I have a bone to pick with DC. The lead up to this scene is dead simple. It’s narratively trivial. Doomsday arrives. Doomsday spends some time in nature. Doomsday kicks the ass of everyone that tries to stop it. Doomsday enters Metropolis.
It’s deceptively simple, and yet stunning.
Why, oh why, can’t they get it right for one movie?
Because different things work in different mediums. What works well in a comic doesn’t automatically work well in a movie. I mean, DC somehow still manages to fuck up every single movie while Marvel managed to make some decent to good ones, so there’s more to it than just that.
I have a bone to pick with DC. The lead up to this scene is dead simple. It’s narratively trivial. Doomsday arrives. Doomsday spends some time in nature. Doomsday kicks the ass of everyone that tries to stop it. Doomsday enters Metropolis.
It’s deceptively simple, and yet stunning.
Why, oh why, can’t they get it right for one movie?
Because different things work in different mediums. What works well in a comic doesn’t automatically work well in a movie. I mean, DC somehow still manages to fuck up every single movie while Marvel managed to make some decent to good ones, so there’s more to it than just that.
Absolutely.
But Doomsday’s first appearance is already a perfect movie storyboard.
The creative team knew they were introducing Superman’s greatest foe, and they knew it was going to become a movie, someday.
That scene would work in a movie. It begs to be done larger than life on a huge screen.
DC needs to learn to trust their source material.