If you’ve read his book James Cameron’s Story of Science Fiction (reviewed here) or watched his accompanying series, you can tell that James Cameron is first and foremost an artist. With an artist’s eye he has created some of the biggest science fiction movies ever made, from The Terminator to Aliens to The Abyss and Avatar. For the first time Cameron is revealing the contents of his sketchbooks and personal art archives and discussing his creative process and inspiration. Insight Editions’ giant chronicleTech Noir: The Art of James Cameron, arrives in bookstores next week and available for pre-order here. Fans will find a collection of rare and never-before-published art that reveals how this award-winning director has translated his ideas to film, often employing advanced film-making technologies to realize his unique vision. But as readers will find, it all begins with pen, pencil, and paint.
Just this past Fall, Titan Comics took fans of the Blade Runner movie franchise into their past and future with the comic book series Blade Runner 2019(review here at borg). Both the sequel to Ridley Scott’s Blade Runner and prequel to Blade Runner 2049, the series introduced a new Blade Runner, a female engineered cyborg named Ash. Beginning next week readers will find Ash ten years later in the pages of Blade Runner 2029. With the ghosts of the Tyrell corporation always in the shadows, Ashina has a new mission, a personal one, and she decides to seek a lost target from her past.
Check out our sneak preview of artwork from Issue #1 of Blade Runner 2029, courtesy of Titan Comics:
It’s the sequel to Ridley Scott’s Blade Runner and prequel to Blade Runner 2049, giving fans of either or both a look into the world created by Philip K. Dick in his novel Do Androids Dream of Electric Sheep?Blade Runnerstories continue as Titan Comics looks to the parallel Earth future in Blade Runner 2019. The first nine issues introduced us to ex-Blade Runner Ash and Cleo, daughter of business magnate Alexander Selwyn. It’s now 2026. On returning to Los Angeles, Ash sleuthed out the location of Selwyn, but Selwyn knows Ash is after him, and has created a new Blade Runner. Of course the ghosts of Tyrell are always in the shadows.
It’s what Blade Runner fans have been waiting for, and if your appetite was whetted by the movie Blade Runner 2049, then you’re going to want to check our the next era of Blade Runnerstories as Titan Comics goes back to a parallel Earth future in Blade Runner 2019. The future is now. It’s been worth the wait, as the new story looks and feels like we’re back inside Philip K. Dick’s original vision in his novel Do Androids Dream of Electric Sheep? In the neo-noir city of Los Angeles, 2019, Ash, a veteran Blade Runner, is working the kidnapping of a billionaire’s wife and child. Is the CEO of the new Canaan Corporation any better than those behind the Tyrell Corporation? Written by Academy Award-nominated screenwriter Michael Green(Logan, Blade Runner 2049), with co-writer Mike Johnson(Supergirl, Star Trek), get ready for Blade Runner to experience the treatment we’ve seen in recent years for franchises like Firefly, Planet of the Apes, and Alien, as another new world of science fiction storytelling opens up. Green and Johnson have written a perfect first chapter.
This very first original, in-canon story set in the Blade Runner universe is illustrated by Andres Guinaldo(Justice League Dark, Captain America) with brilliant color work by Marco Lesko. You’re going to see something surprising in Guinaldo’s artwork–not only is this the world of Philip K. Dick, Ridley Scott, and Syd Mead′s neo-noir future, readers will see influences from cyberpunk and tech-noir classics like John Carpenter′s Escape from New York, Luc Besson′s The Fifth Element and Valerian and the City of a Thousand Planets, Neill Blomkamp′s Elysium,James Cameron′s The Terminator and Aliens, Robert Rodriguez′s Alita: Battle Angel, and the other futureworlds adapted to film from Philip K. Dick′s stories. It all probably comes down to the versatility, breadth, and influence of concept artist Syd Mead, but the creators do give due credit to Dick, Scott, Hampton Fancher, David Peoples, Michael Deeley–and Mead–for the look and feel of their new story.
The first issue arrives next Wednesday, and you can pick from four cover options, from Stanley “Artgerm” Lau, Andreas Guinaldo, John Royle, and an original concept piece by Syd Mead.
Check out our sneak preview of the first issue of Blade Runner 2019, courtesy of Titan Comics, plus a new trailer for the series released just today:
A behind the scenes book for a 2019 movie, which consists of a third or more of its images from 2005? As fascinating as the special effects developed for the film, the history of the movie merits its own book, and it gets it in Abbie Bernstein‘sAlita: Battle Angel–The Art and Making of the Movie, now out from Titan Books. It turns out executive producer James Cameron and artists were working on the pre-production of Alita: Battle Angel during the development of his film Avatar. According to interviews with Cameron and Alita director Robert Rodriguez, in the early 2000s the technology was not yet advanced to deliver what they wanted for their adaptation of Yukito Kishiro’s manga novel. But now that it’s arrived, fans of the film can trace its development over the past 15 years.
Alita: Battle Angel–The Art and Making of the Movie is filled with concept art, split between 2005 digital ideas in advance of knowing what actors might be cast and final characters developed, and a renewed look at the project as it began to get fully underway only a few years ago. Key interviews with Rodriguez, Cameron, producer Jon Landau, production designers Caylah Eddleblute and Steve Joyner, art director Todd Holland, visual effects supervisors Richard Hollander and Eric Saindon, costume designer Nina Proctor, Weta Digital’s Joe Letteri, and others tell the story–a marriage of practical effects and CGI. In fact the commenters almost seem to have a battle between those responsible between the practical effects and CGI–all with an eye toward realism. The most interesting aspects of the discussion are the incorporation of Alita star Rosa Salazar’s motion capture (or per Rodriguez, “performance capture” since motion doesn’t include the “emotion” element required to make a story come together) with Proctor’s real-world costumes, and the CGI layering that ends up as the final image that made it to the screen.
No doubt a highlight of the film and of the book are detailed images of Alita’s cyborg body shell, as created by the character of Dr. Ido in the film. In real life it looks incredibly porcelain, but the artists discuss how the body and all the components of the film were actually fabricated. The commenters don’t reference their inspirations for the look of the Iron City in the film or its cyborg inhabitants, but fans of the genre will no doubt see the influences–from the borg designs to story elements–from films including Chappie, Elysium, District 9, Ex Machina, Ghost in the Shell, Mad Max: Fury Road, Cameron’s The Terminator, and even the light cycles of Tron. Readers will learn more about the science behind the cyborgs in the film–how Cameron and others estimated weights of body parts, including Alita’s removable metal heart, as an example–all needed for 3D and CGI work and viewer believability.
Let’s cut to the chase: Daniel Godfrey’s new novel The Synapse Sequence is not just the leading contender for the best science fiction novel of 2018, it’s the most absorbing, riveting, and thrilling science fiction novel I’ve read since I was first blown away by Michael Crichton’s Jurassic Park in 1990. Hyperbole? Maybe just a little, but when you are reading a new book and you’re taken aback by the twists, turns, and surprises as this book provides, it’s a bit like walking out of a big rock concert, wanting everyone else to witness what you just experienced. Godfrey is relatively new to the genre, with two solid sci-fi books behind him, New Pompeii (reviewed here) and Empire of Time (reviewed here). But this story is a completely different take on science fiction, and so deftly written, smartly paced, and completely believable in its speculative reach, Godfrey is worth comparison to some of the greats in the genre for it.
Anna Glover is an investigator with an unfortunately troubled and public past for her conclusions in investigating an airplane crash. She lives in the somewhat distant future–bots serve man, taking on so many functions that personal freedom is limited. As told from the alternating viewpoint of Glover in the present and looking back on her life, future London is very familiar and steeped in the world that technology is building right now with so much of life absorbed into the digital world. When we meet our protagonist she is attempting to lie low conducting trials for a company with an emerging technology, a “synapse sequencer,” which allows a person to be tapped into the mind of another, like a witness to a crime, to experience vivid, shared memories as an observer. She meets with her boss inside this world, where he lives out most of his life, a life better than he would experience in the real world. The process requires the help of a monitor, and hers sees that she gets in and out of submersion safely. But we learn there are risks for anyone who participates in this intermingling of brain activity. If you’ve seen the 1980s sci-fi classic Dreamscape, the modern classic Source Code, the television series Stitchers, or the shared visions of iZombie, you’ll find no suspension of disbelief issue with the wild ride that awaits you. The method for the journey isn’t as elaborate (or glitch-filled) as Connie Willis’s elaborate time travel tech, but Godfrey provides enough to submerge us into the stress and angst of Glover as she takes journey after journey to learn the who and why of a case involving a boy in a coma and a missing girl.
You can’t predict where Godfrey will take Glover from chapter to chapter in The Synapse Sequence. Godfrey has been likened to an emerging Crichton, but Crichton rarely could craft as satisfying an ending as found here. The story embraces that speculative futurism like many a Philip K. Dick story (Paycheck,Total Recall/We Can Remember It for You Wholesale, and Minority Report for starters), while weaving in a plausible future from the seeds of new tech today. He combines the audacious duplicity of Vincent and Jerome in Andrew Niccol’s Gattaca with the foreboding and despair of The Man’s story in Chris Marker’s Le Jetée and Cole’s in Terry Gilliam’s 12 Monkeys.
You still have 12 days to get in on what has become a fully funded Kickstarter campaign for a new tabletop roleplaying game. Half wargame, half tactics game, The Terminator: The Official Board Game is an asymmetrical strategy game in the making for 2-5 players played across two game boards: one in 1984 and one in 2029. It’s all based on the original 1984 science fiction classic, James Cameron film starring Arnold Schwarzenegger.
One player takes control of all of Skynet’s forces, including Hunter Killer machines and Terminator cyborgs. The rest of the players take the role of the human resistance, like Sarah Connor and Kyle Reese, struggling against the impossible odds of the machine uprising. Each of the two game boards play differently: 2029 focuses on light troop and resource management in a lopsided battle for dominance. 1984 focuses on personal missions with high stakes and intense pacing. Missions arise through the course of gameplay, and have players make decisions in 1984 that will affect the future, erasing and adding components in real time. You can download and try your own paper version of the game now, including game boards, game cards, tokens, and rules at this link. Take a look at a full half hour video of gameplay below.
In well under a month since the Kickstarter began, the crowd-funding campaign was full funded. A wide variety of game purchase options remain available, as well as great perks for donors. Check out all the options at the The Terminator: The Official Board Gamehere.
