Tag Archive: futurism


Review by C.J. Bunce

It’s a fantastic sci-fi series with a stellar cast and a story and production values that rival the original Blade Runner and its 2017 sequel: Altered Carbon is based on Richard K. Morgan’s novel of the same name, a story about Takeshi Kovacs, a future soldier in a world where science has developed a hard drive called a “stack” that is implanted in humans’ necks, allowing our memories to be uploaded to storage and replanted over and over so they seemingly can live forever, even in new bodies.  That conceit allows Kovacs and other characters to be played by any number of actors, which could allow the series to run forever much as Doctor Who’s regeneration mechanism allows replacement Doctors.  Originally launched on Netflix in 2018, Altered Carbon has been extended for a second season, with filming underway last year, and viewers should expected a second season trailer and 2020 air date any day.  Which means fans of the Syd Mead, Ridley Scott, and Philip K. Dick brand of futurism, and all things borg, should catch up on the first season now.  What does it mean to be human, and how much can you shed away and replace with technology and still retain the “self”?  Altered Carbon tackles the philosophical questions The Matrix film series tried to answer.

Kovacs, played by several actors (more on that below), is a 300-year-old soldier.  As a seasoned fighter 250 years ago he was the last of a mercenary group called the Envoys, leading a rebellion against the new world order.  Kovacs’s stack is shelved for the intervening 250 years until one of the wealthiest men alive, Laurens Bancroft, played by James Purefoy (an actor who has been runner up for the James Bond film roles and appeared in A Knight’s Tale and The Following), buys his stack and puts it in a new body or “sleeve,” giving Kovacs the opportunity to live anew if he agrees to find Bancroft’s killer.  This is a bleak world, filled with virtual reality and virtual sex, body swapping and trafficking, and the kind of tech noir, bleak, dystopian realm seen in Strange Days, A Scanner Darkly, Minority Report, Ready Player One, The Running Man, Brazil, Total Recall, with the violence of A Clockwork Orange, but maybe not so hopeless as in Elysium, Mad Max, Gattaca, Terminator, and Dredd.  

The series, which has a slow start and doesn’t kick into high gear until the second episode, also has the John Carpenter Escape from New York vibe but with Blade Runner visuals and effects, plus the creative elements of Total Recall that made for some unexpected surprises.  Altered Carbon is a close match to RoboCop as future science and technology goes, so it’s easy to see why the casting agents brought along RoboCop remake star Joel Kinnaman as Kovacs’ primary sleeve in the first season.  This sleeve was last owned by a cop killed in duty named Ryker.  Ryker’s partner, Kristin Ortega, played by Mexican actress Martha Higareda (McFarland USA, Royal Pains), takes on the role of the season’s co-lead, struggling as she sees her old partner’s body and acting to protect his sleeve, trying to solve the murder of Bancroft, and uncovering the bad cops in the bureau.  Ortega is a badass character in a small package who gets in and out of several fights that would take down anyone else in any other story, and she is the high point of the series–at one point an incident results in a loss of an arm, soon replaced by a powerful cybernetic arm.  An interesting twist is that her family are Catholics, and in this future Catholics don’t believe in the stacks, which means once they die they are dead forever.  This sets up one of the more interesting plot threads.  If it seems like the series has a lot going on, that’s because it does. But it all comes together in a satisfying way in the final episodes.

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Review by C.J. Bunce

In art director and designer Roger Christian’s book Cinema Alchemist (reviewed here at borg) readers learn how the Oscar-winning set designer changed the way audiences see the future through intentionally distressed sets and props and the clever incorporation of real-world components.  In books like Dressing a Galaxy, Star Wars Costumes, and Star Trek Costumes, readers can see how costume designers create what we think of as the future.  Now writer Dave Addey takes science fiction fans back to visit how visionary filmmakers of classic science fiction used futuristic and sometimes even classic fonts and type styles to convey what lies ahead and in his book Typeset in the Future: Typography and Design in Science Fiction Movies, available now from Abrams Books.

At first focusing on what he believes to be the most pervasive font of the future, Eurostile Bold Extended–used in Back to the Future, Apollo 13, Battlestar Galactica, Independence Day, and hundreds of other films–Dave Addey highlights seven key science fiction films and how they used a wide variety of typeface designs to make us see the future.  2001: A Space Odyssey, Alien, Star Trek: The Motion Picture, Blade Runner, Total Recall, Wall·E, and Moon (alas, no Star Wars, possibly because it is not technically science fiction per se) each get taken apart and dissected.  With numerous screencaps, and identification of several dozen font designs inside the films and used in marketing via posters and other advertisements, readers will be surprised what set designers came up with over the past 50 years.

Addey finds some of the fonts made famous in film have filtered into our daily lives as real-world corporate logos–Gill Sans Light, City Bold, Univers 59 Ultra Bold Condensed, Manifold, Futura Bold, Kabel Book, Computer, Micr, Data 70, Stop, Handel Gothic, Pump Demi, Swiss 911 Ultra Compressed, Gunship–these will all be familiar to you even if you don’t know them by name.  With his own pop culture knowledge and sense of humor, he has also built his own framework to analyze the success of these fonts, using manipulation via italic slant, curved lettering, straightening others, adding sharp points, adjusting kern or spacing, creating slices through letters, adding texture, adding a bevel or extrusion, and/or a star field background, although he says no title font has yet used them all to become the most futuristic of all.

Here is a look inside the book:

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Review by C.J. Bunce

We have a review of the first of three tie-in books to the new Robert Rodriguez film Alita: Battle Angel coming your way.  Alita: Battle Angel should appeal to any fan of cyborgs–the story as envisioned by James Cameron was a pet project of the director for several years, one he’d picked up from Guillermo del Toro.  When Cameron decided to pursue management of his several Avatar sequels directly and finally handed over the project to Rodriguez he did so with more than 600 pages of notes he’d prepared.  The film is an adaptation of the manga Battle Angel: Alita by Yukito Kishiro, a story about self-discovery and empowerment via a centuries-old human brain that finds its way into the cybernetic body of a young girl.  A part-time doctor, part-time bounty hunter, Doctor Ido, played in the film by two-time Oscar winner Christoph Waltz, takes center stage in Alita: Battle Angel–Doctor Ido’s Journal, the new release by writer Nick Aires for Titan Books.

After losing his human daughter’s struggle to live, the Dr. Frankenstein-inspired Dr. Ido finds the “core” of a cyborg in a scrapyard with a surviving, living human brain.  He uses the prosthetics and futuristic body parts he’d designed for his daughter to rebuild a new girl, quasi-Pinocchio style, naming her Alita after his daughter.  The sci-fi story follows Alita as she tries to learn about her past and survive in a dystopian world that mixes inspirations from John Carpenter, Ridley Scott, Neill Blomkamp, and George Miller.  The visions of each of these directors’ best futuristic films comes through in Doctor Ido’s Journal, an in-universe document which reprints concept art, sketches, and photographs from the film, combining them with a diary entry narrative written by Aires in the place of Dr. Ido.  Doctor Ido’s Journal will be familiar to fans of Aires’ past in-universe books, including Oliver Queen’s Dossier, S.T.A.R. Labs: Cisco Ramon’s Journal, and Arrow: Heroes and Villains and works by others reviewed here, including Alien: The Weyland-Yutani Report, The Book of Alien: Augmented Reality Survival Manual, and the Batman v Superman Tech ManualFans will first find a cleverly designed flex-cover that mimics metal (a great design effect that would make for an attractive blank journal), followed by pages of dense notebook entries that track the action of the film, all from Dr. Ido’s perspective.

The artwork is exceptional, vivid engineering-level drawings like those found in Mark Salisbury’s Elysium: The Art of the Film, reviewed here at borg, and the combination of horror and beauty found in production artists Dan Hallett and Matt Hatton’s elaborate designs in Alien: Covenant: David’s Drawings, reviewed here (it’s worth noting the Weta Digital created much of the designs for both Alita: Battle Angel and Elysium, and the similarly realized scrap-metal worlds of Blomkamp’s District 9 and CHAPPIE).  At times the gear-heavy animatronics inside the cyborgs echo the real-world 19th century automaton past of these creations, making these modern borgs into something that feels almost steampunk.

Here are some preview pages from Alita: Battle Angel–Doctor Ido’s Journal courtesy of the publisher:

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