Philip K. Dick′s 1972 novel We Can Build You, his 22nd novel, has its strengths, the first half of the novel full of several thought-provoking ideas that each would have been better served pared down as one of Dick’s fantastic short stories. From there it slides precipitously off the cliff into the incomprehensible–an attempt at showing a protagonist with an unstable mind inside what is by all other indications the set-up for a future America sci-fi story. Originally written in 1962 and not published for a decade, and released first as A. Lincoln, Simulacrum, the story is centered on Louis Rosen, an entrepreneur in 1982 with questionable business acumen who co-owns a musical organ company. We Can Build You begins to illustrate what it might be like to build a new race of artificial humans, previewing many specific elements that would become the framework of many later films, novels, and shows (like the Humans television series 45 years later). The “simulacra” business branches off as a natural spin-off of a keyboard type organ that interacts with the mind in the future from the 1962 perspective–simulacra being a favorite early sci-fi construct in Dick’s works, also called a Replicant or android in his other works.
For a few dozen pages Dick examines what it is to be alive, for a human or a sentient robot, this time in a new way, showing two simulacra, one a nearly perfect construct of Edwin Stanton, Abraham Lincoln’s secretary of war during the Civil War, and later, a simulacra of President Lincoln himself. Why? Because of America’s fascination with the Civil War following the commemoration of its centennial in 1961 (when Dick was writing the novel). How these highly functioning automatons react to these businessmen in the Pacific Northwest “in the future” and the ideas to use them concocted by the story’s wealthy progenitor to Elon Musk form the best sections of the book. The biggest struggle is with the second half of the novel, when Louis, who serves as the novel’s narrator–with no prior warning–becomes fixated on his partner’s daughter, named Pris. Louis slips rapidly into some form of schizophrenia, obsessed with the 18-year-old, and the reader becomes aware he also has the unfortunate malady of being a textbook unreliable narrator.
Was any part of this novel real? Was the infatuation never mutual (like with Quentin Tarentino’s insane brother in From Dusk Till Dawn?). Did his organ company really propose making simulacra as entertainment to re-enact the Civil War, or is the reader crazy for even believing that could have been a legitimate plot point? Was Pris real or only a figment of his mind? Did his brother really have an “upside down face” (Dick describes it as some kind of mutation of some future people) or Louis really believed this because of his mental disease and his false reality? Was anyone real? Every step of the way modern readers familiar with Dick’s more famous work Blade Runner (adapted from Do Androids Dream of Electric Sheep?) will see the inspiration for the Replicant also named Pris in that later work, not published until a decade after We Can Build You, and will question whether this Pris is a simulacra, too, or something else.
As we first previewed here at borg last July, Titan Publishing and Alcon Media Group, the producer behind more than 30 films over the past 20 years, announced a partnership that will mean the beginning of an expanded universe of stories for Rick Deckard, Replicants, and the world of Blade Runner and Blade Runner 2049. Today Titan Comics released its first look at the new comic book series, and revealed its title, Blade Runner 2019. The original film and this year have been the subject of millions of shared memes commenting on the fact that the real 2019 looks little like Ridley Scott’s 1982 vision of 2019.
The new series will be “in canon” comics and graphic novels that dive deeper into the BladeRunnerworld. According to an Alcon representative, “The BladeRunner universe has barely been explored; there is so much more there. It’s an honour to be bringing this world to life in new ways for a new audience – and to reveal tales from that universe that you’ve never seen before.” Ridley Scott’s Blade Runner was adapted from the novel Do Androids Dream of Electric Sheep?, a novel by science fiction legend Philip K. Dick, who endorsed the original film project in 1982, but died before its release.
New character concept drawings for Blade Runner 2019.
Launching this summer, Titan Comics’ new series will be set during the exact timeframe of the original 1982 Blade Runner film, and feature a mostly new set of characters and situations. Artist Andres Guinaldo(Justice League Dark, Captain America) created the above first looks at characters featured in the new story. He joins Oscar-nominated Blade Runner 2049 screenwriter Michael Green(Logan) and Mike Johnson (Star Trek, Superman/Batman) on the series.
Titan Publishing and Alcon Media Group, the producer behind more than 30 films over the past 20 years, announced a partnership that will mean the beginning of an expanded universe of stories for Rick Deckard, Replicants, and the world of Blade Runner and Blade Runner 2049. So expect new comic book series, tie-in fiction books, and maybe even a new book on Syd Mead and that tech noir futurism the franchise is known for. It would seem the possibilities are endless.
In a press release issued late yesterday, the companies said they will develop and publish a variety of both fiction and non-fiction print media. The program will feature new, “in canon” comics and graphic novels that dive deeper into the BladeRunnerworld. They also plan to create a variety of publications focused on the visual and technical sides of the films. Titan is also well-known for its Hard Case Crime imprint featuring the best of classic, lost, and new crime genre stories. What better avenue to issue a vintage-style Deckard and femme fatale Rachael noir story than in a Hard Case Crime novel?
Alcon expressed its confidence that the world of BladeRunner will continue to organically grow in a way that refuses to sacrifice the quality, tone and high standards of this beloved property. “We are extremely excited to be publishing BladeRunner comics and illustrated books,” said representatives of Titan. “The BladeRunner universe has barely been explored; there is so much more there. It’s an honour to be bringing this world to life in new ways for a new audience – and to reveal tales from that universe that you’ve never seen before.”
Ridley Scott’s Blade Runner was adapted from the novel Do Androids Dream of Electric Sheep?, a novel by science fiction legend Philip K. Dick, who endorsed the original film project in 1982, but died before its release.
It’s been one long year of great entertainment. Before we wrap our coverage of 2017, it’s time for the fifth annual round of new honorees for the borg Hall of Fame. We have plenty of honorees from 2017 films, plus many from past years, and a peek at some from the future. You can always check out the updated borg Hall of Fame on our home page under “Know your borg.”
In anticipation of the 2017 film Logan, last year we added Old Man Logan, Laura/X-23, and cyborg-armed mercenary Donald Pierce. We also added Scarlet Johansson’s character The Major, previewing 2017’s live-action film The Ghost in the Shell.
We didn’t get the big ballroom at our venue reserved early enough for the induction ceremony this year, so it limited us to tapping only 24 named characters into the revered Hall of Fame this year.
As with last year, we’re granting a few early entrances this year, first to Simone Missick’s badass cop Misty Knight, who is getting a borg arm for season two of Luke Cage in 2018.
And here is an early look at Josh Brolin’s Cable, from 2018’s Deadpool sequel. The borg comic book character Cable was a first round honoree to the Hall, so this is just another update to the character.
Onto this year… Kingsman’s almost-a-Kingsman Charlie was thought to have been killed off in the first film. But he was back in the 2017 film Kingsman: The Golden Circle, sporting cyborg components.
A host of new borgs–Replicants in Philip K. Dick’s novel Do Androids Dream of Electric Sheep?–returned to the big screen in Blade Runner 2049, including some new names and faces, like Ryan Gosling’s K …
Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story. Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film. The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch. The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.
From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences. The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation). More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world. What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck. But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story. To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.
Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original. Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right. One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene. But the biggest misfire is Villeneuve’s use of sound and score. Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis. Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares. The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original. I.e. take at least one earplug along, especially in an IMAX or other digital theater.
Ridley Scott’s neo-noir, sci-fi masterpiece Blade Runner is one of science fiction’s classic films. Released in 1982, Blade Runner, a loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electronic Sheep? revealed a world of life-like borgs called Replicants hiding among us in the year 2019. Scott is back, this time as an executive producer, for the surprise sequel Blade Runner 2049, directed by Denis Villeneuve (Sicario, Arrival).
Top billing this time goes to Ryan Gosling, who wasn’t born yet when the original was in production. Harrison Ford returns, as seen in the trailer released this week by Sony and Columbia Pictures. Blade Runner is known for its brilliantly realized future city, and the teaser includes no indication of whether it will be set in the giant wonder of technology that was the city where Harrison Ford’s Deckard hunted Replicants and befriended one in Sean Young’s beautiful damsel in distress, Rachael. Young appeared in last year’s Western Bone Tomahawk. Will she have a surprise cameo in Blade Runner 2049?
Other actors appearing are Suicide Squad’s Jared Leto (a pretty gross fellow in the trailer), The Princess Bride’s Robin Wright, Ant-Man’s David Dastmalchian, and Guardians of the Galaxy and Spectre’s Dave Bautista. Here’s the new full-length trailer for Blade Runner 2049:
Ridley Scott’s neo-noir, sci-fi masterpiece Blade Runner is one of science fiction’s classic films. Released in 1982 Blade Runner, a loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electronic Sheep? revealed a world of life-like borgs called Replicants hiding among us in the year 2019. That dark future thankfully hasn’t happened yet. Scott is back, this time as an executive producer, for the surprise sequel Blade Runner 2049, directed by Denis Villeneuve (Sicario, Arrival).
Top billing this time goes to Ryan Gosling, who wasn’t born yet when the original was in production. Harrison Ford will return, and the first teaser trailer was released by Sony and Columbia Pictures this week. Blade Runner was known for its brilliantly realized future city, and the teaser includes no indication of whether it will be set in the giant wonder of technology that was the city where Harrison Ford’s Deckard hunted Replicants and befriended one in Sean Young’s beautiful damsel in distress, Rachael. Young appeared in last year’s Western Bone Tomahawk. Will she have a surprise cameo in Blade Runner 2049?
Other actors expected to appear in the film include Suicide Squad’s Jared Leto, The Princess Bride’s Robin Wright, and Guardians of the Galaxy and Spectre’s Dave Bautista. Here’s the first teaser trailer for Blade Runner 2049:
The magical, multimedia, computer-generated art of Archeologists of Shadows is at once both like something you’ve never seen before yet strangely familiar with bits and pieces of so many different influences. The characters seem to have evolved from the green planet in Avatar and the villains from the Iowa State Patrol borg police of Star Trek 2009. The compositions have influences in the creepy worlds of both artist Dave McKean and at the same time the otherworldly spaces of filmmaker Guillermo del Toro’s Pan’s Labyrinth. The fantasy evokes painted high fantasy pulp cover art and the mystery and old religions and myths of The Dark Crystal. The colors and lights throughout the book are reminiscent of the work of artist Lee Bermejo. The industrial architecture conjures the oppressive cityscapes of Fritz Lang, and the surreal buildings of Antoni Gaudi.
As to the story, we’re introduced to a far off place, maybe Earth’s own future, the world of Terminator if the Connors have failed to save humanity, where humans have degraded to the point where they have only few organic parts. The protagonists, Alix and Baltimo, are indeed borgs, with elaborate, realistically visualized cybernetics with a definite steampunk vibe. They are on the brink of a crossroads like the dull citizens of George Lucas’s THX 1138–readying for the final steps of full mechanization. Like the cast of Waiting for Godot, they wait for something to happen, maybe godlike intervention, until a stranger offers assistance. Like Neo in The Matrix, do you act or not act, and which action bears the most risk, the doing or not doing?
We highlight them all the time here at borg.com. But some of them don’t naturally come to mind when you think of cybernetically enhanced organisms–cyborgs, or borgs for short. What makes a borg? An organism, human, alien, or animal, who has been modified by technology or uses technology as part of or in place of another biological function. We use this broadly, encompassing not only a long-accepted group of borgs that are more metal than man, but also robots or androids modified with biology or biomatter, although taken to the extreme this would seem to include the bioneural starship USS Voyager from Star Trek Voyager.
Regardless of how you define it, meet our borg.com Hall of Fame, always ready for new honorees…
With Marvel’s big premiere of Joss Whedon’s The Avengers, we’ll begin with Tony Stark’s Iron Man. Tony Stark is not advertised as a borg, but if your power source involves techno-gadgetry via an arc reactor and you have his fully integrated armor, we think that makes you a borg. Whedon is very familiar with borgs, having created the character Adam, the nasty, almost unstoppable foe of the Scooby Gang in Whedon’s Buffy the Vampire Slayer.
If Iron Man is a borg, should one of the oldest creatures of science fiction be considered a borg as well–Frankenstein’s monster? How integral are those bolts and attachments to his survival anyway? Does an external power source make a borg? Did he ever have to regenerate?
And if Frankenstein’s monster makes the cut, maybe this spin-off fellow should, too:
Yes, Frankenberry, the only cereal mascot borg? Are those pressure gauges on his head? What functions do they serve? Before we move forward very far in time, we also think we need to at least consider Maria’s doppelganger from Fritz Lang’s sci-fi film classic Metropolis as a possible borg.com honoree–a robot admittedly, but somehow transformed into a humanoid creation with flesh, used to replace the real Maria and wreak havoc across Metropolis:
From one of the biggest science fantasy franchises, Star Wars, Darth Vader began as Anakin Skywalker, but through his own rise to evil and subsequent downfall he became more machine than man:
He even caused his son to require borg technology by slicing off his arm and hand with his lightsaber, making Luke Skywalker a borg as well:
With Star Wars Episode III: Revenge of the Sith, we met an interesting new villain, General Grievous, a four-lightsaber wielding almost lobster-like biological creature made up of techno-armor and, in close-up are those reptilian eyes? His apparent disfigurement and breathing problems hint at a back story that must be not unlike Vader’s.
In The Empire Strikes Back we also briefly met Lando Calrissian’s majordomo who possessed some type of brain adapter technology–we learn from action figures, trading cards and comics his name is Lobot:
And probably the very first cyborg to be referred to specifically as a “borg” (by Luke Skywalker, even), Valance was a cyborg bounty hunter in the early pages of Star Wars, the Marvel Comics series:
Some borgs are more cybernetic than organism, at least at first appearance. This would include Doctor Who’s Cybermen:
and we’d learn even the Daleks were cybernetic organisms:
and the Terminators from the Terminator movie and Sarah Connor Chronicles TV series, very much more machine with a bit of organics (and even Arnold’s character called himself a “cybernetic organism”):
In Star Trek: First Contact the Borg Queen alters the android Lieutenant Commander Data in such a way so as to make Pinocchio a real boy:
giving real organic material to Data, (like Maria’s double above from Metropolis?) bringing him briefly into the realm of borg status, like Isaac Asimov’s Bicentennial Man:
and this even suggests the Tin Man from L. Frank Baum’s The Wizard of Oz may be a rudimentary variant borg being along the lines of Frankenstein’s monster:
All humanoids or aliens modified to become The Borg of the Star Trek franchise clearly are good examples of cyborg beings, the most famous of which are probably Patrick Stewart’s Locutus:
the seemingly innocent Hugh:
and Seven of Nine from Star Trek Voyager:
On Earth we encounter humans all the time with bodies improved by borg technology. Because of the OSI Steve Austin and Jaime Sommers were rescued from near death with enhanced biology and appendages to become the Bionic Man and Bionic Woman:
The British agent James Bond had to take on Doctor No, an evil scientist who took on his own technological enhancements because of medical maladies, bringing James Bond into the fold of genre franchises investigating a borg character:
Featured in a 1980s movie series and soon to be the subject of a new movie, Robocop:
showed us a variant on Austin and Sommers, and a bit like Iron Man, we have the government creating technology to make super-humans, and here, a superhuman police officer. This is taken even further, making three animals into borgs for military use in the Eisner-nominated comic book mini-series WE3:
…a far darker take on the classic cartoon character Dynomutt from Scooby Doo:
Inspector Gadget:
and Doctor Octopus (Doc Ock) in Spider-man 2:
both were borgs that made it into big-screen films.
In the DC Comics universe we have a newer Justice League featured member Cyborg, a football player/student who is in the wrong place at the wrong time, when his father’s lab goes up in flames and his father uses his own research to save his son from death:
Before that, Frank Miller envisioned a disfigured future world Green Arrow who would need his own prosthetic cybernetic arm in The Dark Knight Returns:
Mr. Freeze was an early borg villain in the Batman series:
In Marvel Comics Rich Buckler created Deathlok the Demolisher, another cyborg creation, and one of the earliest borgs in comics:
Add to that Marvel characters like Ultron, the “living” automaton:
Ultron’s own creation, named Vision, the “synthezoid”–
and the borg called Cable:
In the 1990s Jim Lee created the Russian borg in the pages of X-Men called Omega Red:
Long before these Marvel characters the cyborgs Robotman and Robotdog graced the pages of DC Comics in the 1940s, and yes, they were not just robots:
The modern Cylons from the reboot Battlestar Galactica TV series are borgs in the Terminator sense, robots made to look and pass for human. And there were a bunch, not just background, but named characters, the most famous of which was the seductive Number Six:
Years before, Philip K. Dick would create more than one borg character in his novels and short stories, revealed to us the best as the Replicants in Ridley Scott’s Blade Runner:
Several replicants appeared in the film:
…all indistinguishable from humans to the naked eye.
In the horror realm we have Ash, from Evil Dead and Army of Darkness, his arm a functioning chainsaw, and at least in the comic book, like the Star Trek borgs he has an interchangeable arm like a mega Swiss Army knife:
If we include Ash do we also need to include Cherry Darling from Planet Terror, since she has a rifle as a leg like Ash’s arm attachment?
Heck, even horrific camp troller Jason became a borg eventually in Jason X:
Todd MacFarlane’s Spawn comics had both the borg assassin Overtkill:
and the cybernetic gorilla Cy-Gor:
Speaking of borg beasties, even Japanese monster movies embraced borgs, having their hero Godzilla encounter Mechagodzilla:
and Gigan:
In the world of manga and anime we have Ghost in the Machine’s own borg girl Motoko Kusanagi:
leader of a group of borgs, and the villain Cell from Dragon Ball:
Cowboy Bebop had the borg character Jet Black, which seems influenced by the design of Seven of Nine:
Akira had Tetsuo Shima:
And we have a new one to add to the list because of the film Prometheus, the creepy borg, David 8:
But he’s certainly not the first in Ridley Scott’s Alien universe. Don’t forget Ian Holm’s Ash in Alien:
Lance Henrikson’s Bishop from Aliens:
and Winona Ryder’s Annalee Call from Alien: Resurrection:
But these are just the biggest examples of borgs in popular genre works. Countless books, comics and short stories have introduced other borg beings, not to mention every other new video game. What will be the next borg to enter the mainstream, with a new TV show or movie?
Should we add an Honorable Mention list to the borg.com Borg Hall of Fame, for beings resulting from the merging of humans with cyberspace? Think of characters like Tron and Flynn from Tron and Tron: Legacy? Or Neo and Trinity & Co. from the Matrix movies? You can argue some of the above in or out of the list, but we’ll be visiting most of them here now and then.
Editor note: We’ll update this list from time to time and feature it as its own page on the borg.com home page. Just click on “Know your borg” at the top of this page now for a full update!
As you might already know, borg is the short version of cyborg, itself a shortened combination of the term “cybernetic organism.” At its core a cybernetic organism is the juxtaposition between the present and the future—the evolved organic meets future technology, usually technology meant to enhance, improve or replace a biological function. Today people with loss of limbs or other functions benefit from cybernetic improvements that didn’t exist just decades ago. The seemingly unlimited boundaries and implications of these technologies have been pursued throughout popular fiction for years.
My first encounter with the concept of a cybernetic organism is like many peoples’—Steve Austin, the Six Million Dollar Man. In fact, the original working title of SMDM was “Cyborg.” Back in the 1970s one of my favorite toys and the first of many large action figures was this astronaut from the TV series. He was the perfect archetype and a great introduction to the borg concept for kids back then. He explored both the good and the bad of mixing technology with biology, usually through the struggle he and his friend Jaime Sommers “The Bionic Woman” experienced adapting to these new enhancements. Ultimately in science fiction a lot of time is spent focused on the pitfalls of this mix—Terminators dehumanize us. Robocop and Darth Vader ultimately lose their human selves. But let’s face it, the benefits can be amazing.
When I was ten years old I got my first pair of eyeglasses. I remember reading my first comic books and thinking about the old “what if?” question: If you could have any special power, what would it be? The ability to fly like Superman? The ability to move fast like the Flash? To climb walls like Spiderman? For me the answer was easy—I wanted perfect vision. Steve Austin, the astronaut played by Lee Majors, crashed in a test flight, and because “we can rebuild him” because “we have the technology,” Steve got not only superior vision but superior physical strength and other powers, too. Through my Six Million Dollar Man action figure I could literally see (through a window in the back of his head) Steve’s super vision. But this was science fiction, right? And who has six million bucks anyway?
Flash forward to the 21st century. Science fiction meets reality, and not for six million dollars but more like six thousand dollars comes LASIK. I found myself in an eye doctor’s laboratory with eye tests that looked like something out of 1950s sci fi TV serials—with flashing lights and lasers measuring the surface of my eye to the actual (gulp) restructuring of my eyes with a real-life laser beam. Back in the 1970s I would have thought it possible, just not likely, that I could have my wish come true. And the days of lesser technologies…eyeglasses and contact lenses…were a thing of the past for me. Did I get to benefit from actual cybernetic technologies? You bet! Do I consider myself a bit of a borg? I’m not telling, but I’ve been known to refer to my new sight as laser vision—a concept straight out of Stan Lee’s Marvel Comics.
I also just like “borg” over “cyborg” and “cybernetic organism”. It’s less formal and I hope to drop all formality with this website. My own first encounter with the word “borg” was in my favorite comic book series as a kid—the Star Wars adaptation and Marvel’s ongoing original comic series that started as a retelling of the Seven Samurai. In issue 16 we were introduced to the menacing bounty hunter Valance, who hunts robots, only to be revealed to us in the last panel that half of his body was replaced with cybernetic parts—he was a borg. Who knew one day I would have a website called the same thing?
I also have to mention other borg: Doctor Who’s Cybermen and even the Daleks, General Grievous and Luke Skywalker, the human Cylons from the Battlestar Gallactica reboot series, Philip K. Dick’s replicants we saw on the big screen in Blade Runner, and last but not least the species in Star Trek that assimilates all species and cultures, “The Borg”—I hope here, too, to pull together all science fiction, fantasy, entertainment–all pop culture–in one place.
is at once both like something you’ve never seen before yet strangely familiar with bits and pieces of so many different influences. The characters seem to have evolved from the green planet in Avatar and the villains from the Iowa State Patrol borg police of Star Trek 2009. The compositions have influences in the creepy worlds of both artist Dave McKean and at the same time the otherworldly spaces of filmmaker Guillermo del Toro’s Pan’s Labyrinth. The fantasy evokes painted high fantasy pulp cover art and the mystery and old religions and myths of The Dark Crystal. The colors and lights throughout the book are reminiscent of the work of artist Lee Bermejo. The industrial architecture conjures the oppressive cityscapes of Fritz Lang, and the surreal buildings of Antoni Gaudi.
