heartbeat of the ship gets louder as it comes to a halt, the massive figure activates a panel and a file inexplicably written in English appears, "tubgirl.jpg." As the file begins to load but is suddenly corrupted and unviewable. The god-alien sets a new course on his ship, as the camera zooms out to the ship's exterior and beyond we see its new direction. It's headed straight to earth. Smash cut to ALIEN: PORNOGRAPH LOST Neo Rasa fucked around with this message at 23:59 on Jun 26, 2017 |
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Jun 26, 2017 23:53
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