How does tron legacy start

Though his name is in the title, Tron himself never really gets much of an explanation in Tron: Legacy. But the thing you really need to know about Tron is that he's utterly loyal both to Flynn and to the users, the humans who use and design the computer system he lives in. He's the most deadly and skilled warrior in the computer world.

Nobody, except maybe the users, is better at games than Tron. Whether it's lightcycles or disc battles, he's absolutely the best of the best. Back in in the original TRON Kevin Flynn is kidnapped by the Master Control Program who isn't in Tron: Legacy and taken into the computer world using a laser beam designed by Encom to digitize objects in the real world and turn them into computer data.

The laser was an unfinished, test prototype never actually intended to transport people into the computer, rather it was intended more as a teleportation device, like the transporters in Star Trek.

If you hear people in the audience around you whispering and pointing during the club scene in Tron: Legacy , they're probably talking about Daft Punk. Daft Punk is a French, electronic music duo. They rarely reveal their faces and instead when they perform always wear elaborate robot costumes complete with robotic helmets.

They also composed Tron: Legacy's score and they have a cameo in the film. Watch for them and point them out to your friends. You'll seem smarter and hipper than you actually are. Impress your friends by knowing the names of all these awesome Tron: Legacy vehicles in advance. It's feet push together and it literally stomps its enemies.

The new Tron: Legacy Recognizer seems to be used more as a troop transport. In , computer genius Kevin Flynn tells his young son about his adventures in the cyber world of Tron. He talks about the friends he made and his emissary CLU which is a program he made in his likeness. He promises that one day he will take him to the Grid, but Flynn disappears and Sam is devastated. Sam spends his time moping over his father's disappearance and pulling a prank on the board.

One day, Alan Bradley, his father's best friend tells Sam that he got a page from the phone at his father's office at his arcade. Sam wonders why is that so important, Alan tells him because the number's been disconnected for 20 years. Alan still clings to the hope that Flynn is out there and that he didn't walk away from his work and Sam, he gives Sam the keys to the arcade. Sam goes there and finds his father's work station and after entering a few codes finds himself in the Grid.

After being mistaken for a program, he finds himself subjected to all sorts of contests but when they discover he is not a program but a user. Or, in other words, what happens when man tries to become God? We learn through a flashback that Flynn created a digital version of himself called Clu in the time between the two movies.

He tells the clone they will build the perfect system, a digital frontier to reshape the human condition. Then he gets a message that leads him to the Grid—and his dad. He cannot move on with his life until he reconciles with his father. But his arc still rings true—at least to me. I lost my dad around the same age as Sam does in the movie.

By the time I was 12, it had taken over his body and most of his mind. He spent the next decade in and out of hospitals, only vaguely aware of the world around him. But the bottom-line effect is the same. The result is a lot of self-destructive behavior, and looking for a father figure to rescue you while also pushing those same people away because you are afraid they will abandon you. When Sam makes a mistake by rushing into a trap set by Clu, Flynn risks everything to save him.

Sam then proves his worth to his father by helping him get to the portal. But things change once they get there, with Flynn sacrificing himself to give Sam enough time to escape.

The point is that Sam needs to let go of his past rather than carrying the burden with him. He returns to the real world a changed man, ready to handle the responsibility of adulthood. But, while it looks marginally less spooky, it lacks the intent behind Legacy.

As a more precise visual recreation of Bridges, CLU feels more like a puppet than the angry, incomplete machine of the original plus, it also somehow emotes even less. The lack of fidelity becomes necessary to the distinction between Flynn and CLU, and solidifies it as one of the most fascinating uses of the tech to date. Flynn is now The Dude, and irreplaceable. The spooky, not-quite-human face of CLU becomes more conspicuous when the film contrasts him with that older, earthier, and funnier Bridges, whose newfound Zen attitude and ideological difference to CLU is made clear by the large beard and flowing white robes.

Flynn illustrates to CLU that design by algorithm and aversion to risk is a creative method incapable of the uniqueness that comes from spontaneity and the personal. CLU seeks refinement of what works, and Flynn simply hopes to facilitate change in the Grid rather than assert control over it.

The film makes it obvious which is the better option, making it an ironic, inadvertent warning at a time when the increasingly monolithic Disney itself appears hellbent on reforging visual arts in its own image. The Grid is visually distinct from practically anything else produced by Disney, all while serving as a harbinger of things to come.

But its continuing relevance comes from how it laid out a blueprint for how the company makes films to this day.