|
CelticPredator posted:Jeez, this looks like the end of Ghostbusters. Eh, GB and ASM2 have a lot of neon but they've also done Fury, The Walk, American Hustle, Monuments Men, The Interview, Concussion, Capt Philips, others since then. I doubt the new Marvel-ized Spider movie will lean so heavily on the crazy colors given the other MCU movies it's aping, plus Suicide Squad seems to be moving in that direction.
|
#
?
Jul 18, 2016 18:28
|
|
|
|
| # ? May 26, 2024 19:34 |
|
|
Plus the problem with ASM2 want the way it looked. I loved that whole Times Square scene. It's the rest of the movie that sucks.
|
|
#
?
Jul 18, 2016 18:30
|
|
|
The train stopping scene is super good, thanks for reminding me. It has a real emotional connection to the people he saves and they appreciate the poo poo out of him for it.
|
|
#
?
Jul 18, 2016 18:40
|
|
|
Electromax posted:Eh, GB and ASM2 have a lot of neon but they've also done Fury, The Walk, American Hustle, Monuments Men, The Interview, Concussion, Capt Philips, others since then. I doubt the new Marvel-ized Spider movie will lean so heavily on the crazy colors given the other MCU movies it's aping, plus Suicide Squad seems to be moving in that direction. They're probably using literally the same assets for both movies - Times Square in both films is a digital extension of a greenscreen set
|
|
#
?
Jul 18, 2016 19:53
|
|
|
Invalid Validation posted:The train stopping scene is super good, thanks for reminding me. It has a real emotional connection to the people he saves and they appreciate the poo poo out of him for it. It also has that "he's just a kid" moment of disbelief. That whole elevated train sequence is one of the best comic book movie moments, for sure
|
|
#
?
Jul 18, 2016 20:40
|
|
|
Waller focused teaser https://twitter.com/IMDb/status/755091251553198080
|
|
#
?
Jul 18, 2016 21:20
|
|
|
Drifter posted:He didnt quit a few months in; that's where he learned detectiving and associated skills. In one of the old comics he learns detectiving when he is like ten years old by putting a disguise on and then bothering the world's current greatest detective until the guy agrees to take little Bruce Wayne along on a case with him. The disguise Bruce wears is the design for what becomes Robin's outfit.
|
|
#
?
Jul 18, 2016 21:26
|
|
|
Twentieth-Century Fox has optioned a Mouse Guard movie, along with other Boom! Studios titles Lumberjanes and Malignant Man: http://www.hollywoodreporter.com/heat-vision/matt-reeves-gary-whitta-adapt-912076
|
|
#
?
Jul 18, 2016 22:41
|
|
|
greatn posted:The second panel is pretty much action comics #1 cover isn't it? In a strange kind of comic-books ouroboros, Morrison's Action Comics for the New 52 features a young Superman bodily stopping a train crash in pretty much the same way.
|
|
#
?
Jul 19, 2016 01:04
|
|
|
Shanty posted:Make it a kind of fish-out-of-water police procedural, then. Weirder people have been cops on successful TV shows. There's going to be a new TV series on Fox called APB. It's about a rich genius who owns a powerful tech company. When his friend was murdered but the cops refuse to investigate it, he buys the police force and makes it 'app-enabled'. It's by the guy behind Burn Notice and the upcoming X-Men series.
|
|
#
?
Jul 19, 2016 01:17
|
|
|
Sir Kodiak posted:I find it a little odd to call a figure strongly associated with amazing feats of physical strength and a spectacular ability to engage in physical combat a trickster figure. 
|
|
#
?
Jul 19, 2016 06:40
|
|
|
Sir Kodiak posted:I find it a little odd to call a figure strongly associated with amazing feats of physical strength and a spectacular ability to engage in physical combat a trickster figure.
|
|
#
?
Jul 19, 2016 06:46
|
|
SMG getting owned on his own terms so his fanboys have to rush to his defense  (USER WAS PUT ON PROBATION FOR THIS POST)
|
|
|
#
?
Jul 19, 2016 12:34
|
|
|
rakovsky maybe posted:SMG getting owned on his own terms so his fanboys have to rush to his defense #TeamSMG #Team??? Whose side are you on? CineD: Apparently Some Kind Of Civil War?
|
|
#
?
Jul 19, 2016 13:49
|
|
|
|
|
#
?
Jul 19, 2016 14:50
|
|
|
TetsuoTW posted:#TeamSMG 
|
|
#
?
Jul 19, 2016 15:17
|
|
|
Wait is this a 9/11 reference!?
|
|
#
?
Jul 19, 2016 16:01
|
|
|
Cardboard Box A posted:Team Valor How does anyone pick blue or gold when Team Red is clearly a hot tsundere
|
|
#
?
Jul 19, 2016 16:18
|
|
|
Jerkface posted:How does anyone pick blue or gold when Team Red is clearly a hot tsundere Maybe they're gay for penis, did you ever think about that??
|
|
#
?
Jul 19, 2016 16:56
|
|
|
Hodgepodge posted:Unlike Clark, Parker is in constant conflict with his boss; that Parker is Spider Man and Jameson doesn't suspect it is Parker's longest-running joke. By being Spider Man, he reclaims the power he utterly lacks in the workplace from Jameson. This is what tricksters do. Let's be clear here: Parker "reclaims the power he utterly lacks in the workplace from Jameson," by... making fun of him anonymously - while on the web, so to speak. The issue is that Parker uses the 'subversive' jokes, 'resisting' Jameson's rudeness, in order to keep happily working under the same conditions. It's standard venting after a long day, getting-it-off-your-chest sort of stuff. He doesn't fight to change how the Bugle is run or anything.* That's why it's necessary to emphasize form - the form of Parker's actions. What we have with Spiderman is a figure whose anarchic japery masks Parker's very uncontroversial ordinariness. This is why the most impactful Spiderman moment is in Spiderman 2, when he is stripped of the mask and becomes 'just a kid'. The bystanders get it right: the character was always 'just a kid', suffering and failing. It's a real ecce homo sort of moment. While the Spider is a variety of 'trickster spirit', Parker - unlike, say, Joker - does not fully identify with the Spider-mask. He maintains reasonable limits, beats up criminals but not his boss, and so-on. In other words, he does everything in his power to preserve the Parker identity against the 'undead' Spider's mockery and perversion. He appends a 'man' to the 'Spider' name. It's as I've observed with Tony Stark: Iron Man is the AI superhero enslaved to Stark, and continually sabotaged by Stark's 'all too human' motivations. Parker is his natural ally for that reason. *As a contrast, Clark Kent works for the Daily Planet because it's a pinko rag. SuperMechagodzilla fucked around with this message at 19:46 on Jul 20, 2016 |
|
#
?
Jul 19, 2016 17:06
|
|
|
SuperMechagodzilla posted:Let's be clear here: Parker "reclaims the power he utterly lacks in the workplace from Jameson," by... making fun of him anonymously - while on the web, so to speak. Well yes, but that doesn't really disagree with my point about how tricksters operate as subaltern heroes. The assumption being that the audience will identify with the character's inability to change the system, while cheering the ability to subvert it. The key point here is that Parker makes his living selling Jameson pictures of Spiderman, making himself both indispensable to the Daily Bugle and tricking Jameson into subsidizing Spiderman by crusading against him. You're right that Parker doesn't fully identify with the identity of Spider-Man, though. That's really the point of Venom, along with the masculinity stuff I mentioned before. Suddenly, he merges totally with the mask, and is horrified; the end result being a constant struggle with his fear of his own potential. The other end of that conflict, though, is that Parker struggles with his dual identity because he barely has the resources to sustain himself. Spiderman is a threat to his ability to survive as a human being; this is a class issue. Of course, this actually is because he identifies with the inspirational middle-class, and therefore capitalism. On the other hand, it also reflects realities of living and working in "Metropolis" which Superman elides; despite their similarities, Kent is presented as closer to Bruce Wayne in status than he is to Parker. The ability to be Superman, to operate ethically within capitalism without social and material deprivation, depends on one's position within capitalism itself. It is much more comfortable to be Superman than to be Spiderman. On the other hand, there has been a genuine failure to allow him to grow beyond that point, which is why writers constantly reboot him back to being single, etc. The trickster can be far more subversive and powerful a figure, easily as radical as the messiah, when it moves beyond subalternity. And the fact is, while a working class kid in New York trying to make it is a plausible subaltern figure, those kids either make it and become established in the vein of Kent or they give up and move somewhere else. Spiderman stays stalled on the cusp of this because no writer I've seen has been interested in writing him as an empowered, rather than subaltern, subversive hero. And that is where he needs to go, and you're correct that he doesn't, and ends up begging Stark for scraps or selling his marriage to the devil or whatever instead. So the story of Spiderman effectively ends with Parker growing up and marrying MJ and living happily ever after, because no one has managed to take the character further than that. On the other hand, if New Yorkers were genuinely oppressed subalterns, unable to escape their plight, there would be endless material to work with without needing to artificially force the character back into his "place."
|
|
#
?
Jul 19, 2016 19:08
|
|
|
I think something should be clarified here: Spiderman is not a trickster character at all. He's a more rudimentary shamanic character. To use your own example, we are not talking about 'Coyote'. We are talking about a 'Coyote-man' who dresses up as the character and 'channels the spirit' for ceremonial purposes or whatever. It's in the same sense that the Santa Claus at the mall is never the real Santa Claus but 'one of his helpers', as the story always goes. (And here we can note that the Santa Clause is a superhero movie along the exact same lines as Spiderman. Is Tim Allen not effectively 'bitten by a radioactive Santa', undergoing the same body-horror transformation?)
|
|
#
?
Jul 19, 2016 19:43
|
|
|
I love this thread
|
|
#
?
Jul 19, 2016 19:48
|
|
|
SuperMechagodzilla posted:(And here we can note that the Santa Clause is a superhero movie along the exact same lines as Spiderman. Is Tim Allen not effectively 'bitten by a radioactive Santa', undergoing the same body-horror transformation?) hahahahah omg this is am amazing observation greatn posted:I love this thread
|
|
#
?
Jul 19, 2016 19:56
|
|
|
SuperMechagodzilla posted:I think something should be clarified here: Spiderman is not a trickster character at all. He's a more rudimentary shamanic character. This is a really superficial distinction, especially considering that the archetypes are interpreted within the superhero genre. First, when present directly in folklore, an animal spirit is presented anthropomorphically or even in the form of a human. Here is an image of Anansi the Spider-Man:  More to the point, there's nothing preventing a shaman "channeling a spirit," or adopting a ceremonial garb, from being a trickster figure. There's nothing preventing an ordinary human from being a trickster figure, for that matter. Odysseus is a trickster figure, most notably for devising the Trojan Horse; although technically he was a demigod as a prerequisite for being a Greek hero.
|
|
#
?
Jul 19, 2016 20:03
|
|
|
Hodgepodge posted:More to the point, there's nothing preventing a shaman "channeling a spirit," or adopting a ceremonial garb, from being a trickster figure. There's nothing preventing an ordinary human from being a trickster figure, for that matter. Odysseus is a trickster figure, most notably for devising the Trojan Horse; although technically he was a demigod as a prerequisite for being a Greek hero. The difference between shaman and spirit is actually an extremely crucial. The Mask remains one of the best films on the topic): "In Charles Russell's The Mask with Jim Carrey (1994), the story of a weak common bank teller again and again humiliated by his peers and women, [he] acquires extraordinary powers when he puts on an old mysterious mask found on a city beach. A series of details are essential to he story's background. When the mask is thrown on the sea-shore, it sticks to the decaying slimy remainders of a corpse, bearing witness to what remains of the 'person behind the mask' after he totally identifies with the Mask: a formless slime like that of Mr Valdemar from E.A. Poe's story when he is resuscitated from death, this 'indivisible remainder' of the Real. Another crucial feature is that the hero, prior to acquiring the mask, is presented as a compulsive cartoons-watcher on a TV: what happens to him when he puts on the Mask and when the green wooden Mask takes possession of him, is that he is able to behave, in 'real life,' as a cartoon hero (dodging the bullets, dancing and laughing madly, sticking his eyes and tongue far out of his head when he is excited) - in short, he becomes 'undead,' entering the spectral fantasmatic domain of unconstrained perversion, of 'eternal life' in which there is no death (and sex), in which the plasticity of the bodily surface is no longer constrained by any physical laws (faces can be stretched indefinitely; I can spit out from my body bullets which were shot into me; after I fell from a high building, flattened on a side-walk, I simply reassemble myself and walk away...). [...] This universe is inherently compulsive: even those who observe it cannot resist its spell. Suffice it to recall perhaps the supreme scene of the film in which the hero, wearing his green mask, is cornered by a large police force (dozens of cars, helicopters): to get out of the deadlock, he treats the light focused on him as spotlights on a stage and starts to sing and dance on a crazy Hollywood musical version of Latino seductive song - the policemen are unable to resist its spell, they also start to move and sing as if the are part of a musical number choreography (a young policewoman is shedding tears, visibly fighting back the power of the Mask, but she nonetheless succumbs to its spell and joins the hero in a common dance-and-song number...). Crucial is here the inherent stupidity of this compulsion: it stands for the way each of us is caught in the inexplicable spell of idiotic jouissance, like when we are unable to resist whistling some vulgar popular song whose melody is haunting us. This compulsion is properly ex-timate: imposed from the outside, yet doing nothing but realizing our innermost whims - as the hero himself puts it in a desperate moment: 'When I put the mask on, I lose control - I can do anything I want.' 'Having control over oneself' thus in no way simply relies on the absence of obstacles to the realization of our intentions: I am able to exert control over myself only insofar as some fundamental obstacle makes it impossible for me to 'do anything I want' - the moment this obstacle falls away, I am caught into a demoniac compulsion, at a whim of 'something in me more than myself.' When the Mask - the dead object - comes alive by way of taking possession of us, its hold on us is effectively that of a 'living dead,' of a monstrous automaton imposing itself on us. -Zizek The mask in the Mask film is none other than Loki himself - or, rather, that is the explanation provided by some bullshit jungian folklorist - and it's through comparison that we can see what the Spiderman narrative is getting at. Spiderman does not have the full power of a cartoon; he is simply motivated by the fantasy of being a cartoon. He is, in reality, little more than a strong man with good reflexes, who could have adopted any persona. Though I've been told that there are comics to the contrary, there is no actual "Spider-god", part of a pantheon of animal spirits. This paganistic archetypal identity is invented and applied retroactively, as an explanation for something weirder - as it in the Mask film. You know how it goes: the folklorist sees the character playing the fool and says, "ah yes, that's clearly the work of Loki." Picture the psychologist from the end of Psycho here. The truth of Spiderman's identity is in the vulgar-but-catchy Spiderman theme song, which is identical to the vulgar-but-catchy Ghostbusters theme song. So hopefully you can see how the deepest pagan spirituality and corporate branding coincide. Parker is like the policewoman in The Mask, who has this stupidity imposed upon her from outside. It's exactly like the alien in Solaris, realizing your innermost desires, and therefore producing nightmares. That is why, in the second half of the Mask, we get the gangster villain who takes the mask and wreaks havoc as Carrey's despotic counterpart. Things are getting 'too real'. So Carrey drowns the villain, and launches the mask - Loki, trickster, whatever - back into the ocean, repressing it so he can now live a normal life with his new girlfriend. Naturally, this is the same ending as in Iron Man 3. And so, this is how Parker also makes sense of the fact that he is not a cartoon, that he will never experience that impossible fulfillment. He creates an obstacle in the form of these endless despotic villains who threaten his 'way of life'. His 'responsibility' to fight all the villains keeps the demon at bay, and allows him to maintain his relationship with MJ. SuperMechagodzilla fucked around with this message at 23:25 on Jul 19, 2016 |
|
#
?
Jul 19, 2016 23:22
|
|
|
https://www.youtube.com/watch?v=smHxeRdf7oI
|
|
#
?
Jul 20, 2016 00:45
|
|
|
There is a storyline in which his powers come from a spider-totem, but that's beside the point. His power both comes specifically from a spider, rather than any other sort of animal, and are far beyond human limits. Although various incarnations vary on whether he creates the ability to shoot webs for himself or develops this naturally, even in the former case he is compelled to create the webs and shooters as part of his physical transformation; and at any rate he couldn't use them to swing around as he does without the "proportional speed and strength of a spider." The fact that the spider chooses him, rather than him choosing the spider, is very important. Even if we see "the spider" as a Jungian force within the psyche, it still emerges unbidden by "Peter Parker," the ego-self, and pushes him beyond the limits of the conscious self. Of course, that's also beside the point in that you're not actually defending the idea that only the spirit itself can be a trickster; which is incoherent. At best, you're arguing that Parker is limited because he insufficiently merged with his totem. However, while he can take off his mask, this does not rid him of the demands of the Spider- this is the point made by the death of Uncle Ben. When he believes that the power of the Spider has been provided to him to do as he wishes, the Spider (whether seen as a supernatural spirit or the Jungian "self") shows him that the consequence is the suffering of those around him. The distinction is, in fact, crucial; the "inability to control himself" Carey experiences in The Mask is the conflation of the ego with the spirit itself. This is what Parker experiences in the Venom storyline, which in the Raimi film retells the story of The Mask, but with Parker in the role of the gangster as well as Carey. The potential misuse of spiritual power in this sense is incredibly important to any traditional belief system, usually cast as a distinction between white and black magic when forced into our terminology, or clumsily but more accurately, medicine and witchcraft. "It was even then only after the Heyoka ceremony, in which I performed my dog vision, that I had the power to practice as a medicine man, curing sick people; and many I cured with the power that came through me. Of course it was not I who cured. It was the power from the outer world, and the visions and ceremonies had only made me like a hole through which the power could come to the two-leggeds. If I thought that I was doing it myself, the hole would close up and no power could come through. Then everything I could do would be foolish." - Black Elk. e: of interest is the Navajo "skinwalker." "The Navajo skinwalker legend is one of the more complex and terrifying stories, steeped in mystery and evil intent. Many Navajos believe firmly in the existence of skinwalkers and refuse to discuss them publicly for fear of retribution. They believe skinwalkers walk freely among the tribe and secretly transform under the cover of night. The term yee naaldooshii literally translates to “with it, he goes on all fours.” According to Navajo legend, a skinwalker is a medicine man or which who has attained the highest level of priesthood in the tribe, but chose to use his or her power for evil by taking the form of an animal to inflict pain and suffering on others. To become a skinwalker requires the most evil of deeds, the killing of a close family member. They literally become humans who have acquired immense supernatural power, including the ability to transform into animals and other people. According to the Navajo skinwalker legend, these evil witches are typically seen in the form of a coyote, owl, fox, wolf or crow – although they do have the ability to turn into any animal they choose. Because it is believed that skinwalkers wear the skins of the animals they transform into, it is considered taboo to wear the pelt of any animal. In fact, the Navajo are only known to wear two hides, sheepskin and buckskin, both of which are only used for ceremonial purposes. Those who have talked of their encounters with these evil beings describe a number of ways in which a skinwalker will try to inflict harm. Some describe hearing knocks on the window or banging on the walls. Others have spotted an animal-like figure peering in through a window. According to Navajo skinwalker legend, they are seldom caught. Those who do track a skinwalker and learn of their true identity must pronounce the name of the evil one in full. Once this happens, the skinwalker will get sick or die for the wrongs they have inflicted against others." Hodgepodge fucked around with this message at 01:17 on Jul 20, 2016 |
|
#
?
Jul 20, 2016 00:56
|
|
|
I like this logo treatment they're doing
|
|
#
?
Jul 20, 2016 01:28
|
|
|
SuperMechagodzilla posted:Let's be clear here: Parker "reclaims the power he utterly lacks in the workplace from Jameson," by... making fun of him anonymously - while on the web, so to speak. Holy poo poo.
|
|
#
?
Jul 20, 2016 03:11
|
|
|
Sir Kodiak posted:Nothing Peter does is intended to or actually does help Harry Osborne. He doesn't research is own blood, he's researching his father, curious about how he disappeared. When he discovers reasons why it might be dangerous for Harry to use his blood, he doesn't explain why – which would give Harry the ability to make informed decisions and try to research a way around things – he just says it's dangerous and refuses to help. Harry turns out to be the villain, but Peter has no way to see that coming, he just knows his old friend is dying. You're right, he doesn't research his blood, but he does use common sense. He has his little talk with Gwen in the closet about not knowing how it would affect him, especially with him being irrational and them being in a world where a man turned himself into a giant lizard. And you should watch the movie again, the most animosity between Aunt May and Peter is when she finds his collage. And its more May having a breakdown than Peter being a jerk. It's why he brings the eggs in the end.
|
|
#
?
Jul 20, 2016 09:21
|
|
|
bushisms.txt posted:You're right, he doesn't research his blood, but he does use common sense. He has his little talk with Gwen in the closet about not knowing how it would affect him, especially with him being irrational and them being in a world where a man turned himself into a giant lizard. And you should watch the movie again, the most animosity between Aunt May and Peter is when she finds his collage. And its more May having a breakdown than Peter being a jerk. It's why he brings the eggs in the end. I literally had just watched the movie when I posted. It's not a matter of animosity, it's the attitude with which Peter treats his aunt. Watch the movie and tell me he isn't a poo poo to her. Yeah, Peter says he's just being careful with regards to his blood. It's completely unconvincing.
|
|
#
?
Jul 20, 2016 15:50
|
|
|
Seems like instead of releasing a final trailer they will be releasing small teasers focused on one or two characters. Yesterday was released the one focused on Deadshot https://www.youtube.com/watch?v=Gklf1OQ6Wzc
|
|
#
?
Jul 20, 2016 16:04
|
|
|
Hodgepodge posted:This is a really superficial distinction, especially considering that the archetypes are interpreted within the superhero genre. First, when present directly in folklore, an animal spirit is presented anthropomorphically or even in the form of a human. Here is an image of Anansi the Spider-Man: SuperMechagodzilla posted:The difference between shaman and spirit is actually an extremely crucial. The Mask remains one of the best films on the topic) Along a slightly different line, the distinction is really important to the 'superhero' genre itself (which rightfully should be taken in context with myth and folktales, but are note the same) because of the side of the character that faces the audience (Peter Parker, Clark Kent, Bruce Wayne). Anansi or other trickster characters represent a pure virtuality, or pure potential whereas a superhero is instead a process of becoming virtual. The superhero identity exists in the convergence of different bodies. So in the example of Peter Parker and the spider, Spider-man exists as the process of production in man becoming spider (or -bat, or -wasp, or -orchid, etc). So with that, there is always a part that faces the actual social environment that produced the story, whereas Anansi (or specifically the trickster god or whatever) is an intrusion of the virtual into the actual.
|
|
#
?
Jul 20, 2016 17:54
|
|
|
Harley trailer https://www.youtube.com/watch?v=uWIxS9EuwUc
|
|
#
?
Jul 20, 2016 20:09
|
|
|
Eagerly awaiting the Slipknot trailer.
|
|
#
?
Jul 20, 2016 20:35
|
|
|
Alhazred posted:Eagerly awaiting the Slipknot trailer. A full minute of Slipknot? Yeah right.
|
|
#
?
Jul 20, 2016 20:37
|
|
|
I was watching a comp of mini-ads for each character, and apparently Slipknot didn't even live long enough for a 15-second spot.
|
|
#
?
Jul 20, 2016 21:00
|
|
|
K. Waste posted:I was watching a comp of mini-ads for each character, and apparently Slipknot didn't even live long enough for a 15-second spot. Highly disappointing.
|
|
#
?
Jul 20, 2016 21:36
|
|
|
|
| # ? May 26, 2024 19:34 |
|
|
Waller usually kills someone right off the bat(lol) to prove the neck bombs/collars aren't a joke.
|
|
#
?
Jul 20, 2016 21:38
|
|