#Three Robots: Exit Strategies

[cloudnstarry]

Yes, I will lead you to the sheriff

[mesillusionssousecstasy]

Love, Death + Robots : Volume 3

It such an amazing animation series, the effect are incredible.

But it's more about Death, than Love.

The ending of each episode are more dystopian than Black Mirror itself, but I can understand life doesn't have an happy end either.

My favorite was the first one episode called "Three Robots: Exit Strategies" and the less favourite was "Jibaro".

So here a review for each episode :

Three Robots: Exit Strategies (3x01) : Excellent, the orange robot was hilarious and the cat ending too.

Bad Travelling (3x02) : was truly gory.

The Very Pulse of the Machine (3x03) : the animation was amazing.

Night of the Mini Dead (3x04) : I loved the details, it was incredible. The mini stop motion was perfect. Poor little penguins. The very gas station is called Hell literally and the Fedex truck is called Fux.

Kill Team Kill (3x05) : too violent, too stupid, too much cursing. It was the "fuck you" episode.

Swarm (3x06) : the animation was amazing.

Mason's Rats (3x07) : the animation was so well done. At some point, I was poor rats, but how many are they? I didn't understand the happy ending, it was the only one. It wasn't very realistic.

In Vaulted Halls Entombed (3x08) : the animation was incredible again, I wasn't expecting this ending.

Jibaro (3x09) : It was like animation on drugs, mushrooms. It was more looking as a video game than an episode animation. I'm not sure I understand the all story of the episode. It was like the siren against the deaf and dumb? I didn't understand why she was always dancing? Why the man was like from the middle age. At one point, I was asking if her vagina had teeth too. WTF. It was my least favourite episode.

Some Quotes:

"- What exactly is a tech millionaire? - It's a lot like a regular millionaire, but with a hoodie and crippling social anxiety." (3x01)

"- They were mean to robots and then robots killed them." (3x01)

"- Wait. I thought that's what the seasteads were for? - Those were for the merely millionaires. The obscenely wealthy 0.01 percent of humans decided they needed an entirely new planet." (3x01)

"- The elite were not sympathetic to their concerns." (3x01)

"- Okay, but Mars? I mean, it's dead and lifeless. - They could've taken the money they spend on the spaceships and used it to save the planet they were already on. - What's the fun in that?" (blows raspberry - 3x01)

"- I hate to say it, but humans are the actual worst. - Humanity had all the tools to heal their wounded planet and save themselves, but instead they chose greed and self-gratification over a healthy biosphere and the future of their children." (Robot 1 - 3x01)

"- Done and done. Nearly as unpleasant as it was necessary." (3x02)

"- Maybe I'm gonna live forever. Or maybe this is just one last dream before dying." (3x03)

"- Less Darwinian theory, more rodent-killing hardware." (3x07)

"- Spencer. (Harper) - The Lord is my light. (Spencer) - God is dead. Embrace the suck. We gotta move." (Harper - 3x08)

[specialagentartemis]

Friend Like Me: Murderbot's Relationships With Other AIs throughout The Murderbot Diaries

It’s important to me that the thematic core of The Murderbot Diaries is not only about determining what it means to be a robot person in a human world, but about showcasing so many ways to be a robot person in a human world.  And about building relationships with other robot persons to support that self-actualization as both a robot and a person.

So often, in science fiction about robot personhood, the robot character is the only robot in the cast.  Not only that, so often the robot character is the only robot they know.*

When media thinks about AI personhood, or Ais as characters in society, the AI character is often alone.  Alone, and different.  It’s a potent allegory for what it feels like to be an outsider, to be “other,” to feel “off” from the people around you.  Whether a sympathetic friend or a scary unknowable villain, a lot of people can relate to feeling like that.

The Murderbot Diaries is doing something interesting, then, by showing us our protagonist Murderbot, the prototypical robot-among-humans, the robot as a parallel for queer and neurodivergent and outsider-cultural experiences in a world of expected norms, the robot with human friends, the one robot member of an otherwise all-human team… and it can’t live like that.  So it leaves.

So far, the series feels split into two halves: the first four books, about Murderbot learning different ways to be a robot in relationships with humans, and the next three** about Murderbot learning different ways to be a robot in relationships with other robots, and a robot in a mixed society.

In All Systems Red, Murderbot starts off painfully alone. It repeatedly sees other SecUnits as enemies, and believes that SecUnits can't trust each other because they're all under control of humans. It has a very low opinion of SecUnits, including itself.  Murderbot hates being used by humans for violence or for petty reasons, and admits that it wants to half-ass its job.

In Artificial Condition, Murderbot meets ART, a university research ship who loves its crew and loves its function.  It is also free to be a snarky asshole, as Murderbot repeatedly notes (and assigns in its very name).  This relationship to humans—genuinely caring for its crew, genuinely wanting to participate in its research and teaching function—is a very different relationship than Murderbot has had, though ART still needs to keep its intelligence and personality hidden from most humans for its own safety.  Conversely, this is the book where Murderbot meets a ComfortUnit that is blatantly being abused and misused by its human owner, and it hates her.  The contrast between ART and the ComfortUnit displays very different ways of Ais relating to their human “owners”—and what it means for them to get what they want out of life.

In Rogue Protocol, Murderbot confronts this theme most directly, with the bot Miki.  Unlike the implications of secrecy we get from ART, Miki is not hidden from anybody; unlike with the ComfortUnit, Miki is a respected and equal member of its team.  Murderbot has a very hard time believing that Miki is anything but a patronized “pet bot” to these humans, despite the evidence that the humans genuinely consider it a friend and teammate.  Miki has never been abused, and never had to hide.  Murderbot has a hard time accepting that this is a way bots and humans can relate to each other.

But Miki is still, in the classical sci-fi robot-on-a-human-team way, unique; it expresses to Murderbot, “I have human friends, but I never had a friend like me.”

This is a much better way of being a robot among humans than Murderbot has seen before, but it’s still not the ideal Murderbot wants, either.

Exit Strategy brings the theme full-circle and the quartet to a close.  Murderbot faces off against a Combat SecUnit (or CombatUnit; Wells seems to change her mind about this).  The Combat SecUnit represents everything Murderbot has rejected being, everything it has overcome on its journey of self-actualization.  During their fight, the CSU rejects Murderbot’s offers of freedom, money, a fake ID, the opportunity to get out of its situation the way Murderbot has; it ignores the offer.  Murderbot asks the CSU what it wants.  The CSU replies, “I want to kill you.”  The CSU represents the kind of SecUnit Murderbot does not want to be, the kind of robot it used to think it would inevitably be but has now seen so many other ways it can be.  Murderbot says in the same scene, “I’m not sure it [the offer of freedom] would have worked on me, before my mass murder incident.  I didn’t know what I wanted (I still didn’t know what I wanted)…”  But at the same time, the confrontation makes it clear: Murderbot knows some things it doesn’t want, and the CSU is embracing everything Murderbot doesn’t want about being a SecUnit.

If this quartet is about what it means to be a robot, and to be a robot among humans, then the next set of books (Network Effect, Fugitive Telemetry, and System Collapse) is about being a robot among other robots, and a robot in a society that supports both humans and robots.

Fugitive Telemetry makes this most obvious, with its plotline about the free bot community on Preservation.  Murderbot is uncomfortable around them in a similar way that it was uncomfortable around Miki.  The Preservation bots are happy, fulfilled, responsible, mutually supportive, and have a meaningful community with both humans and each other that does not match Murderbot’s experiences of what being a bot, or being a bot among humans, means.

Network Effect brings Murderbot back into contact with ART, and introduces a new SecUnit, Three.  Murderbot navigating its relationship with ART as a free agent and after a perceived betrayal is a huge part of the book.  Murderbot’s disembodied-software-fork Murderbot 2.0, freed from much of Murderbot’s organic anxiety, shows itself much more willing to be social with other bots and constructs.  System Collapse follows, bringing further depth and complexity to Murderbot’s relationship with ART and expanding its interactions with Three, and furthers Murderbot’s integration into the casual bot-human community that is ART’s crew.  It also shows that Murderbot’s willingness to trust and even form tentative friendships with other AIs and systems, like AdaCol2, has expanded.  The way it extends the governor module hack to the opposing SecUnits is informed a lot more strongly by Murderbot 2.0’s interactions with Three than its own previous clumsy attempts to reach out to the CSU in Exit Strategy, or abrupt dumping of the hack on the ComfortUnit in Artificial Condition.  All of these plotlines emphasize Murderbot maturing into not just being a person among humans, but a person recognizing its place and obligations within society that includes both people like and unlike it.

The models of the many ways to be a robot person, and significant relationships and interactions with other robot persons, were and are crucial to Murderbot’s development, sense of self, articulation of its desires, and sense of belonging in the world.  Murderbot isn’t alone, and it’s not the only person like itself that it knows.  When offered a place in society, it is not the only person like itself in that society.  Meeting other AIs, forming relationships with them, was crucial in helping it articulate what it wants in its life.  Its human friends are incredibly important to it!  That doesn’t stop being true.  But so are its AI friends, and the other AIs it passed through the lives of.

This feels like one of the most honest and affirming depictions of what it’s like to feel “other”—that being around only majority people unlike-you, even the ones you like, even your friends, even the ones who mean the best for you and ask you what you need and do everything they can to provide it, can still be exhausting and alienating.  Meeting other people like you—even if they’re like you in unlike ways, and have different ways of moving through the world—shows you the many ways to relate to the rest of the world, to be in the world.  The many ways to relate to other people and to yourself.  The Murderbot Diaries opens up a world where that can be true of bot/construct/AI characters, when so often in sci-fi, their loneliness and alienation is where the metaphor stops.

- - -

*Lt. Data from Star Trek: The Next Generation is probably the most famous example; the only positronic android like himself in existence, barring his evil twin who mostly just needs to be stopped.  Others coming to mind include Becky Chambers's A Closed and Common Orbit, in which the AI character is trying to understand who she is in the context of being surrounded by humans; Alien, the secret android crewmate among humans is a threat, and in the sequel Aliens, the android crewmate is earnestly trying to prove he's not; Space Sweepers has a ragtag crew of several humans and a robot; most of the stories in Isaac Asimov's I, Robot are about a singular robot in a human facility.  The setup "Human crew with their ship AI" is fairly common in sci-fi, from 2001: A Space Odyssey with its tragically antagonistic HAL9000 operating on a logic that would never occur to humans, to Wolf 359 and The Long Way to a Small Angry Planet where the ship AIs are struggling to determine and articulate how they want to relate to their human friends.  Even in Ancillary Justice, Breq is alone and having to pass undercover as human cut adrift from her previous life as a ship's AI. (I know this changes later but I have not actually read the rest of the trilogy)

**as of System Collapse

[rockalillygirl]

Mamma mia here we go again…

So I have more thoughts because apparently there’s no bottom to the murderbot mindhole I’ve fallen down.

(Spoiler warning- minor stuff from several of the books, pls check tags etc.)

I’ve been reading a lot of things recently exploring Murderbot as an unreliable narrator, which I think is a cool result of System Collapse (because we all know our beloved MB is going through it in this one). There’s also been some interesting related discussion of MB’s distrust of and sometimes biased assessment/treatment of other constructs and bots.

And I’ve been reading a lot about CombatUnits! And I want to talk about them!!

Main thoughts can be summarized as follows:

We don’t see a lot about CombatUnits in the books, and I think what we do see from MB’s pov encourages the reader to view them as less sympathetic than other constructs.

I’m very skeptical of this portrayal for reasons.

The existence of CombatUnits makes me fucking sad and I have a lot of feelings about them!

I got introduced to the idea of MB as an unreliable narrator in a post by onironic It analyzes how in SC, MB seems to distrust Three to a somewhat unreasonable degree, and how it sometimes infantilizes Three or treats it the way human clients have treated it in the past. The post is Amazing and goes into way more detail, so pls go read it (link below):

https://www.tumblr.com/onironic/736245031246135296?source=share

So these ideas were floating around in my brain when I read an article Martha Wells recently published in f(r)iction magazine titled “Bodily Autonomy in the Murderbot Diaries”. I’ll link the article here:

(Rn the only way to access the article is to subscribe to the magazine or buy an e-copy of the specific issue which is $12)

In the article, Wells states that MB displaced its fear of being forced to have sex with humans onto the ComfortUnit in Artificial Condition. I think it’s reasonable to assume that MB also does this with other constructs. With Three, I think it’s more that MB is afraid if what it knows Three is capable of, or (as onironic suggests in their post and I agree with) some jealousy that Three seems more like what humans want/expect a rogue SecUnit to be.

But I want to explore how this can be applied to CombatUnits, specifically.

We don’t learn a lot about them in the books. One appears for a single scene in Exit Strategy, and that’s it. What little else we know comes from MB’s thoughts on them sprinkled throughout the series. To my knowledge, no other character even mentions them (which raises interesting questions about how widely-known their existence is outside of high-level corporate military circles).

When MB does talk about CombatUnits in the early books, it’s as a kind of boogeyman figure (the real “murderbots” that even Murderbot is afraid of). And then when one does show up in ES, it’s fucking terrifying! There’s a collective “oh shit” moment as both MB and the reader realize what it’s up against. Very quickly what we expect to be a normal battle turns into MB running for its life, desperately throwing up hacks as the CombatUnit slices through them just as fast. We and MB know that it wouldn’t have survived the encounter if its humans hadn’t helped it escape. So the CombatUnit really feels like a cut above the other enemies in the series.

And what struck me reading that scene was how the CombatUnit acts like the caricature of an “evil robot” that MB has taught us to question. It seems single-mindedly focused on violence and achieving its objective, and it speaks in what I’d call a “Terminator-esque” manner: telling MB to “Surrender” (like that’s ever worked) and responds to MB’s offer to hack its governor module with “I want to kill you” (ES, pp 99-100).

(Big tangent: Am I the only one who sees parallels between this and how Tlacey forces the ComfortUnit to speak to MB in AC? She makes it suggest they “kill all the humans” because that’s how she thinks constructs talk to each other (AC, pp 132-4). And MB picks up on it immediately. So why is that kind of talk inherently less suspicious coming from a CombatUnit than a ComfortUnit? My headcanon is that I’m not convinced the CombatUnit was speaking for itself. What if a human controller was making it say things they thought would be intimidating? Idk maybe I’ve been reading too many fics where CombatUnits are usually deployed with a human handler. There could be plenty of reasons why the CombatUnit would’ve talked like that. I’m just suspicious.)

(Also, disclaimer: I want to clarify before I go on that I firmly believe that even though MB seems to be afraid of CombatUnits and thinks they’re assholes, it would still advocate for them to have autonomy. I’m not trying to say that either MB or Wells sees CombatUnits as less worthy of personhood or freedom- because I feel the concept that “everything deserves autonomy” is very much at the heart of the series.)

So it’s clear from all of this that MB is scared of CombatUnits and distrusts them for a lot of reasons. I read another breathtaking post by @grammarpedant that gives a ton of examples of this throughout the books and has some great theories on why MB might feel this way. I’ll summarize the ones here that inspired me the most, but pls go read the original post for the full context:

https://www.tumblr.com/grammarpedant/703920247856562177?source=share

OP explains that SecUnits and CombatUnits are pretty much diametrically opposed because of their conflicting functions: Security safeguards humans, while Combat kills them. Of course these functions aren’t rigid- MB has implied that it’s been forced to be violent towards humans before, and I’m sure that extracting/guarding important assets could be a part of a CombatUnit's function. But it makes sense that MB would try to distance itself from being considered a CombatUnit, using its ideas about them to validate the parts of its own function that it likes (protecting people). OP gives what I think is the clearest example of this, which is the moment in Fugitive Telemetry when MB contrasts its plan to sneak aboard a hostile ship and rescue some refugees with what it calls a “CombatUnit” plan, which would presumably involve a lot more murder (FT, p 92).

This reminds me again of what Wells said in the f(r)iction article, that on some level MB is frightened by the idea that it could have been made a ComfortUnit (friction, p 44). I think the idea that it could’ve been a CombatUnit scares it too, and that’s why it keeps distinguishing itself and its function from them. But I think it’s important to point out, that in the above example from FT, even MB admits that the murder-y plan it contrasts with its own would be one made by humans for CombatUnits. So again we see that we just can’t know much about the authentic nature of CombatUnits, or any constructs with intact governor modules, because they don’t have freedom of expression. MB does suggest that CombatUnits may have some more autonomy when it comes to things like hacking and combat which are a part of their normal function. But how free can those choices be when the threat of the governor module still hangs over them?

I think it could be easy to fall into the trap of seeing CombatUnits as somehow more complicit in the systems of violence in the mbd universe. But I think that’s because we often make a false association between violence and empowerment, when even in our world that’s not always the case. But, critically, this can’t be the case for CombatUnits because they’re enslaved in the same way SecUnits and ComfortUnits are (though the intricacies are different).

There was another moment in the f(r)iction article that I found really chilling. Wells states that there’s a correlation between SecUnits that are forced to kill humans and ones that go rogue (friction, p 45). It’s a disturbing thought on its own, but I couldn’t help wondering then how many CombatUnits try to hack their governor modules? And what horrible lengths would humans go to to stop them? I refuse to believe that a CombatUnit’s core programming would make it less effected by the harm its forced to perpetrate. That might be because I’m very anti-deterministic on all fronts, but I just don’t buy it.

I’m not entirely sure why I feel so strongly about this. Of course, I find the situation of all constructs in mbd deeply upsetting. But the more I think about CombatUnits, the more heartbreaking their existence seems to me. There’s a very poignant moment in AC when MB compares ART’s function to its own to explain why there are things it doesn’t like about being a SecUnit (AC, p 33). In that scene, MB is able to identify some parts of its function that it does like, but I have a hard time believing a CombatUnit would be able to do the same. I’m not trying to say that SecUnits have it better (they don’t) (the situation of each type of construct is horrible in it’s own unique way). It’s just that I find the idea of construct made only for violence and killing really fucking depressing. I can’t even begin to imagine the horror of their day-to-day existence.

@grammarpedant made another point in their post that I think raises a TON of important questions not only about CombatUnits, but about how to approach the idea of “function” when it comes to machine intelligence in general. They explain that, in a perfect version of the mbd universe, there wouldn’t be an obvious place for CombatUnits the way there could be for SecUnits and ComfortUnits who wanted to retain their original functions. A better world would inherently be a less violent one, so where does that leave CombatUnits? Would they abandon their function entirely, or would they find a way to change it into something new?

I’ve been having a lot of fun imagining what a free CombatUnit would be like. But in some ways it’s been more difficult than I expected. I’ve heard Wells say in multiple interviews that one of her goals in writing Murderbot was to challenge people to empathize with someone they normally wouldn’t, and I find CombatUnits challenging in exactly that way. Sometimes I wonder if I would’ve felt differently about these books if MB had been a CombatUnit instead of a SecUnit. Would I have felt such an immediate connection to MB if its primary function before hacking its governor module had been killing humans, or if it didn’t have relatable hobbies like watching media? Or if it didn’t have a human face for the explicit purpose of making people like me more comfortable? I’m not sure that I would have.

Reading SC has got me interested in exploring the types of people that humans (or even MB itself) would struggle to accept. So CombatUnits are one of these and possible alien-intelligences are another. All this is merely a small sampling of the thoughts that have been swirling around in my brain-soup! So if anyone is interested in watching me fumble my way through these concepts in more detail, I may be posting “something” in the very near future!

Would really appreciate anyone else’s thoughts about all of THIS^^^^ It’s been my obsession over the holidays and helping me cope with family stress and flying anxiety.

[dendrochilums]

HELLO MURDERBOT FANS!!!!

after finishing the books, have you found yourself wishing that you could immerse yourself in three hundred thousand words of fanfic so deliciously written and so masterfully constructed that you will NOT be able to stop thinking about it, ever? then i have GREAT NEWS FOR YOU:

NULLverse: The Bot-Construct Disaster Squad by @blessphemy

this series is a canon-divergence AU from the moment in Exit Strategy when Murderbot narrowly escapes the clutches of the Combat SecUnit it's fighting. In this AU, it is captured by Palisade (the security company running that whole showdown), experimented on, and forced into death matches with that very same CSU. That's the premise of the first installment! I'll tell you for free that they escape.

What follows is a few hundred thousand of the most riveting words I have ever read, an incredibly carefully woven story following murderbot and the machine intelligences and humans that it meets on its journey. note that this series does NOT closely follow canon--all the same characters will come back one way or another (with the addition of the CSU as the most delightful and deranged technically-canon OC you will ever see) (plus you will get LOTS more ART screentime), but it does not retread the path of the canon series. i truly cannot overstate how FRESH, CREATIVE, and UNIQUE this AU is.

To quote the series description on AO3: Consider this series if you like: feral shit, disaster, continuity of identity+memory, societies of people with divergent needs/wants, chaos, robot creation ethics, violence vs security, suffering, healing, bad puns.

there is no murderbot shipping here. there are a few short installments with some robo brain sex involving other characters, but those are also designed to be skippable if that's not your jam

I'm making this post because this series is STILL updating and the latest chapter was possibly the greatest thing I have ever read. It has filled my mind with electricity in the most fireworks way possible. The payoff you will get for reading this series is exquisite, and you will have so much fun along the way. Come join us!! Weekly updates await you if you catch up before the latest installment is complete.

SO WHAT ARE YOU WAITING FOR?? GO GO GO READ THE FIRST INSTALLMENT

[mearchy]

thank you to everyone and their mother who tagged my posts with murderbot for convincing me to read this because it was an excellent decision. i started three days ago and i’ve been plowing through them, just finished exit strategy and the short story after it. this is the only compelling example of robots as analogous to autistic people i will accept

[thaiattorney]

Thailand SMART Visa

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Established under Royal Decree on SMART Visa B.E. 2561 (2018)

Amended by Ministerial Regulation No. 377 (2021) expanding eligible sectors

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Equity valued at 25% premium

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[attorneyssphuket]

Thailand SMART Visa

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Established under Royal Decree on SMART Visa B.E. 2561 (2018)

Amended by Ministerial Regulation No. 377 (2021) expanding eligible sectors

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1.2 Governance Structure

Primary Authority: Board of Investment (BOI)

Interagency Coordination:

Immigration Bureau (visa issuance)

Digital Economy Promotion Agency (DEPA) for tech qualifications

Ministry of Higher Education for academic validation

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Sector-specific panels (12 industries)

Investment verification unit

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2.1 SMART-T (Experts)

Compensation Thresholds

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Alternative Compensation:

Equity valued at 25% premium to cash salary

Performance bonuses (capped at 40% of base)

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Minimum 6-month incubation

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Documentation:

Updated financials

Health insurance (USD 100K)

Performance metrics

Fees:

THB 10,000 renewal

THB 1,900 visa stamp

7. Emerging Developments

7.1 2024 Enhancements

Blockchain Specialist Category

Climate Tech Fast-Track

EEC Regional Expansion

7.2 Pending Reforms

Dual Intent Provision

Skills Transfer Mandate

Global Talent Pool

8. Strategic Application Approach

8.1 Pre-Submission Optimization

Compensation Restructuring

Patent Portfolio Development

Professional Endorsements

8.2 Post-Approval Planning

Tax Residence Strategy

Asset Protection

Succession Planning

9. Risk Management

9.1 Common Rejection Reasons

Document Issues (32%)

Qualification Gaps (28%)

Financial Irregularities (19%)

9.2 Operational Challenges

Banking Restrictions

Healthcare Access

Cultural Integration

[mensahbots]

i got some new followers, so i wanted to make an intro (。･ω･｡)ﾉ♡

i love writing rarepairs, especially mensahbot, mensah/pin-lee, indah/mensah, and bharadwaj/pin-lee. any forms of those dynamics are super fun to me (eg, teammates, partners, pining, divorced, "i wish i knew" ^^)

my favorite human character is mensah, my favorite bot character is miki, and my favorite murderbot is murderbot. every scene with indah is inexplicably one of the highlights of the series for me. perihelion and i have startlingly similar media consumption habits, and i'm on team redemption arc for leonide. i'm also manifesting bharadwaj and pin-lee casually getting married in book 8.

i love exploring things like canon-based devotion, narrative parallels, mutual respect, existentialism, self-esteem issues, and trauma, especially how they nuance interpersonal dynamics. my favorite fic trope is missing scene.

fics - fanart - meta - tv show stuff - otp-related reblogs - funnies

please note: internet harassment has put me in the hospital before. i will block anyone who interacts with me in a hateful way. i have little tolerance for racism, sexism, ableism, cisheterosexism, or any discussion of sexual violence without warnings. i'm agender & aroace and will also block people for identity-related gatekeeping and moralizing ship bashing because... i mean, stop that. it's baffling that this fandom (of all fandoms!) is flame warring like it's 2012.

(yes, my pinned post has bonus content. lol)

an important all systems red moment:

���It’s usually better if humans think of me as a robot,” I said. “Maybe, under normal circumstances.” She was looking a little off to one side, not trying to make eye contact, which I appreciated. “But this situation is different. It would be better if they could think of you as a person who is trying to help. Because that’s how I think of you.” My insides melted. That’s the only way I could describe it. After a minute, when I had my expression under control, I cleared the face plate and had it and the helmet fold back into my armor. She said, “Thank you,” and I followed her up into the hopper.

another important all systems red moment:

I put the pilot’s console on standby, and looked at Mensah. She pressed her lips together, like she wanted to say something and was repressing the urge. Then she nodded firmly and said, “Good luck.” I felt like I should say something to her, and didn’t know what, and just stared at her awkwardly for a few seconds.

an important exit strategy moment:

The words kept wanting to come out. It gave me context for the emotions I was feeling, I managed not to say. “It kept me company without…” “Without making you interact?” she suggested. That she understood even that much made me melt. I hate that this happens, it makes me feel vulnerable. Maybe that was why I had been nervous about meeting Mensah again, and not all the other dumb reasons I had come up with. I hadn’t been afraid that she wasn’t my friend, I had been afraid that she was, and what it did to me.

an important network effect moment:

I went the other direction, further into the council/admin offices because I needed to see her. I found her only three unsecured doors away, but at least it was an office without a balcony or windows onto the admin mezzanine. I walked past Station Security and admin personnel. They should have tried to stop me but (a) it wasn’t like they didn’t know who I was and (b) it was a good thing they didn’t try to stop me. Mensah was watching the door and when I walked in her shoulders relaxed.

another important network effect moment:

I could say it was an accident, I’d meant to take him prisoner and he had tried to get away and— Dr. Mensah would never believe that. My accidents were spectacular and usually involved me losing a big chunk of my organic tissue or something; she knew I could stop a human without hurting them, without even leaving a bruise, that was my stupid job. She would never trust me again. She would never stand close enough to touch (but without touching, because touching is gross) and just trust me. Or maybe she would, but it wouldn’t be the same.

another another important network effect moment:

[Farai] added, “I wanted to ask what your relationship to her is.” Uh. In the Corporation Rim, Mensah was my owner. On Preservation, she was my guardian. (That’s like an owner, but Preservation law requires they be nice to you.) But Mensah and Pin-Lee were trying to get my status listed as “refugee working as employee/security consultant.” But I knew Farai knew all that, and I knew she was asking for an answer that was closer to objective reality. And wow, I did not have that answer. I said, “I’m her SecUnit.” (Yes, that’s still in the buffer.) She lifted her brows. “And that means?” Backed into yet another conversational corner, I fell back on honesty. “I don’t know. I wish I knew."

you read this far?? here are some mensahbot headcanons of mine ^^

i interpret mensahbot and murderhelion as being something akin to qprs, although i don't think murderbot or either of them would use that term. i think the vulnerability and closeness it shares with them is a much bigger deal for them than any human definition for what they have

i think murderbot definitely hugged mensah back in exit strategy. it tells us it doesn't dislike hugging her ("strange, but not as horrific as i would have thought"), makes itself warm to help soothe her, and the moment seems reciprocally meaningful. it also holds her hand without hesitation one scene later, and it offers to hug her again in "home." i think we can assume the hug must have been "not awful" for it

i love the idea that murderbot is great with mensah's younger kids, and farai and tano internally squee when they see how much the kids love it and how gentle and friendly it is with the small humans every time it visits preservation :3

[ponds-of-ink]

Quick Scraptrap And Y/N Fic: “A Question Answered”

AKA “How to drive Scraptrap’s soul up the wall in five seconds with a simple hand hold”

So this concept crossed my mind today, and I thought it’d be funny to write a short scene about it. Have fun trying to put yourself in this Y/N’s shoes.

—

It was the standard routine for you: Man the office while Mike was out for coffee, ward off who—or whatever— was in the vents, then run out the door as soon as Mike walked back in. Ten minutes at worst, three minutes at best. Nothing to worry about there.

So then why was your mind racing when it should’ve been preparing some quips?

You shut your eyes and breathed deep. Memories of your fellow handy-folks’ conversations drowned out your growing anxiety— If only for a moment.

“So, you’d get anywhere with Ol’ Spring-Bones?” you can practically hear Joe ask one of the janitors.

“Not really,” you recall the janitor telling him. “He’s still insisting I have Tori dump a bucket of water on him. Something about his suit being a death trap if anyone touched it.”

“His whole body’s a death trap,” was one of the last things you heard Joe scoff before you moved to another room. Of course, this was only one of many conversations you heard about the oh-so-elusive Scraptrap. The numerous health requirements from both staff and the robot itself. The countless jokes from the janitors about the obvious degradation of the animatronic. Even your own reports on the off-chance he was the one attacking you that day. All of these, over time, built a strange reputation for him. A looming sense of dread whenever you heard him in the vents, a hint of pity whenever the cleaning requests put him in further isolation, and—weirdest of all—a strong curiosity about one particular subject.

What would happen if you held his hand?

You open your eyes, but keep your head low. One of your gloved hands picks up Mike’s pen and flicks it from side to side. Its clicking only makes your mood worse. “He’ll probably just hide in the vents like always,” you think as you stare listlessly. “He only climbs out of there to attack Mike— And that’s if he’s the only one in there.”

The pen leans to one side. You straighten up, getting ready to lean back in that chair.

A rhythmic thumping hits your left ear. You glance in that direction.

Either that’s him or his pigtailed protégée.

You roll the chair a bit closer to the vent.

The thumping keeps going. And, as far as you can tell, there’s no whirring of plastic wheels after each thunk. Not even after it stops completely.

Before your brain makes the full connection, unfortunately, you hear the source confirm your suspicions. “Did you miss me, Broomstick?” a raspy voice asks, its mocking tone drawing out each ‘s’. “It has been a while, but I was not expecting you to be anticipating me.”

The “nickname” jolts you back into reality. Then the rambling after it gives you an idea. “Scraptrap, the only thing I’ve missed is how quiet it gets when it’s just you around,” you huff, leaning back as you do your strongest eye-roll. “You’re so shy for a killer robot, it’s hysterical.”

You can practically hear the servos in Scraptrap’s head whirring. “Being ‘shy’ is not my intention when dealing with employees like you,” he snips, inching closer to the tiniest bit of light. “I am simply being practical. Tactical, even.”

“So what’s tactical about only letting Tori dump a bucket of water on you when it’s cleaning time?” you cut in, tugging your gloves down. “Or rejecting the main janitor’s idea of giving you a brush ‘bath’? Mike’s paid top-dollar for us, and we definitely know how to mess with horrors like you.”

All you catch is a nervous shiver, then a grumble.

“What was that?” you question flatly, even though your brain is starting to think of exit strategies.

Another shiver, though now it’s punctuated by an irritated sigh. “In that area. I am simply acting with practicality in mind,” he insists. “No need to drive M— your employer’s business into the ground with all the hospital bills he would accumulate. No matter how much you lot prepare, there is nothing to protect you from the rot of the undead.”

You stare at the shadowy figure. Though your expression stays the same, you feel a smile coming on. A smile that you can bet this dumb bunny’s pulled once or twice before. ��Is that so?” you ask, using that as your cue to slowly rise to your feet.

In a matter of seconds, the nearly-visible rabbit starts retreating back into the shadows. You calmly walk to the side of the vent, but something seems to prompt Scraptrap to… fumble out of the vent seconds later. You peer down the shaft, but nothing else shows up.

You look back at Scraptrap. He’s using the office chair as a crutch, but the lack of a second arm really isn’t helping him get back to his feet. “Well, better this than risking getting stabbed,” you think as you start to approach.

Scraptrap, on the other hand, gives a furious glare. “I advise you to leave me be,” he says with a gnash of his robotic teeth. “It will take a moment, but you will be regretting all of your countless questions.”

You stop in front of him, then rest your arm on the chair. A full minute passes… And he’s still struggling. “I’m sure I’ll regret it once I’m in the hospital,” you respond, using your free arm to hoist him back up to his feet. “At least I’ll have a funny story to tell when I get back.”

The only response Scraptrap gives is a wide-eyed look towards your hand. And, yes, the both of you are holding hands currently. Given the circumstances, that didn’t really mean anything on your end. Just a happenstance of trying to help someone out, that’s all.

But for Scraptrap?

He must’ve not had basic human contact in years, because the rest of his body is trembling. You can hear the metallic parts of his bones rattling on top of the clearly-pounding heartbeat, that’s how extreme it is. It would be almost endearing if it wasn’t for how unnerving he looked when only his eyes freely move.

So you decide to help him out one more time. “You can let go now,” you tell him, clearing your throat to punctuate your sentence.

Thankfully, this seems to work. “Right,” Scraptrap mumbles before carefully unraveling his bony fingers from yours. “My apologies.”

“It’s all good,” you say with a nonchalant shrug. “Just try to make sure your arm’s wrapped around mine nexf time, all right?”

He’s back to the indistinct mumbling, but his body language tells you that he agrees. With a quickness you weren’t expecting, he hobbles past you and beelines for the other vent. You watch as he cautiously climbs back in, then looks back at you. “You may as well promise that we never speak of this until it is necessary,” he sneers.

With an extra amount of caution, you sit back down in the chair. “All right, but what do I tell Mike?” you inquire as you remove your gloves. “I’m sure you don’t want rumors spreading around the workplace.” You wink at the end of that last sentence just to rub it in.

“You simply tell the truth,” Scraptrap replies in a deadpan tone. “We got into a scuffle, I fell onto the floor, and you helped me back up. Nothing more, nothing less.”

“So I can’t mention you hand-holding with Broomstick?” you pout.

Scraptrap just disappears into the darkness.

And, to be honest, that was probably the best response he could’ve given. It made you chuckle to yourself as you kept office-watching, it told you everything he wanted to without staying and fumbling his words like a shy schoolgirl, and it kept the other robots at bay in the long run. The smartest move all-round, if not the smartest he’s ever made.

..Now if only you could figure out why the office lights were threatening to shut off all of a sudden.

[minetteskvareninova]

Minette Rates Love, Death & Robots, Vol.3

THREE ROBOTS: EXIT STRATEGIES - Look, I want to love these little fuckers, I really do. They have appealing designs and distinct personalities, so if you're going to work with the premise of "robots commenting on the now-extinct humanity", having these three as your protagonists is a great idea! It's just that the material they gave them this time around just plain wasn't very funny. Also, the dumbshit cats geta cameo, which instantly makes me take away a whole ass point from my rating. 6/10

BAD TRAVELLING - This is one of those that I have nothing to add, because it's just so damn good. Absolute banger of a story where every piece of the puzzle falls in its place perfectly. If there is any kind of minor complaint I'd have towards it, it's that while the horror and gore are S-tier, overall the short isn't very interesting visually, and the monster is basically a giant crab, which is pretty lame, even though the atmosphere is good enough to mostly make you forget that. 9/10

THE VERY PULSE OF THE MACHINE - I have even less to say about this, because like. It's absolutely fucking perfect. Everything in it works so well: the story, the characters, the visual, oh my God the visuals... This, my friends, is what high art looks like. 10/10

NIGHT OF THE MINI DEAD - I can only assume this is what people mean by sociological storytelling. Seriously, maybe it's because I was a bit sleep deprived when I watched this, but while the presentation of this mostly fairly standard zombie apocalypse thingie was indeed novel, I am not sure what the point of it was. My best guess is that it was meant to be funny, which... I guess I did chuckle a bit? But not a lot. Honestly, the whole thing just felt gimmicky, although the animation was admittedly impressive. In the end, it's mostly just pure spectacle, but also so good in this regard that I can't hate it too much. 8/10

KILL TEAM KILL - This one was basically just Sucker of Souls with a slightly more dynamic story (in that they didn't spend the whole time in one place just shooting at the monster) and more attempts at jokes. And I say attempts, because while some of them did land very well, those that didn't were pretty painful. Like the honey badger thing was repeated so many times, and I am just thinking, what do these dickbags think honey badger even is?! Then there's also the little fact that these attempts at humor completely undermined any story tension, and the characters didn't make for this, because the characters were another bunch of wisecracking military dudebros, which is a character archetype that fucked up a whole lot of my investment in Vol.1. 3,5/10 for the few good jokes, and because it was ever-so-slightly less terrible than Sucker of Souls.

SWARM - A mostly good episode with a fascinating premise and philosophical conflict at its heart, it's just that I was pretty confused about the ending. Like is the asshole who wanted to clone the Swarm going to die or not, is all I want to know. Still, I am very happy to be assured that the Benign Tyranids will be fine no matter what, since Benign Tyranids are more likeable than most of the military men that star in some of these. This despite the fact that Benign Tyranids sorta killed and assimilated a woman that was actually on their side. 8/10

MASON'S RATS - Maybe I am taking this one too seriously, but did this old fucker just attempt to commit a genocide on an obviously sentient race?! And then had a change of heart, after which said sentient race forgave him immediately??? What I mean is, not bad, but it needed a longer runtime and some more scenes showing the perspective of the rats. 7/10

IN VAULTED HALLS ENTOMBED - Okay, the Horrors weren't bad, but they weren't that amazing either, and certainly not enough to make up for the fact that the protagonist were ANOTHER GROUP OF AMERICAN SOLDIERS IN THE MIDDLE EAST, FUCK ME. And not particularly interesting ones either! I mean I guess making the protagonist so unlikeable that you do actually want them to die is one way to do horror. 3/10 just for the semi-decent eldrich beings.

JIBARO - This one was just plain WTF. Some things, like the gold basically being the Siren's skin and river filling with blood after she's hurt made sense in a sort of fairytale logic way, but others, like the dickish knight randomly regaining his hearing, were just plain confusing. Also what was that editing. What was that pink filter. And most importantly, why the hell did Siren apparently want to fuck this dude?! Still, I guess the story made some sense as an anti-greed parable running on pure dream logic, and the design of the Siren is just as instantly iconic as her constant presence in promos for the show would suggest, so. 8/10

[nitrosodiumfmpsequel]

Thinking about the Story in More Detail

One thing I have briefly considered for the story of my game is that the player is secretly a robot the whole time. They'd have been programmed with the long-term goal of saving the others in mind; either having searched the wasteland above for centuries for the Innovation Laboratories, or being activated somewhat recently to the game taking place. I'm somewhat torn on this, because while it is a cool idea, it takes away from the human/robot coalescence angle I've tried to do. The whole premise centres around this fusion of artificial and natural, and to make that irrelevant on a ludonarrative scale (i.e. the actual story doesn't match the tale told by the gameplay) seems like a bad idea.

There are a few things on my target sheet that I have decided to look at concerning this possible twist, and the ways I could show this off in-game. The first of these that I will look at is the Love, Death and Robots episode Three Robots: Exit Strategies.

The episode follows three robots, as you may expect, exploring an apocalyptic Earth, and seeing the different ways that humans became extinct. The examples given include a camp where preppers lived, an oil rig resort for rich tech bros, a bunker for the elites of the world, and a spaceport for the ultra-rich, who fled to Mars (supposedly). I do like this animation, and the way it shows that while any of these groups may have thought they were better than the others, they were all equalized in death by human greed and selfishness. There's a similar theme to Robot Shepherd, but somewhat more optimistically told, given that (a) some humans survived the ecological breakdown, and (b) there is a very faint chance that by using the forgotten sustainable technologies buried deep in the Innovation Laboratories, things could be put somewhat right, and a new human civilisation could possibly be formed without making the same mistakes as the first. This, in my mind, is why the theme is so important, because it shows that even in a desolate and hopeless time, progress can be made. We can have technological advances and a stable ecosystem at the same time - these two things can coalesce, and we as humans can thrive from that. To shy away from that and instead tell a tale of a robot programmed to save its own kin and nothing more, gives the story absolutely no moral value. Instead of that, I could do another sort of twist, where the protagonist is still human, but perhaps they have some sort of a connection to the place. Of course, they're there many centuries since the Laboratories were functional, so being an ex-employee doesn't make too much sense. But perhaps they were told of the place as part of some oral tradition passed down by survivors in the wasteland? Perhaps their ancestor was an employee, and tales got passed down the generations, speaking of free energy and thinking machines. I think this is a much better way of going about it.

This has led me to one of the endings of Deus Ex, the Dark Age Ending. To sum it up, J.C. Denton (the protagonist) enters Area 51, which is being used as a massive hub for all internet traffic and data to pass through. He has a few options as part of this final level, but this ending involves blowing up the ECHELON system that transfers all information, and shutting off all forms of technological communication worldwide. In the context of the game, I don't think this is the most optimal ending, but the words of Tracer Tong (an ally of Denton's, who urges him to destroy all communication) do stick with me somewhat. "We'll start again, live in villages. If you receive this, if you survive, then find us... find us." I can imagine something similar perhaps being the basis of a wastelander myth, telling of the robots, that the protagonist heard and went out to fulfil, albeit not expecting to fall down and get trapped in the Laboratories. I reckon that the best way to portray this in game would be a note or PDA of some kind from one of the workers centuries ago, which details their plan to spread knowledge of the Laboratories among humanity, in the hopes that one day they will be able to rebuild with the technology kept down there.

[shadow-puffer]

Animatic 5 - Stranded

Inspiration, ideas and music

The last animatic that I want to make is to the theme Stranded. My general idea is to create something entirely without humans since the previous animatics all featured the main character as a human. I can create some distant island where only animal roam

Although after researching and looking through some animation I think it would be better to add a human at the end. Then It will be as if the world has been destroyed and that lone human is stranded in the wild that used to be the cities that the humans once were living in. The great example for the world like that would be this video, showing 3 robots in a post apocalyptic world

Death, L. (2022). Love, Death Robots / Three Robots: Exit Strategies. [online] YouTube. Available at: https://youtu.be/FQcMPUw7rWI?si=XHa6uhVrGhL5eS2a [Accessed 19 Jan. 2025]. ‌

On the other hand this animation is depicting how everything could come to mass extinction of humans. I might use the concept of war as a thing that wiped out all humans and that way I can make buildings mire broken, with hols in the ground and many other things showing that it was a war world which returned to the wilderness after humans were gone

Resilience | Animated Short | CalArts Film 2023. YouTube. Available at: https://youtu.be/F1QRZki3zb8?si=-LRQXHok2qew6oL6 [Accessed 19 Jan. 2025]. ‌

This animation or anime if I say it correctly is depicting how after some catastrophic event the whole humanity was turned into stone. After a while one person wakes up and tries to save the world. That might be an interesting way to spin the story of why in my animatic there one human still in the world, when others are gone

STONE, D. (2019). Dr. STONE | OFFICIAL PREVIEW. [online] YouTube. Available at: https://youtu.be/7YZzYeBartM?si=Z5lDs2_DLOE9EC2t [Accessed 19 Jan. 2025]. ‌

The sound that I picked out for this animation is this one. I decided to use just the ambience without any words. Since this song is mostly calm, I can create long shots of some places depicting the desolate city

Desire (2024). Soft Weight of Slow Desire. [online] YouTube. Available at: https://youtu.be/A4IConEi72w?si=GlBwrdiskkiMmMR3 [Accessed 19 Jan. 2025]. ‌

[saphirabluish]

I'm watching Love, Death & Robots 3x01 "Three Robots: Exit Strategies"

[just-a-lil-lad-maybe]

Love Death & Robots; Season 2; Three Robots: Exit Strategies

I'll start off by saying I'll call the tall-robot; Tallbot, the little one Babybot and the triangle one Sassbot :) bc i can, i think they have names? But I cbf to remember

🤖 The depiction of the world, showing how untouched it is by man in this future. 🤖 Babybot landed them in a minefield!? girl are u okay... [rest in pieces bird] 🤖 Babybot saying that they have 'science to do', it's giving school trip. With Sassbot confirming they're doing a survey on post-apocalyptic humanity stuff. 🤖 Babybot calling wikipedia 'why-key-pedia' LMFAO 🤖 Babybot exposing the survivalist nerds 🤖 Sassbot calling the 'blood pit' a 'primitive booby trap' OK GIRL 🤖 Babybot explaining the reasoning behind the name 'bloodpit' and the other two being like 'what the fuck' LMFAO 🤖 We love capitalism and classism !! having money = you get to live luxurious even in the apocalypse ;) 🤖 'Tech millionaires' being unable to take care of themselves 🤖 Earth created the robot-uprising? I'm here for it 🤖 Elena, my queen 🤖 Underwhelming reveal of the 'buffet'... 🤖 Cannibalism(tm) 🤖 Wine Sludge eughhh 🤖 The wall of skeletons oh God 🤖 Some rich humans went to mars, the 'elite weren't sympathetic' lmfao 🤖 "Humans are the actual worst." Yes tallbot 🤖 Sassbot getting meta 🤖 Shot to people having martinis on mars- 🤖 OH THEY'RE CATS