We see this a lot in Mantis’ troubling relationship with Drax, who is the only one of the Guardians who even remotely attempts to interact with Mantis, but half of those interactions involve Drax insulting Mantis’ appearance. Mantis views Drax as her first friend, and she doesn’t seem to understand that he undercuts her self-confidence at every turn. Drax repeatedly tells Mantis she is horrifying to look at. Later, when Mantis rushes to his room in a panic to warn him about Ego’s evil plan, he automatically assumes Mantis is there for sex, to which he exaggeratedly makes retching noises about.
In terms of Video game music , overworld themes are often orchestral in nature, and of greater length and complexity than other pieces in the same game, due to the amount of time spent traveling the overworld map. [ citation needed ] Because players will usually visit a single level or area a few times in a given play session, the music for any such section of the game will typically be shorter and/or less complex,  and thus less time-consuming for the designers to produce. The overworld theme frequently functions as a main theme of a game, often being arranged for specific scenes or situations (., a "romantic" setting features a remixed overworld theme). 
The mapping of these large concentrations of galaxies — and of all galaxies — is the grand quest of extragalactic astronomy. There is a story here, a story that began when matter first gathered into clumps way back when the universe was very young, and how these clumps grew to become galaxies distributed in large groups. To uncover this story, we need to go back to the universe's early history (as close to the Big Bang as we can), and to know what the cosmic ingredients are — that is, the different kinds of matter and stuff that fill space.