Ghost in the Shell fan art by Trung Nguyen
Wait, wise old Chinese dude? Do you mean Beat Takeshi as Section Chief Aramaki? He’s a Japanese comedian and actor speaking Japanese.
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(Ghost in the Shell: ARISE, 2015)
“Why do we have to meet in person? You telling me my cyberlobby is bugged?”
It just occurred to me that, assuming the cyberlobby is hosted locally, this someone their cyberlobby is bugged occupies a strange space in between telling they have the flu, telling them they have a bad apartment messed up by previous guests/habits, and telling them they have an STD.
Which makes it insulting, which is low-key hilarious.
You know, it’s not like science has fucking stopped entirely. So why the hell do none of these sci-fi shows seems to have any vision? It’s like ideas for sci-fi stopped being created in the 80s and they can’t use anything that wasn’t written about before 1990.
Because Eclipse Phase is too unrelatable to general audiences.
We even got a live action Ghost in the Shell movie, and it really missed tons of opportunities in trying to dumb itself down for general audiences. Perhaps the worst part of it is that Standalone Complex was really quite prescient about the power of memeforce!
Though really, I also think that many Hollywood writers are mostly not of the sci-fi visionary caliber to go from “what if some dude became part robot?” to “what if every dude became part robot?”
The latter includes all sorts of cascading changes throughout society, seen in shows like Standalone Complex, with ordinary people becoming vulnerable to cyberbrain crime and reserving organs to be grown in pigs. Psycho-Pass is really the spiritual successor here in that it will probably seem really prescient about the use of big data to analyze people for criminality in about 10-20 years, the way Standalone Complex seems prescient about crimes-as-memes.
But even then, those are what, two shows in a foreign country, where most of the shows are either not of that type, or not of that caliber.
How would American audiences have responded if Standalone Complex were a live-action TV show?
Just so you know, we haven’t hit the weirdest part of the timeline yet, where brain scanning technology is used to download tulpas from people’s brains into waiting android bodies.
That is, of course, before they start going insane and homicidal, but the brief moment between culture shock and sci-fi horror is interesting to say the least.
I feel like probably the language they were speaking was Japanese, since why would you /not/ have them speaking Japanese?
I am clueless and do not speak Japanese.
From what I heard, people were speaking Japanese, but I couldn’t clearly hear the background people in the various scenes. However, I think the movie takes place in something like a Japanese Hong Kong or Japanese Singapore, probably following a world war which shuffled the national boundaries throughout Asia.
Note: “Ghost in the Shell 2017 takes place in Japanese Hong Kong” is speculation on my part. However, some of it was filmed in actual Hong Kong, so it’s not entirely off-base.
It just sounds like the most credible explanation for why “Japan” is suddenly so multiracial, multicultural, and English-speaking that an entire team from its internal security services consists primarily of non-Japanese people who speak English.
You know, it’s not like science has fucking stopped entirely. So why the hell do none of these sci-fi shows seems to have any vision? It’s like ideas for sci-fi stopped being created in the 80s and they can’t use anything that wasn’t written about before 1990.
Because Eclipse Phase is too unrelatable to general audiences.
We even got a live action Ghost in the Shell movie, and it really missed tons of opportunities in trying to dumb itself down for general audiences. Perhaps the worst part of it is that Standalone Complex was really quite prescient about the power of memeforce!
You know, it’s not like science has fucking stopped entirely. So why the hell do none of these sci-fi shows seems to have any vision? It’s like ideas for sci-fi stopped being created in the 80s and they can’t use anything that wasn’t written about before 1990.
In some cases I think it’s just “near-future shows are cheap”, but with Spaceship Shows, I think there’s actually a retro-futurism thing going on. Spaceship Shows are so rare now that they’re wedded to a particular era and symbology in the popular consciousness, so there’s an element of pastiche.
Star Trek always had the particular problem that it wanted to be seen as serious scientific space thinking, but also didn’t want to threaten the Motherhood Statement in any way, which leads to this weird situation where it has to scrupulously avoid all the implications of its own tech. Obviously that just gets worse the more of it there is!
You don’t have to dive deep into sci-fi vision to be good, necessarily. Battlestar doesn’t and (IMO) it was great. But we never feel as though their technology is used radically out of sync with its implications, precisely because all their tech is fairly nerfed and there are in-story reasons about the issues with artificial intelligence.
@femmenietzscheDoes anyone have vision anymore?
Fk man, are you saying you aren’t going to greenlight my series about a retired white nationalist becoming a Pseudo-Han Chinese cyborg through genetic and surgical modification and working as a detective for a series of corporate-run faux ethnonationalist city-states on the Asia-Pacific rim?
I feel like probably the language they were speaking was Japanese, since why would you /not/ have them speaking Japanese?
I am clueless and do not speak Japanese.
From what I heard, people were speaking Japanese, but I couldn’t clearly hear the background people in the various scenes. However, I think the movie takes place in something like a Japanese Hong Kong or Japanese Singapore, probably following a world war which shuffled the national boundaries throughout Asia.
SAN FRANCISCO—In an effort to reduce the number of unprovoked hostile communications on the social media platform, Twitter announced Monday that it had added a red X-mark feature verifying users who are in fact perfectly okay to harass. “This new verification system offers users a simple, efficient way to determine which accounts belong to total pieces of shit whom you should have no qualms about tormenting to your heart’s desire,” said spokesperson Elizabeth James, adding that the small red symbol signifies that Twitter has officially confirmed the identity of a loathsome person who deserves the worst abuse imaginable and who will deliberately have their Mute, Block, and Report options disabled. “When a user sees this symbol, they know they’re dealing with a real asshole who has richly earned whatever mistreatment they receive, including profanity, body-shaming, leaking of personal information, and relentless goading to commit suicide. It’s really just a helpful way of saying to our users, ‘This fuck has it coming, so do your worst with a clear conscience and without fear of having your account suspended.’” At press time, Twitter reassuredly clarified that the red X was just a suggestion and that all users could still be bullied with as little recourse as they are now.