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howe_sam posted:So how does her getting irritated by the sound of the two pods rubbing together then cutting them down play into that? Honest question, no snark intended. Like Guy said, it could be Quill and his dad getting along obnoxiously, or how her affection towards Quill lets him effectively get on her nerves. This is also the point where Mantis and Drax are getting along well, so really any symbol of affection, like the two flowers rubbing, will actively piss her off, since she's in this moment of solitude/getting away from everyone/feeling alone. BravestOfTheLamps posted:Wow, maybe you're too enamoured with GotG's mediocre pop art. No. I do design for a living, and I draw and paint and do various things for different creative projects. GotG Vol. 2's design is solidly good with some great moments, and I really like it's color palette throughout. So when you say it's very bad, but don't really back it up with evidence, and you only say people are wrong when they're going out of their way to prove their points to you without being rude (excluding myself), it's very frustrating to me. I don't ignore people on SA, but you're going to be the first, because it's a fruitless endeavor to try and talk to you. And I really dislike being rude or an rear end in a top hat on these forums.
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Aug 28, 2017 22:04
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ThePlague-Daemon posted:Yeah, I saw that. I drew little lines around it. They wrap around and point at Gamora. The angles of parts of it match up with the action later in the shot, also. You missed the important part - the splash of colour is the actual field of action. This is why the whole circular movement is important instead of just things angling towards Gamora. It's even emphasised with the ship circling back to get inside the cave. Revised opinion: it's an average shot in the end.  e: Franchescanado posted:No. I do design for a living, and I draw and paint and do various things for different creative projects. GotG Vol. 2's design is solidly good with some great moments, and I really like it's color palette throughout. So when you say it's very bad, but don't really back it up with evidence, and you only say people are wrong when they're going out of their way to prove their points to you without being rude (excluding myself), it's very frustrating to me. I don't ignore people on SA, but you're going to be the first, because it's a fruitless endeavor to try and talk to you. And I really dislike being rude or an rear end in a top hat on these forums. I notice that you emphasise "design" as opposed to "composition" or "visual storytelling". The strength of the GotG movies's visual is their high level of technical polish, so yes, they are well-designed in that sense. But they're otherwise rather mediocre. This is reflected in the basic thematics: when summarizing what happens onscreen, people say fairly banal things about family and friendship. BravestOfTheLamps fucked around with this message at 22:21 on Aug 28, 2017 |
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Aug 28, 2017 22:06
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This movie sucked.
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Aug 28, 2017 22:09
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I think my only real complaint is that we're going on Thor 3 and Guardians 3 is happening and there still isn't a single Hawkind song on any of their soundtracks.
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Aug 28, 2017 22:12
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GoldfishStew posted:This movie sucked. Better or worse than your real doll?
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Aug 28, 2017 22:39
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GoldfishStew posted:This movie sucked. Do you actually have sex with real doll E; beaten!
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Aug 28, 2017 22:39
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The scene with Gamora running towards stage left looks like a sidescrolling video game, and hence is great. That was actually one of my favorite sequences in this movie for the fact that Nebula was willing to destroy her own spaceship just to take a few extra shots - you could really feel the antagonist's bloody-minded psychogamer tunnel vision.
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Aug 28, 2017 22:59
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BravestOfTheLamps posted:You missed the important part - the splash of colour is the actual field of action. This is why the whole circular movement is important instead of just things angling towards Gamora. It's even emphasised with the ship circling back to get inside the cave. The problem you're running into is that your highly reductive ideology means that if you concede the shot is good then you're on a slippery slope to thinking the movie is good. So you have to retreat to weird ideas that the shot is both "well designed" and "technically polished" (???) and "bad storytelling." Which is then circularly justified by claiming that people are stupid.
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Aug 28, 2017 23:15
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BravestOfTheLamps posted:You missed the important part - the splash of colour is the actual field of action. This is why the whole circular movement is important instead of just things angling towards Gamora. It's even emphasised with the ship circling back to get inside the cave. I'm actually just kinda not sure what the problem is so I'm just pointing out things that work about the composition.
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Aug 28, 2017 23:23
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porfiria posted:The problem you're running into is that your highly reductive ideology means that if you concede the shot is good then you're on a slippery slope to thinking the movie is good. You have a poin there. I'm probably too negative, but I think people are really overpraising at-best average shots and ignoring problems like flat compositions. porfiria posted:So you have to retreat to weird ideas that the shot is both "well designed" and "technically polished" (???) and "bad storytelling." Which is then circularly justified by claiming that people are stupid. GotG movies showcase the prowess of countless hard-working designers and artists, who have together created vast, intricate visual universes. Unfortunately, those visual universes are fundamentally banal in form and content. One might be struck by the intricate CGI used to generate Rocket Raccoon's fur, but Rocket Raccoon is really a rather boring character. You can contrast with something like the Hitch-Hiker's Guide to the Galaxy movie, which has stunning visual design work and a director with an aptitude for using it, but a GotG-level script that brings it down.  ThePlague-Daemon posted:I'm actually just kinda not sure what the problem is so I'm just pointing out things that work about the composition. I think I was too harsh on it, too. It's average. BravestOfTheLamps fucked around with this message at 23:45 on Aug 28, 2017 |
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Aug 28, 2017 23:29
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I really don't like how Man of Steel looks at all. BvS was much, much better. *throws down gauntlet*
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Aug 28, 2017 23:36
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CelticPredator posted:I really don't like how Man of Steel looks at all. BvS was much, much better. Where the f do you get off with this sh... no actually that's totally true. I mean I like MoS but BvS has some gorgeous visuals
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Aug 29, 2017 00:09
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Guy A. Person posted:It's been awhile since I saw it in theaters but if my theory of what is on her mind is correct: I would say it means she is annoyed with herself for being bothered by her separation from Quill, so she lashes out.
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Aug 29, 2017 00:34
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Guy A. Person posted:Where the f do you get off with this sh... But how do they compare to Hitchhikers Guide to the Galaxy?
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Aug 29, 2017 00:35
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ThePlague-Daemon posted:The Star Wars prequels and the Guardians of the Galaxy movies are both drawing inspiration from similar sources. Here's some Bob Eggleton paintings from the 70s Sci-Fi Art tumblr that have similar imagery or color choices: Those Eggleton posters are fantastic thank you
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Aug 29, 2017 00:39
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Yaws posted:But how do they compare to Hitchhikers Guide to the Galaxy? hmmm not sure I will have to find the scene in HGttG where the messiah figure sacrifices his life to destroy a dark version of himself so that I can properly compare
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Aug 29, 2017 02:03
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Guy A. Person posted:Where the f do you get off with this sh... Why does it bother you so much what I think?
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Aug 29, 2017 03:24
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CelticPredator posted:I really don't like how Man of Steel looks at all. BvS was much, much better. The box... you opened it, we came... 
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Aug 29, 2017 03:31
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Yeah Beavis looks neat.
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Aug 29, 2017 03:35
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CelticPredator posted:Why does it bother you so much what I think? Sorry maybe my tone was off, I was agreeing with you and just teasing with the first part, no insult intended
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Aug 29, 2017 03:42
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Guy A. Person posted:hmmm not sure I will have to find the scene in HGttG where the messiah figure sacrifices his life to destroy a dark version of himself so that I can properly compare   I R HELPED
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Aug 29, 2017 03:46
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Well it's nice of you to include an example of bad design. Just makes things easier. Other than making a "THROWS DOWN SUIT OF ARMOR" joke, I'm not enamored with this shot. Jor-el and Kal have about the same light level as the background and our eyes go down the hallway, ignoring the figures.
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Aug 29, 2017 03:48
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I do like how there's a subtle theme of 'And then what?' for most of the cast in GotGv2. Rocket is still acting like a short-sighted kleptomaniac even though she should know better, and Yondu, who is at the end of a long, long series of bad decisions, points it out. Drax may have transferred his vengeance from Ronan onto Thanos, but it's clear that he no longer has pure revenge to drive him, and instead basically adopts Mantis as a substitute daughter for the family he's lost, as well as spending most of the movie making dad jokes. Gamora and Nebula definitely have something to them as the children of an abusive parent finding common ground now they're out of their abuser's reach, Nebula's aggression falls away quickly when she realises she doesn't actually have to hold a grudge against Gamora despite all they've gone through, because she's actually sorry for what she's done and willing to accept forgiveness. The ongoing theme is that of people from abusive homes and/or horrible tragedies finding happiness and a sense of normalcy among each other, and the agency to stop cycles of abuse. Much like the intended visuals of the gold people's drone warfare arcade and the skeletons in the closet, this movie is not subtle. Which is cool. Subtlety is overrated.
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Aug 29, 2017 06:52
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Darth Brooks posted:Well it's nice of you to include an example of bad design. Just makes things easier. The effect is indeed supposed to be disorienting. This is why we're presented with a smash cut of Jor-El and Superman having walked down an alien environment. The hallway draws the eye because there's a cold gulf of space and time between them. I'm not sure why you think they have the same level of light as the background, because they're darker than the background with it's cold, clinical light. BravestOfTheLamps fucked around with this message at 08:44 on Aug 29, 2017 |
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Aug 29, 2017 08:02
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BravestOfTheLamps posted:The effect is indeed supposed to be disorienting. This is why we're presented with a smash cut of Jor-El and Superman having walked down an alien environment. The hallway draws the eye because there's a cold gulf of space and time between them. I'm not sure why you think they have the same level of light as the background, because they're darker than the background with it's cold, clinical light. Maybe its just a badly done scene, thoughtless and sterile?
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Aug 29, 2017 11:57
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LeJackal posted:Maybe its just a badly done scene, thoughtless and sterile? The sterility is a calculated effect because the scene is set in a cold, deadly, and haunted sepulchre-vessel of a civilization that was opposed to sex. GotG 2 is heavily influenced by Man of Steel, but lacks the same finesse.   There's the same emphasis on cold, organic technology with the decorative motifs:   Part of why it's less effective is because everything is presented at a distance, unlike in MoS, which has intimate, tactile feel to it: 
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Aug 29, 2017 12:29
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I'd argue that presenting it from a distance works better if you're going for an emphasis on cold, organic technology. Because the whole point is that this is the way one being sees other beings form a distance, you do not truly connect with the scene because Ego never truly connected with anyone. We get plenty of intimate sequences when the Guardians are among themselves because they do connect to one another on an emotional and familial level, in a way Ego never manages.
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Aug 29, 2017 13:36
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A lot of Ego is basically a desert outside his gaudy, colourful palace, too. Though deliberately making a disconnect with the scenery seems like one of those creative choices that's kind of indistinct from just having bad scenery.
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Aug 29, 2017 13:40
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Lord_Magmar posted:I'd argue that presenting it from a distance works better if you're going for an emphasis on cold, organic technology. I think it depends on the significance to the character, and which character in particular. Like, a lot of these GotG2 shots show the characters absolutely being dwarfed by what Ego's showing them, but you never really get a handle on what they must see, as opposed to Ego, who is merely showing. Now, the scene could be from Ego's point-of-view, or the motivation behind the framing of shots could say something about it not really 'reaching' Pratt's character. On the other hand, with the Man of Steel stuff, you obviously have a more intimate relationship between Jor El and Clark; neither is 'alienated' (get it, alien?) from what's occurring, even if technically Jor is only summoning it with the flick of a switch, you can tell he's really trying to grab Clark's attention, and more importantly we see in concrete and straightforward terms that Clark is being absorbed in this. The ship is a cold, metallic tomb replete with both phallic and womb imagery, so the irony is that, to Clark, it actually manifests as something with more 'spark,' more life than what's going through Starlord and Ego's minds, just as a comparison. The cool part is that you could totally imagine those scenes in Man of Steel being a ruse, that this 'intimate encounter' is a part of Jor El's 'sell' before revealing, "Hahaha, I was behind it all!" / "No, daddy!" With GotG2, you kind of just get that from the drop, it wouldn't even be a twist, it's just so much more opulent and ornamental, and, thus, untrustworthy. Inescapable Duck posted:A lot of Ego is basically a desert outside his gaudy, colourful palace, too. Though deliberately making a disconnect with the scenery seems like one of those creative choices that's kind of indistinct from just having bad scenery. Well, yeah, that's the thing. Why the scene being told from Ego's alienated perspective? He's obviously going through a lot of motions to win over his son, just like Jor El, but it doesn't look like there's even a lot of heart in that.
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Aug 29, 2017 13:48
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We're supposed to understand the scene through Ego's eyes, just as he's making Quill do the same. Literally at one point. And the moment he reveals what he did to his Mom, the scene Hitchcock/Vertigo shots into a close up on Peter. Leaving the disconnected Ego world, and coming back to Quill's personal issues.
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Aug 29, 2017 13:50
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CelticPredator posted:We're supposed to understand the scene through Ego's eyes, just as he's making Quill do the same. Literally at one point. The second part is all well and good, but the first just raises more questions about characters' motivations and its representation through aesthetics. So, yes, Ego is trying to get Quill to see his world through his eyes, but clearly that's the ruse. Ego wouldn't be trying to get Quill to see the world as Ego authentically sees it - he'd be trying to seduce him with a false impression of who Ego is, or what he is, presumably.
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Aug 29, 2017 13:59
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Hey, Ego's gonna ego you know?
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Aug 29, 2017 14:02
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CelticPredator posted:Hey, Ego's gonna ego you know? I mean, it's a contradiction that can easily be resolved, even by taking a few more notes from (Dawn of the Dead collaborator) Zack Snyder's playbook: Even if it's overt that Ego is some kind of megalomaniacal bad guy and the only reason anyone would fall for this set-up would be that they're "a bunch of a-holes," marginalizing Starlord as just a pawn of Ego's projections isn't adequately 'immersive,' if you will. There needs to be that something that shows Starlord being 'taken in,' which is not the same as Ego simply leading Starlord to a place and showing him something. The latter is just a demonstration of power, the former would tell us what Starlord et al. want out of this relationship and why.
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Aug 29, 2017 14:24
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Ego ends up requiring a "magic touch" to actually get Quill to fully accept his perspective, which is fitting given what Ego wants is another extension of himself, a child whose only purpose is to parrot the words of the parent. As such seeing it from Ego's point of view, this disconnected stance, leads into the fact that he wouldn't have won Peter over without an actual intimate action. A touch which forces Peter to see exactly what Ego sees, and it still fails to totally subvert and replace Quill's personality. Ego really is just going through the motions, he's playing catch without understanding why that actually matters, so in the end he has to actually change Quill directly so he can actually do to force the relationship Ego desires, and when that fails he falls back on outright force.
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Aug 29, 2017 16:00
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It makes a lot of sense when you look at the literal gigantic pile of skeletons of Ego's other children. (I swear one of them was a gigantic skull nearly as big as the cave, for that matter) He's been through this song and dance countless times, probably, it's only once they start properly playing 'catch' that Ego realises Peter actually has what he's looking for. Gotta admit, while he's a bit divergent from the comics, this version of Ego is definitely fitting for the name and concept.
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Aug 29, 2017 16:09
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So the conclusion is that Ego is bored and disinterested throughout the movie, and the movie reflects this by not looking too exciting. This rather contradicts what happens onscreen. If it's from his perspective, then he's sincere about his interest - there's no moment where the mask drops. Also, two portraits of egotism: 
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Aug 29, 2017 16:46
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The latter is petitioning TO a higher power.
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Aug 29, 2017 16:49
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K. Waste posted:I mean, it's a contradiction that can easily be resolved, even by taking a few more notes from (Dawn of the Dead collaborator) Zack Snyder's playbook: Even if it's overt that Ego is some kind of megalomaniacal bad guy and the only reason anyone would fall for this set-up would be that they're "a bunch of a-holes," marginalizing Starlord as just a pawn of Ego's projections isn't adequately 'immersive,' if you will. There needs to be that something that shows Starlord being 'taken in,' which is not the same as Ego simply leading Starlord to a place and showing him something. The latter is just a demonstration of power, the former would tell us what Starlord et al. want out of this relationship and why. Star-Lord enters the planet listening to My Sweet Lord by George Harrison, which kind of lays that idea down. Franchescanado fucked around with this message at 20:36 on Aug 29, 2017 |
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Aug 29, 2017 20:33
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Franchescanado posted:Star-Lord enters the planet listening to My Sweet Lord by George Harrison, which kind of lays that idea down. Plus he literally becomes a god that can create matter so he can have a catch with his dad I mean I'd be willing to listen to Kurt Russel at that point too.
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Aug 29, 2017 20:47
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Neo Rasa posted:Plus he literally becomes a god that can create matter so he can have a catch with his dad I mean I'd be willing to listen to Kurt Russel at that point too. Ego makes a big point of referring to him as "the notorious Star-Lord" or something when they first meet, and Peter isn't use to that recognition/respect, so there's a few moments that push him into wanting to listen to Ego even before he finds out he's a god.
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Aug 29, 2017 20:54
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