What, destroying the machine that was going to destroy the world isn't saving people?
Apparently you have to do it one by one for it to count...
Yep.
(This would be a good place to insert a Cumberbatch meme, but I don't have one.)
What, destroying the machine that was going to destroy the world isn't saving people?
Apparently you have to do it one by one for it to count...
Except that in that case, what ensued was a sequence of vignettes in which Superman saved people with faces from specific situations, which is exactly what was missing from MoS.You realize that pretty much the same thing happened in the first Donner movie? Two nuclear missiles headed for opposite ends of the country. And maybe you didn't feel it but the characters knew what Superman had done and so did the audience. Destroying the world engine in the Indian ocean meant stopping the destruction happening in Metropolis.
Except that in that case, what ensued was a sequence of vignettes in which Superman saved people with faces from specific situations, which is exactly what was missing from MoS.You realize that pretty much the same thing happened in the first Donner movie? Two nuclear missiles headed for opposite ends of the country. And maybe you didn't feel it but the characters knew what Superman had done and so did the audience. Destroying the world engine in the Indian ocean meant stopping the destruction happening in Metropolis.
Sure, what Superman did in MoS was important in-story, but for storytelling purposes, the massive heaping of destructo-porn badly needed to be broken up by some more personal-level story beats.
Except that in that case, what ensued was a sequence of vignettes in which Superman saved people with faces from specific situations, which is exactly what was missing from MoS.
They better not. Just because her backstory got kind of convoluted in the comics doesn't mean they haven't found a way to streamline it for the movies. We've gotten plenty of adaptations of WW that have kept the Greek Gods and Themyscira and been great. The Greek Gods and Themyscira are one of the big defining elements of the character, so if you're going to get rid of them you might as well not use her and just create your own original character.I'm just going to say - I'm cool with them either glossing over or completely retconning Wonder Woman's backstory. I don't even care if they throw out the Greek god connection entirely. Her clunky backstory is like a ball & chain around that character. Get her off the island!
^No, the rescue sequence happened before he turned back time. The reset button on Lois is NOT what we're talking about. And the movie implies that the only thing he undid was Lois's fate...when Jimmy interrupts Superman and Lois, he describes the aftermath of the situation from which Superman rescued him at the dam. Lois also describes having to dodge telephone poles and whatnot. The earthquake still happened.
And that's not even what's important...the important thing is what the filmmakers chose to show the character doing onscreen, and that was saving specific people from specific situations, in addition to preventing the greater catastrophe.
That's your interpretation, I'll believe the dialogue. The time travel aspect simply wasn't handled sensibly, but we can infer that Superman was supposed to have done something to prevent the fissure that swallowed Lois's car. Lois and Jimmy both remembered the quake.
And that's all beside the point...reset button afterwards or no, the point that's relevant to the discussion of MoS is that the Donner movie took time to show Superman rescuing people once he'd dealt with the main catastrophe by repairing the faultline.
And by taking out the world engine Superman saved teh planet and Metropolis, there's no getting around that fact.
Again, it's not about what he does, it's about where the filmmakers place the emphasis. As I said, it's a human grounding that makes an action meaningful and engaging to an audience. What matters isn't the cold hard facts of the story, but how emotionally engaging their depiction is. The same set of events can either captivate an audience or leave them cold depending on the filmmakers' choice of emphasis.
[...]
Yes, technically, in the abstract, he saved humanity, but we didn't feel it, because the characters we had reason to identify and empathize with were on the opposite side of the planet from where Superman was doing stuff all by his lonesome.
And by taking out the world engine Superman saved teh planet and Metropolis, there's no getting around that fact.
And now we're just arguing in circles. I think I'll let Christopher answer this one (again):
Again, it's not about what he does, it's about where the filmmakers place the emphasis. As I said, it's a human grounding that makes an action meaningful and engaging to an audience. What matters isn't the cold hard facts of the story, but how emotionally engaging their depiction is. The same set of events can either captivate an audience or leave them cold depending on the filmmakers' choice of emphasis.
[...]
Yes, technically, in the abstract, he saved humanity, but we didn't feel it, because the characters we had reason to identify and empathize with were on the opposite side of the planet from where Superman was doing stuff all by his lonesome.
Didn't Zod & Co. Need one at one place and the other on the opposite side to transform The Earth into Krypton? That makes some sense to me.![]()
ETA: Turning the sun red didn't come into play which is odd or did I forget something?
Didn't Zod & Co. Need one at one place and the other on the opposite side to transform The Earth into Krypton? That makes some sense to me.![]()
ETA: Turning the sun red didn't come into play which is odd or did I forget something?
Only because a writer decided that--there is no scientific or real world basis for that decision.
The argument is not what Superman had to do in the context of the final product, it is why the creators of the story chose to have it play out that way--and no defender of the movie has provided a good story telling reason for that.
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