>Bruce's parents shot with a gun (penis)
>they are buried together (sex)
>Bruce runs away from them (sperm)
>falls down a deep dark hole (vagina)
>the bats carry him out toward the light (he is reborn as the batman)
>two beings (one from the sky other from under the earth)
>fight each other to see which one gets to bang the earth to create a new race of super men (like many sperm racing to fertilize one egg)
How can marvel plebs compete? They have to put every single character they have in a 90 minute quip fest.
We got Norse Mythos, Which is BEST Mythos. Loki and Thor is stories meant to be told over drinks.
>>69019900
>both mother's shared a name (incest)
mmm, love conception allegories
thanks OP
https://www.youtube.com/watch?v=7p5-14rjWUM
No matter how many times you say it, it won't be any more clever.
>>69020248
Norse mythology is for heavy metal faggots who think they are tough and even then it hardly relates to Thor
Marvel has Kirby mythology which is better than Thor cross dressing to trick an ice giant and Loki banging a horse (or whatever)
>>69020471
True it's already 100% clever. It can't increase its cleverness after a certain point.
>>69020525
> deliberately being a faggot.
Snyderfags everybody.
>>69019900
>remaking shot for shot Nolan's intro except 1000 times worse
what was this retardo snyder thinking?
![1462203845159[1].jpg](https://i.imgur.com/NqLzkmb.jpg "1462203845159[1].jpg")
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>>69020729
This scene deals with Bruce's mentality, remember the opening monologue.
“There was a time above, a time before. There were perfect things, diamond absolute. But things fall, and what falls remains fallen.”
The theme of this scene is his fall from grace, everything from the falling shells, his parents dropping dead, the pearl slipping from Martha's hand to the gutter, and into Bruce's dream. Hell even the piano melody has a descending motif, and the funeral takes place in Fall.
'Martha' is set up in the opening scene with a Citizen Kane homage that establishes the word as Bruce Wayne's 'Rosebud'. But, as it's actually spoken by the father character, you get a complex series of associations where Bruce suddenly sees Superman as a father figure, who then - when Lois intervenes - morphs into a reflection of himself. You also have this strange fear of motherhood with Bruce as he dreams that Martha Wayne returns from the dead as a monstrous bat (that metaphorically gives birth to Batman), but then he resolves himself to saving Martha Kent - who was, of course, labeled a 'witch' for (again metaphorically) giving birth to Superman.
>>69020790
You have this shift from Batman falling into despair because 'he let his parents die' to turning that into a positive condition ("I failed him in life, I will not fail him in death").
The bat-symbol is fantastically reinterpreted to stand for a child being pulled from the darkness, from the perspective of someone still in it. (Of course, in the Nolan film this shot is referring to, it was Bruce's father who pulled him out. Snyder replaces the literal father with an ambivalent light, and has Bruce pushed up from beneath).
“In the dream, they took me into the light, a beautiful lie.”
He specifically says that the dream was a beautiful lie because this dream represents the birth of Batman, the bats lifting him show that he found some hope in this bat image, but later became disenchanted after 20 years of fighting crime, that's the beautiful lie he's talking about. At this point in time, he believes that being Batman didn't amount to anything of value.
>>69020790
Thank you, it all makes sense now.
![1404743668287[1].jpg](https://i.imgur.com/BhIoscC.jpg "1404743668287[1].jpg")
>>69020729
>Snyder’s thrillingly intelligent use of interior conflict and political antagonism vastly outclasses Christopher Nolan’s Batman trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises — all noxious — which were bellwethers of our culture’s decline.
>It takes just such dreamlike moral clarity to reprove the Nolan trilogy’s chaos.
>Fanboys prefer the Nolan films for their “darkness,” which emphasized the sophomoric, pseudo-tragic elements of the Batman graphic novels. But Snyder’s more adult treatment finds the material’s emotional core. This displeases the fanboy/hipster whose adolescent embarrassment about feelings was exploited through Nolan’s emotionless violence and post–9/11 nihilism. Snyder counters that cultural crisis and (through the script by Chris Terrio and David S. Goyer) visualizes the millennial moral struggle as pop myth. His essential subject is mankind’s struggle to discover compassion as well as common obligation — or dare I use the non-political term: brotherhood?
>The pain of post–9/11 as reflected in Nolan’s Batman films was a paradigm shift. But fantasy cannot conscientiously be enjoyed Nolan’s way, without any sense of social, historical, or moral consequence. Snyder manipulates this new paradigm so that mankind’s sense of mortality is embodied by Batman, Superman, and their arch-nemesis, Lex Luthor. (All three characterization performances are, well, perfect.)
>>69020898
How can one man be so based.
>>69023052
I remember seeing TDK in theatres. Prior to that, i loved BB and was super hyped for its sequel. But when i walked out of the theatre, something just felt wrong. Incomplete. I couldn't explain why i felt that way until i read White's review. Emotionless nihilism. TDK joker was just some contrarian asshole, this adolescent portrayal of a "twisted psychopath." Licking his lips, all sleep deprived, looking like a hobo and spouting endless bullshit platitudes about how he's "ahead of the curve" in society's degradation. Real psychopaths are very charismatic, which is reflected in Leto's Joker.
>>69023627
>Tfw I loved Begins the most out of the whole trilogy
To me Begins was a true Batman film, filled with equal Batman and Bruce parts, TDK was so detached from this. Bruce wanting a way out, the Joker being like you pointed out, it was just a different feel.
I feel the ending to Begins was more powerful for Batman's character than TDK.
>I never said thank you.
>And you'll never have to.
>>69020898
>le contrarian nigger
