Bits Feed (Page 139)

EPISODE 26: WANT A BREAK FROM THE DINOSAURS?

A night before…

A small submarine edges closer to Isla Muertes. It bears the logo of the SynGen Corporation, BioSyn's rival. It opens one of its torpedo hatches and six people are released from it. The divers are clad in scuba-like suits and use a handheld jet to help them navigate through the water. The divers approached the shoreline. The divers quickly remove their water gear as they walk up the beach. The first diver to remove his scuba mask is a white blonde mercenary man named Dylan. Then a redhead Japanese woman named Noriko, removed her scuba mask. They look over to the rest of their unit as they begin removing their scuba masks. An older white guy with a crew cut gray hair named Gail, a Jamaican man of african descent named Rick, a blonde white girl in her late teens named Paula and a blonde white boy in his late teens named Damian.

Rick and Gail pull up a case from the shore as they hand out their weapons to the other members. Noriko answers a call from the submarine, she nods. The submarine slowly leaves them as it heads off to its base.

“Alright, you know the drill. Okay here’s the plan: we make it up the beach, there we will be two buildings. These buildings contain the new GECAs,”

“What are Geckas sir?” Paula asked.

“Genetically Engineered Company Assets” Dylan explains, “HQ reports that BioSyn set up an operation out here in the Las Cinco Muertes, we're here to observe, report and assess what we find. Rumor has it that InGen’s assets are still alive and kicking here on the five deaths. Despite the news saying the islands were stripped bare”

“What happens if we engage one of these assets?” Damian asked.

“You may use lethal force if necessary, but I would rather that we avoid putting ourselves into any dangerous situations, alright?” Dylan explained, “Now, let’s move out”

The six saboteurs race across the beach as they slowly approach the nearest compound. They reach a boxed gatehouse. Dyln nods to Paula as she runs over to hook in her ESC into the computer interface. The X-shaped gate pops open as the rival corporate mercs gain access to the compound.

They sneak through the backyard of the generator room. They carefully watch out for any creatures. Noriko and Rick go on ahead. Paula and Damian repower up the gatehouse as if nobody had entered it. Gail and Dylan waited for the others to regroup to their location. The distant sounds of the Isla Meurtes’s denizens make the saboteur team on edge. They are fully aware of the Chaos Project but yet the information was quite vague.   

12 hours later…

Betsy could hear the hammerhead raptor snarling, it then started making choking noises before hacking up something awful. They are sick, Betsy thought. She must continue through this maze. She carefully stared at the two passages. She travels down the right corridor as she then makes a right turn then a left turn. She saw it was dead, she then spotted the skeletal remains of two people. They were wearing tattered Camp Cretaceous counselor uniforms. It took Betsy a while to recognize that these were the remains of Dave and Roxie, despite how badly mutilated the corpses were. Betsy brought her hands to her mouth as she gasped. She hears something moving, she turns her gaze towards an opening up ahead, the hammerhead raptor bolts down the corridor looking for her prey. Betsy slowly approached the opening leading to the adjacent corridor.

A metal door slowly opens up from behind her. Betsy throws herself against the opposite side of the corridor as a giant head shoots out from the new passage. Its head resembled a giganotosaurus but its body was long and serpentine. The hammerhead raptor cut off Betsy from escaping. She glanced at the giganotosaurus snake. She bolted towards the hammerhead raptor, the raptor snarls as it lunges towards Betsy. She slides on to the floor as the giganotosaurus snake snaps its jaws around the hammerhead raptor.

Betsy ran as fast as she could as she headed down the corridor. She spots a door titled exit. Another hammerhead raptor was on her heels. He flares out his claws as he sprints after her on his taloned feet. Betsy threw herself into the exit door, she spun around to close the door. Instinctively she locks the door with a bar lock. The hammerhead raptor can be heard snarling from the otherside. She slowly turns around as she continues down the dark corridor, she opens the next door and is hit by hot humid air of the jungle.

Betsy realized she was now outside, the sounds of tropical birds squawking can be heard in the distance. She cautiously enters the forest as she spots the BioSyn helicopter on the helipad from the ground floor. She could see in the distance two spinoraptors drinking from a creek while hunting for fish. The two spinoraptors flea further down the creek when an ankylodocus herd came stomping into view along with a herd of pachysaurolophus and stegoceratops. These stegoceratops were different then the ones she saw on Nublar. Their heads are more triceratops-like rather than nasutoceratops.

A young woman walks into the security room dressed in a technician uniform. She sits at one of the computer terminals as she hooks in her ESC (Electronic System Controller). She taps at the keyboard as she links it to the facility’s security system. The electronic door containing Dr. Ella’s hybrids suddenly slid open. Paula sighs as she looks around hoping she wasn’t detected. She unplugs her ESC from the computer as she slowly walks out of the room.

A hammerhead raptor is flung through the doorway. The hammerhead raptor breathes its last breath as a giant head squeezes through the door frame. It wiggles its fat serpentine body through the doorway as it hunts for flying prey’s scent. The Giganotosaurus snake devours the hammerhead raptor in a single gulp, it slowly slithers into the jungle. The remaining hammerhead raptors follow suit. The security cameras monitor the whole thing. Dr. Ella was surprised. She quickly grabs her phone, she contacts Chairman Dodgson, “Sir, we have a containment breach,”

“A containment breach? Of what?” Dodgson asked.

“Five XDH-type I “Algols” and XDH-type II “Rigels” Dr. Ella confirms.

Mr. Kon approached Yasmina as she was jogging down the corridors. He waved her down as they moved to somewhere private to chat. “My son has a bright future ahead of him, break things off with him. So he can have his future,” he pulls out a wad of cash.

Yasmina felt insulted by the gesture, she smiled at him, “Mr. Kon, I will have to decline your offer. I love Kenji!” she told him.

Mr. Kon brow furrows, “No you can’t love him, he is out of your…” Mr. Kon glances at his phone, “Kon. Mr. chairman? What? A containment breach? I’ll be right there” Mr. Kon leaves.

Mr. Kon ran to the helicopter, he spotted the Biosyn mercenaries were firing their weapons off the edge of the roof. A large blue blur leaps over the ledge and on to one of the mercenaries. The hammerhead raptor jaws make short work of the mercenary.

The mercenaries redirect their aim to the blue hammer head theropod. The Algol’s thick hide deflects the bullets. The mercenaries release their own hybrid Deinonycanis onto the dinosaur-shark hybrid. The Algol and the Deinonycanis size each other up for a moment, the dog-like Deinonycanis leaps at the Algol but is knocked out of the air by the Algol’s claws. The Algol bites into the Deinonycanis’s belly, ripping its guts out before the beast turns towards the mercenaries. The Algol makes short work of the biosyn mercenaries as its teeth and claws tear into the men’s kevlar armor. Mr. Kon stared at the hammer-head raptor in mixed awe and terror. It taps its toe claw on the concrete floor. It peels back its thin reptilian lips as it bares its shark-like teeth at the corporate man. One of the mercenaries barely alive slowly aims his pistol at the dinosaur-shark hybrid. He squeezes off a few shots at the creature’s cephalofoil. The Algol wreaths in pain before swiftly turning around, it lands its fangs into the mercs head lifting him off the ground before throwing him off the roof. 

This gave Mr. Kon enough time to retreat back into the building. He locks the door via the electronic locking mechanism. He breathes heavily trying to catch his breath. The Algol smashes through the window, however only its head was allowed through. It snaps its jaws at Kenji’s father. The older man quickly retreats further down the hall. He pulls out his phone to call for security. The Algol struggles to free itself from the small window seal. After tugging and pulling it manages to turn its head in the correct angle. The electronic locking mechanism flashes to life as an audible click is heard, the door slowly opens on its own. The Algol pushes the door open with its cephalofoil, a slight static discharge flashes from its snout. 

The Algol sniffs the air, its killer sickle claws tap at the floor. The Algol begins emulating the usual raptor bark call to call for its pack mates. Two more Algol enter the room behind it. The lead Algol turns around to snap at his subordinates. They hisses in response. The three Algols began their sweep of the hallway. They use their cephalofoils to pick up on any changes to the air density like a shark through water. One of the subordinate Algols picks up a change in the air density near the bathroom area. It could smell a human nearby. 

Yasmina was crying after hearing such hateful words from Kenji’s father. She hears footsteps approaching. She fixes her makeup before heading for the door. “I’m sorry for…” Yasmina gasped. She was expecting to see Sammy or one of the facility's women but not a blue hammerhead raptor. Yasmina was pulled from the restroom out into the hallway by its reptilian hands. It bites into her shoulder, spraying blood all over the wall.

Betsy sneaks around a large abandoned concrete structure. She could see the Algol approaching but they stopped in their tracks as they heard the calls of their pack leader. They turn around as they head off in the opposite direction. Betsy sighed, at least they weren’t on her trail anymore. Betsy snuck inside the structure, it used to be a laboratory. In big bold white letters, the InGen logo was seen on the walls. She traversed deeper in the ruins, she reached the incubation chamber. Several destroyed incubators were seen scattered hapahazdiously around the room. She reads the labels, Ankylodocus and Stegoceratops. She spots an old photograph framed on the wall. It was a team of scientists, among them Betsy saw her stepmother and Dr. Wu standing next to each other. 

Ben was worrying about Bumpy, since they had taken her off site to who knows where. He had eavesdropped on Dr. Eddie about taking the ankylosaurus to the Biosyn Sanctuary. Ben didn’t know what this sanctuary was but he hoped it was a safe place for Bumpy. He must find Bumpy as soon as possible. Sammy was pacing back and forth wondering where Yasmina and Kenji had gone as they waited for their return. Arthur was watching a documentary on dinosaurs to pass the time.

Kenji hears Yasmina’s screams down the hall from himself, he races towards the screams only to find a hammerhead raptor holding Yasmina in its claws. The Algol stares up at Kenji with fangs covered in her blood. Kenji, enraged, grabs a chair as he charges towards the hybrid abomination at full zeal. The hybrid swings its claws at the chair, the chair shatters into pieces. Kenji grabs one of the legs before leaping at the hammerhead raptor. He stabs the leg into its eye. The Algol snaps its jaws, the static electricity around its cephalofoil begins to zap Kenji’s hand and arm causing him to recoil. The Algol hits Kenji with its cephalofoil right in the stomach sending a static electric shock into the young man sending him flying across the room while the Algol makes its escape.

Kenj slowly recovers from the hybrid dinosaur attack. He crawls over to Yasmina, who is lying on the floor bleeding out. Her face was deathly pale, she barely had the strength to keep her eyes open. Kenji's hands were trembling as he took his shirt off to apply pressure on Yaz’s wound. 

“Don’t worry, Yaz, you’ll make it” Kenji tries to reassure her.

“Ken..ji…” Yaz struggles to speak. Yasmina's eyes were growing heavy.

“Hang in there, come on stay awake, don’t close your eyes” Kenji pats her on the face.

“I… love… you” Yasmina’s eyes close shut for the last time as she draws her last breath.

“Yasmina? Yaz? YAZ!!!!! NO!!!!” Kenji holds her close to himself. Tears stream down his face as the woman he loved has now died. An Agol slowly approaches Kenji as he mourns for Yasmina Fadoula. Kenji gives the hybrid a death stare. He gently places Yaz’s body on the ground as he grabs one of the other chair legs. Kenji howls at the hammerhead raptor. The Algol snaps its jaws at the young man threateningly. Another Algol sneaks from behind Kenji as it begins nibbling on Yaz’s corpse. Kenji shrieks as swings at the Algol from behind him. The Algol lets go of Yaz’s body to snarl at Kenji.

The other Algol lowers itself to the ground while flaring out its claws ready to pounce at Kenji. It is struck by two bolts into its ribs, the Algol hisses before it's blown to smithereens. Blood splashes all over Kenji as he shields Yaz’s body. The second Algol stares up confused, his sister was just in front of him and now she is gone; replaced with a pool of blood cooked chunks of meat. Two bolts stuck it in the chest, it too is destroyed in the same manner as the other Algol.

Kenji looked up and saw a young redhead woman of japanese descent staring at him. She was only a few years older than him but he could tell she was a mercenary by her wetsuit attire and by the way she carried herself. 

“A kid? Sir, you didn’t say they were kids here?” she responded to her earpiece.

“Continue with the mission, Noriko, Dylan out” a voice boomed from her ear piece. 

The pack leader Algol hisses at Noriko and Kenji before bolting away. Noriko lowers her compound bow. She looks at Kenji still holding Yasmina. She turns away from the two as she walks away.

“Hey! Can you help her?” Kenji pleaded.

Noriko stops in her tracks as she turns to face Kenji. She walked over to him, she saw the girl was already deathly pale. She felt the girl’s wrist, there was no pulse. Noriko shook her head to Kenji, before standing back up.

“I’m sorry, kid. But she is gone” Noriko turned away. Kenji began to cry on Yasmina, remembering all of the good and the bad times they spent together. He couldn’t believe it ended like this. Noriko felt bad, had they not come to this island, this girl would have still been alive. But her mission was more important right now, she must not delay her mission. Noriko grabs one of her side arms, “Hey kid,” she lays it on the ground before kicking it towards Kenji. “Do you have other friends here?” Kenji nods to her as she looks back at Yasmina, “There is nothing you can do for her now, you must be strong for friends,” Noriko advised him. With that she leaves him.

“Hey wait, what's your name?” Kenji asked her.

“Noriko,” she replied, “Noriko Mikami,”

“Kenji Kon,” He gave her his name

“Nice to have met you, Kenji,” she smiled.

Xenotaris

Same. I always thought the concept of the Gryphon and the Probe Bats was a really cool and unique idea (plus the concept designs for them were awesome). I would love to see a Godzilla film that revisits that concept. Godzilla 2000 kind of came close to that idea with Orga's origin, but not to the extent that the 1994 script did.

It's probably unlikely that we'll ever see the Gryphon in an actual Godzilla film, but given the fact that the writer of the 94' script is involved with new movie and wrote parts of Godzilla vs Kong, it's possible that they could reuse certain ideas from that script for future instalments. Godzilla vs Kong actually had elements of the 94' script in it. The scene where Godzilla goes down on all fours and hunts Kong through the city and his more fierce, agile fighting moves were inspired by Godzilla's fight with the Gryphon in the 94' script. In the script the military captures Godzilla and uses a collar filled with a mysterious fluid to keep him sedated, however when the Gryphon arrives, they're forced to release Godzilla and destroy the collar so that he can fight the Gryphon (similar to what happens with Kong in the first battle with Godzilla). Heck, even the scene with the Hell Hawks is eerily similar to moments featuring the Probe Bats in the 94' script.

SasquaDash

That sounds awesome, now I want a movie with Gryphon in it

Xenotaris

The MUTOs had some similarities in their role, being the main threat of the movie with Godzilla being an Earth defender, but aside from that they were very different from the Gryphon. The Gryphon started out as an extraterrestrial probe sent down to Earth by a war-like alien race as a weapon to conquer Earth. The probe mutated a group of bat-like creatures (called Probe Bats in the script) and sent them to collect various Earth creatures. The probe absorbed these creatures and the Probe Bats, using their DNA to mutate into the Gryphon.

Maybebut wasn't part of Gryphon incorporated by the MUTO? I think I read that on Tv Tropes but I could be wrong. 

I just thought of something. What if the main antagonist for the film is a reimagined version of the Gryphon from the unmade 1994 Tristar Godzilla film? One of the writers of that script is working on the new film and since the 1994 movie was never made, the Gryphon probably isn't copyrighted and owned by Tristar, so the concept for it could be used in a future film. Probably unlikely, but it would be interesting if they went in that direction.

Its a long story. That started out with innocent disagreements like can non-japanese countries make a good godzilla movie, which godzilla incarnation was the best, which godzilla movie was the worst, the proper definition for evolution, whether or not american giant monsters can be called kaiju and now this topic.

With each topic it kind of got more heated the further it went on

I went with 1 because it can’t go lower. I have only one good to say about this movie and that being I didn’t find it quite as insulting as its predecessor (oddly, I do love Godzilla 2014 and Kong: Skull Island, but prefer to think of them both as independent from each other, while also ignoring the Monsterverse concept entirely). Also they promised my girl, Zhang Ziyi, and then didn’t deliver, I literally only watched because I read she was cast, and then I watch to the credits and she was cut straight out!

This is such a hard question, because I tend to prefer human plots and stories, and really enjoy them a lot! But, I would probably have to say Miki Saegusa.

Cool Godzilla, etiquette is like more formal way to say manners or good form. I was saying to that I felt Xenotaris wasn’t showing very good form.

Xenotaris, What is to understand? Some of us don’t think colorization is necessary from an objective point of view it isn’t very practical and may conflict with the film. And some of us would like to see it colorized from a subjective point of view, to see it from another perspective, and that is perfectly valid I think, and shouldn’t be reason to get upset about. At least from what I have seen, Gman seems to express opinions and/or share facts respectfully. Maybe I am missing something here, but what is it that pushes your buttons? Did you feel like Gman wasn’t regarding and respecting your opinions and feelings very well? Or is it about inability for yourself to accept others’ opinions and perspective? Is it how it was treated objectively instead of subjectively? I’m genuinely interested, because while I haven’t been on here long time, it feels almost unfounded, your irritations. Just a curiosity, you don’t have to answer me if you don’t want to.

Oh wait, I just realized that Scified has a rank between Martian and 2K. So it means that there is one more dino rank.

It is funny how I am observing the team member population every day but Kong's team 79 didn't rise to 80.

Xenotaris " Sorry, I am not usually not disrespectful " I know. But what is etiquette?

Sorry I am usually not disrespectful but I usually clash with Gman because are opinions are like fire and oil. But I understand what your saying about etiquette. But when it comes to not coloring Godzilla 1954, I still struggle to understand, why not but I'm not the sharpest tool in the shed when it comes to art. 

The plot of Godzilla vs. Kong 2 would, of course, have to revolve around Godzilla and Kong fighting once more. Despite Dr. Nathan Lind's assumption that Kong would win the fight in Hong Kong, Godzilla defeated Kong and chose not to kill him. https://movieweb.com/godzilla-vs-kong-2-hollow-earth/spider solitaire 2 suit

Did you read my comment? I am not saying that having options is bad, I didn’t say that at all. Again, I was giving my own opinion to why I personally think it wouldn’t be necessary to colorize. This wasn’t meant to clash with your own views or judge you. Colorizing is not inherently bad concept, but from my own perspective of my history and culture, as well as the creative decisions of the original creators, I feel content without colorized version, and you on the contrary pursue interest to watch the film colorized, and that is completely okay.

Not trying to drive you away or force you to the same opinion as my own, but instead what I was meaning to do was just show my perspective. But if you want to stop using this forum because of my opinion, then that is your decision.

P.S. In the future, it may do you well to reflect how you could compose yourself better online. It is a general etiquette, even a rule on some forums that you don’t try to piss off others like with you to Gman over disagreeing about something, but again is only my opinion and if you want to continue being disrespectful on a community where we express our opinions about our mutual interests, then that is your business.

sorry one more post

"Would that be different enough, though? I can see that point, but I would prefer new things"

Well they would be xenomorphs of corase but more specialized breeds or even evolved from an earlier caste. Maybe we might have flying xenomorphs that could eventually evolve into a xenomorph starship-caste, kind of evolve the xenomorphs into being like the tyrannids or zerg. I know that might sound video gamey but its an avenue the alien series could take

 Crap forgot again that I can't edit.

I mean the neomorphs are basically prototype xenomorphs same with the deacon from prometheus. They are both parasitic that have parallels to the xenomorph proper. They botch hatch from an egg-like structure, they both have a infector form, they both violently are birthed by bursting out of its host and they both have elongated heads and long limbs.

If you have it heavily focused on super humans, it maybe alien as in the unknown or whatever but its no longer ALIEN, its now a generic sci-fi tv series.

I'll just stick to the Alien and Jurassic Park forums from now on. To avoid sticking my foot in mouth when it comes to Godzilla related topics.

So having options is bad? I mean we have extended editions, special editions and directors cuts why not a color edition? maybe the technology got better? 

Yes I was being a jerk earlier, had a very rough day. I didn't really mean what I said about artists I was just trying to piss GHman off. Also I don't see artists beneath me, what am I? An artist or an evil tyrant? I just don't like their high mighty attitude sometimes, I just don't understand them hence why I lash out. Their way of thinking is very alien to me. I am aware Japan is more artsy compared to America, so maybe its a cultural difference?

Fortunately, I think Toho knows well enough to not.

Xenotaris, it’s okay to have opinions. But what Gman was saying didn’t seem to be quite as much about personal preference as it was about general fact. So you said movies weren’t shot in color until 1960s first of all, which is not true. There are movie from 1950s (Radon, Earth Defense Force, just to name familiar examples) which were shot and screened in color, never ‘colorized’ (even the posters say in color). Plenty movies in 1940s shot in color but not quite widespread until early 50s. Just saying, check your facts if you want to have a debate.

And then next, you did say that you don’t like artists, and find them pretentious, things like that. Since you said it, I think you should take a little more responsibility, because it is almost as insulting as your avoidance and denial, as it contradicts to your views on virtually entire world culture to make such claim. Then when you put down artists, then you view them as beneath you, and who is pretentious then? I understand you get defensive, and sometimes we can all get irrational, but that isn’t any way to win a debate, I don’t think Gman was out of line or out to get you for your opinion.

But on to my analysis of why I think Godzilla 1954 works best in Black & White. While true enough, 1954 was pretty rough time for Japanese economy so color film was more expensive, I still don’t think they would have shot it in color even if they had the resources, because the monochrome shades really create atmosphere of melancholy and darkness that go with the first Godzilla really well. The imagery mixed with aftermath footage from the war creates stunningly heartbreaking imagery, which would not translate the same in color, because the bright and vivid spectrum takes away from the sorrow of the scene.

King Kong in color is sort of guilty pleasure of mine, because I find the strange added colors very fun and soothing, while I still think that it takes away from the experience of the film. However, it works better for King Kong in my opinion because it is not formed around an actual tragedy which America was facing at the time, unlike Godzilla in Japan. Maybe my Japanese roots are taking over when I say, but I also think that what my people faced, what my great grandfather personally faced was a terror which cannot even be understood to fullest extent by my generation or the current generation. When you take into account that Godzilla comes from a real world tragedy, made as Japan’s way to accept their karma and come to terms with what happened, then it makes only too much sense why it was shot in such a style that it brings out all of the sad and unsettling feelings.

Gman made very excellent points about the photography crew, and how their previous work with cinematic genius Mikio Naruse really shows in the film. I agree that it would obscure original film makers’ vision in less than satisfying way. I have seen ‘colorized’ old movies and shows, the techniques give too much saturation because the coloring is unnaturally added, and every time you see teeth, they look like they been coated with whiteout and then painted gray, and then clothes look too solid colored, skin looks orange. Colorization of motion pictures rarely come out looking good, but single photograph could get better coloring detail.

While the Japanese and film technique lover in me would feel somewhat offended if colorized edition Godzilla is released, I won’t really make a big deal about it, because art is art, and art is a creative vision for anybody who has it, but I definitely don’t think it is necessary thing either.

I say things to get you mad, sorry I won't do it again. I just disagree with the sentiment that it should stay Black & White. I mean the Black & White version exists for those who want to see that one, so they could have a color version for people who want to see that one as well. Like give people options.

Crap, i can't believe i typed 1993 instead of 1992

Well the xenomorph is the star of the alien franchise and everyone thinks of the xenomorphs when mentioned the ALIEN movies and ALIEN was the xenomorphs name before the word xenomorph became popular, again its like Godzilla with no Godzilla or a Predator movie with no Yautja/Predator

Xenotaris,
You said it before you edited your post.

The last picture at the right looks a bit like Han in the carbon freeze in Jabba's palace.

Xenotaris

“Then its not ALIEN, it would be like watching a Godzilla movie without Godzilla”

I understand that kind of thinking, but I disagree. You can have things that are in the same family, so to speak, but I see why some think that the Xeno needs to be there. Eventually it depends on what you want to have there for you to consider it alien.

Alien means unknown, so to have the same thing in it, so it becomes familiar, seems to go against that. Too much use of the alien (Xeno) makes it repetitive and less alien, so to speak. Unfortunately, Alien Covenant misused the Xenomorph so it became another low point for it. Maybe you could have it in a cameo at best, but used with more respect than in Covenant.

AR and AVP, I think that they were overused and not used well there. My biggest problem with the AVP's and AR isn't how they did the monsters, but other things too. The human characters were weak, and the tone were too light-hearted, those are my main problems with them. About AVPR, no matter if the monsters would've been better, the movie would still be a turd. AVPR doesn't even have a story that is stitched together, it has random scenes that don't even connect and characters that are just there to be killed but you don't get to know them so to me at least when they die I just don't give a.

Alien 3 was 1992, not 1993. (Nerd comment, LOL)

“I think they should introduce more stronger variants of xenomorphs”

Would that be different enough, though? I can see that point, but I would prefer new things. It's like how much more variations can you do on the same thing before it gets old? The prequels are so and so, but at least they tried new monsters, which I consider in their favor.

I would like to see a movie or a TV-show where they balance the monsters and the Engineers if we are about to talk antagonists. More Engineers please even though some might disagree, more of the same old gets stale fast.

Yeah a little, it kind of does

Its face looks like it lacks animatronics in it

Hey when did I say I disliked artists? I am an armature writer so i would have to dislike myself?

I love it! But I get why they did not use it. It might have looked still and unconvincing.

Also its canon now

The face reminds me of a Xenomorph.

Xenotaris,
"Well duh, there was no color films prior to the 60s..."

This is categorically and incredibly false. Color film stock has existed since 1935. So yes, The Wizard of Oz is an exception amongst hundreds and hundreds of other films made between 1935-1960. During this time, many film studios still chose to use black and white film stock. Black & white films have also been used in modern times such as Schindler's List, The Artist, Sin City, Good Night and Good Luck and Christopher Nolan will be making next year's Oppenheimer in black & white. So it's equally an artistic decision.

Knowing that color stock existed in the 1950s, cinematographers had to light Godzilla '54 as a black and white film, not a color film, understanding that the process would look better with that in mind.

You may not like artists, but like it or not, the men and women involved in all these movies you watch consider themselves artists for the craft they entered. Therefore you don't care for anyone who made the Godzilla movies, Alien films and Jurassic Park franchise.

well that where they returned Beta to Momma Blue scene happened after this scene, I think

I would want venom to be part of the movie because it could make sense but Venom was already in another movie.

It did? Wasn't the ending was Lil Blue returns to her mother?

"In the case of Godzilla '54, however, it's a film that was shot and lit with black and white film stock in mind. You can't light a black & white film the same way as a color film. Much of the movie's shots are composed with that kind of mindset."

Well duh, there was no color films prior to the 60s... well maybe Wizard of Oz but that was the exception. I bet if the 1950's could, they probably would have used color instead of black and white. Also I don't see the big gripe, oh it will ruin the film because we put it color, sounds like artist elitism too me. 

Whatever it is, Toho has been extra quiet about it. It wrapped filming in June and we haven't heard a peep about it. Rumor has it's the big 70th anniversary film.

Xenotaris,
Some older movies are arguably ruined by complete HD remasters, since it reveals more than the filmmakers intended to be seen for the time.

In the case of Godzilla '54, however, it's a film that was shot and lit with black and white film stock in mind. You can't light a black & white film the same way as a color film. Much of the movie's shots are composed with that kind of mindset.

Colorizing it is like dubbing: Whereas English audio-dubs take away from the original performance of actors, a colorization takes away from the original work of directors of photography. I for one have no interest in altering that.

The original movie is a beautifully shot film Masao Tamai who also worked closely with the prolific director Mikio Naruse. And Sadamasa Airikawa's effects photography blended so beautifully with his work and gave Tsuburaya's effects an almost documentary look. B&W can be gorgeous, as the '54 film is, and colorizing would destroy that visual artistry.

That neck is too thick for that tiny head