Two episodes in, and you’ll probably get drawn into at least three of the characters in the story. Four episodes in, you’re thinking about who is going to to make it to the second season and how quick they can get that filmed and released. Directed by Shinsuke Sato, Haro Aso’s popular manga series comes alive in Alice in Borderland, the live-action dystopian, Japanese noir-meets-steampunk thrill ride streaming now on Netflix. Doomsday, Tokyo-style, is surprisingly violent, surprisingly thought-provoking, as a city finds itself mostly vacated (as in The Quiet Earth and 28 Days Later) and the remaining citizens must fight for their lives The Running Man-style or they’ll get zapped and killed The War of the Worlds-style. Clever casting of characters introduces looks of action heroes from all sorts of Japanese video games, manga, and anime, all living (many briefly) in a world loosely pulled from Lewis Carroll’s classic Alice in Wonderland. A gamer-themed series on the heels of the popular Netflix series The Queen’s Gambit, the result is a very different story allowing the audience to try to solve clues along with the players on the screen–what I was hoping for when I first heard about the book Ready Player One.
The first season of Netflix’s Altered Carbon was a fantastic sci-fi series with a stellar cast and a story and production values that rivaled the original Blade Runner and its 2017 sequel. Based on Richard K. Morgan’s novels, the series is centered around 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, as demonstrated in Season 2, can allow the series to continue indefinitely much as Doctor Who’s regeneration mechanism allows replacement Doctors. So how does a series fair when it replaces the lead after the first season? Can it keep up the intrigue and interest for viewers?
The first season asked: What does it mean to be human, and how much can you shed away and replace with technology and still retain the “self”? Unfortunately, the second season falls a bit short. Although it wisely was paired down from ten to eight episodes for its second season (season one couldn’t keep up the action and would have benefited from some good editing), the series just doesn’t capture the same magic. Anthony Mackie′s assumption of the role of Kovacs in the year 2385, years after the events of the first season, is more of a re-hash of what we saw Joel Kinnaman do with the character last season. Mackie is usually one of the best parts of any project he tackles (The Adjustment Bureau, Captain America: Winter Soldier), but the story and dialogue here are not as sophisticated as in the inaugural effort, and Mackie is always intense, his acting dialed up to eleven, much different than his character in the first season. Simone Missick, who we loved in Marvel’s Luke Cage, provides an interesting new cyborg character for the Altered Carbon universe as Trepp, but it didn’t quite catch up to the passion of Martha Higareda’s driven cop Kristin Ortega last season. But where the series shines is in its supporting cast of characters, many returning from last season. The result is like comparing the first season of the Battlestar Galactica reboot with the last–good television–even if it’s not as gritty and exciting as the first season, it still may be the best sci-fi series on television this year.
Foremost is Chris Conner back as the artificial intelligence who has taken inspiration from Edgar Allan Poe, a bodyguard of sorts looking out for Kovacs (Mackie) in his new body (called a sleeve). Conner brings to the series the same kind of compelling look at the trouble of incorporating humanity into robots or cyber-creations, the same type of battle of sentience in the non-living as conveyed by Robert Picardo as the emergency medical hologram in Star Trek Voyager. In this season Poe is in trouble–his matrix is broken and he needs to reboot, which he does not want to do because that would mean he would forget Lizzie (Hayley Law), a key character of last season, and a memory stored in his digital mind. Not rebooting means he makes mistakes that could hinder Kovacs’s ability to stay hidden from his pursuers. But there is hope for Poe, and that comes in the form of another creation, another artificial intelligence, an ancient storage “archaeologue” unit called Dig 301, played by Dina Shihabi, who nicely substitutes as a futuristic love interest for Poe.
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. It’s Netflix’s Altered Carbon, 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 called “sleeves.” See our review of the first season here. Allowing Kovacs and other characters to be played by any number of actors (allowing the series to run forever like Doctor Who), for the second season that means Anthony Mackie(Captain America: Winter Soldier, The Adjustment Bureau) is replacing Joel Kinnaman(RoboCop, Suicide Squad) as series lead. Netflix revealed its first teaser for the new season this week. Check it out below!
So 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 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. 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.
The new teaser trailer showcases Mackie, but also shows glimpses of returning characters, including Kovacs former platoon leader, played by Renee Goldsberry(Star Trek Enterprise, Life on Mars), the original Kovacs, played by Will Yun Lee (Hawaii Five-O, Bionic Woman, Witchblade), the artificial intelligence named Poe who is the runner of a seedy hotel, played by Chris Conner(Burn Notice, House, Bones). Unfortunately it doesn’t look like the fantastic cop Kristin Ortega, played by Mexican actress Martha Higareda(McFarland USA, Royal Pains), will be back, but new additions include Simone Missick(Marvel’s Luke Cage, The Defenders), Neal McDonough (Captain America: The First Avenger, Walking Tall, The X-Files,), and Alessandro Juliani(Chilling Adventures of Sabrina, Battlestar Galactica).
Check out this quick look at season two of Altered Carbon:
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.
To understand the scope of celebrated Chinese author Cixin Liu′s 2005 novel Supernova Era, finally available to Western audiences in an English translated edition by Joel Martinsen, it helps to look back to its influences, and those works published since its original publication in China. At its core, this is a classic science fiction novel of the Philip K. Dick, Arthur C. Clarke, and Ray Bradbury school. It’s a work of speculative fiction, at once arguably both optimistic and dystopian that reads almost like an alternate history in the vein of Dick’s The Man in the High Castle. Disturbing and horrifying at points, philosophical, and filled with global, international, and political intrigue, it’s also squarely a young adult title, featuring almost exclusively middle grade aged kids tasked with surviving an interstellar holocaust–the actual “supernova” of the title–that quickly fries the DNA of anyone older than the age of thirteen. The solution? In the face of their imminent deaths, the world’s adult leaders begin to select youth leadership based on the classic “model United Nations” competitions. It’s a jarring, but ultimately interesting and clever mash-up of some great tropes of science fiction.
Since the initial publication of Supernova Era in China, we’ve seen parts of the story replayed–possibly even inspiring–many other genre works: Only last year in we saw Jeff Lemire’s Sentient–a comic book series where the adults on a ship are killed in a sabotage leaving kids to run a spaceship. Here, we follow two small groups of children, the cabinet who must lead China and the cabinet who leads the United States, without the help, advice, education, and other benefits of adults or adulthood, on a global stage. At first, the children default to letting an Internet-like artificial intelligence computer–the Digital Domain–help keep society in order, something like the robot in last year’s Netflix movie, I Am Mother, where a computer system’s robotic surrogate fulfills all parental duties to children.
When the daily toil of work grinds the kids in the Supernova Era into a state of boredom, they reach out to a massively multi-player online roleplaying game (MMPORG) and begin to build their real lives around it, as we saw in Ernest Cline’s 2011 novel, Ready Player One, where a future society allows itself to give up life in the real world to become lost inside a virtual reality MMPORG. And the world’s kid leadership ultimately decide they need to compete with other nations, creating a worldwide version of Suzanne Collins’ 2008 novel The Hunger Games (also inspired by Stephen King’s novel,The Running Man) with a society relying on a new world construct with quirky contrived, artificial new rules of survival, battling wars with gameboard rules to the death. Were these authors aware of Liu’s internationally known and respected work? Possibly, but it’s the earlier works that served at least in part as influences on Liu’s novel.
Alita: Battle Angela could be just another space-age story. It’s full of cyborgs (we love’ em), but it’s not standard fare for frequent sci-fi movie buffs and sci-fi readers. Without the “distraction” of Robert Rodriguez’s special effects, you can really get to the heart of the movie’s story by going to the underlying source work it adapts, or in this case, its novelization,Alita: Battle Angel–The Official Novelization, by author Pat Cadigan, who also wrote last year’s Harley Quinn–Mad Love, reviewed here at borg. 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 what looks like a teen girl. The film changes enough from the manga, incorporating several new characters and conflicts, that the novelization and film stand apart from Kishiro’s manga. So how does the new story fare?
Above all, the biggest surprise is that Alita: Battle Angel–The Official Novelization is in every way a young adult novel, based on its protagonist, story structure, and the author’s writing style. In fact the film may have missed a niche audience–as the studio targeted adult sci-fi buffs instead of fans of stories like the Divergent series, Twilight, The Maze Runner series, City of Ember, and Ender‘s Game. Even more on-point, Alita: Battle Angel follows the same emotional highs and lows of The Hunger Games. Both The Hunger Games and Alita: Battle Angelare teen heroine updates to both Rollerball(1975) and The Running Man (1987), but like some of the best science fiction they are also remakes of the oldest of them all, Frankenstein, and its descendant Pinocchio. Blend these four popular stories together and you can understand why James Cameron prepared 600 pages of development material for the Alita project he would ultimately produce into the film.
Pat Cadigan′s storytelling is a mirror of the writing style and pacing of The Hunger Games’ novel writer, Suzanne Collins. In a significant way, Alita: Battle Angel is a teen romance, a romance between Alita–an amnesiac cyborg who is primarily robotic but has a human brain–and her newfound human boyfriend Hugo. Hugo is a street kid who helps her learn who she wants to be and how to survive on the streets of a futuristic Earth where everyone who isn’t a cyborg is mugging cyborgs to steal their parts and swap them for cash. As with Katniss and Peeta in The Hunger Games, Alita and Hugo fall in love as they help each other and work together when faced with an onslaught of ever-increasing impediments to their survival. And yes, this is another superheroine with a problem like the heroine in the new Captain Marvel movie.
