#blade runner role play

[riverjphoeniix]

Tbh very desperate for a cyberpunk mumu rn. PLEEEEASE. imagine the world building 😩

Like or message me if you’re interested 💛

If you know the premise of Cyberpunk 2077 great, if not, we can still discuss something!

[ravenkings]

I'd reblog your great AI post with this link, but I have a themed blog so here goes: https://cpb-us-w2.wpmucdn.com/voices.uchicago.edu/dist/8/644/files/2017/08/Chiang-Lifecycle-of-Software-Objects-q3tsuw.pdf

This story by Ted Chiang (The Lifecycle of Software Objects) is probably my favorite answer to the question of how - and, most importantly, why - sapient AI would emerge. It's basically about digital toys and what happens when you're a woman in stem and lose your research funding. There is no attempted takeover of anything.

It's a related yet slightly different take than the more familiar metaphor of emergent AI as a marginalized Other that may or may not threaten the position of power occupied by the white male protagonist. I also thought of Kazuo Ishiguro's Klara and the Sun, which I didn't really like that much. Ishiguro, a literary Nobelist, probably hasn't read enough genre fiction with AI protagonists to do something really new and daring with these tropes, and he makes some sentimental narrative choices in the end which seem designed for the inevitable movie adaptation. It just felt like something I've seen before a million times.

ah i've never read that ted chiang story, but i'm a huge fan of "story of your life" so i'll definitely have to check that out! i haven't read klara and the sun yet either, but i do have it and plan on reading it, so we'll see.

vis-à-vis AI as marginalized other vs malicious force, i honestly think, if we go all the way back to the beginning, shelley gets it pretty spot on in frankenstein. the creature is only malicious because he was ostracized and marginalized by both his creator and human society at large, but ultimately, that leads him to some unforgivable actions and to become an outright malicious force. the creature himself is very sympathetic, but any sympathy we have for him does not at all excuse what he does. and yet, victor frankenstein himself does come out looking the worst in all of it.

i guess my point being is that i agree that "evil robots take over the world" is a silly and reductive trope, but i don't think "AI that does not necessarily have humanity's best interests at heart (for any number of reasons)" is.

[rickysgetaway]

I'm calling all Ryan Gosling fans!!!

I Love writing and I also love Ryan Gosling so I would love to find someone who is willing to double with me on some of his characters. I would love to write any of his characters for you and you write one of his for me 🙂.

Some about me

My name is Ricky and I'm 23

[pynkhues]

I recently read an article in which Quentin Tarantino stated that fewer movie stars exist as a result of "Marvel movies in Hollywood." I think Jennifer Aniston made a similar argument before saying that there are no longer any movie stars. I'm not sure what that means. I can think of a lot of movie stars right now, such as Zendaya, Timothee Chalamet, and Zoey Deutch etc. what do you think? I'd love to hear your thoughts on this and Quentin's comments.

QuillBot's

Months ago, when you sent me this ask, anon, I wrote out a really long reply and as soon as I hit post, my laptop crashed and ate the answer, and I was so annoyed at myself for not saving my reply, that I couldn't bring myself to try and re-write an answer. I'm really sorry for that, especially because I think this is such an interesting ask (or well, two asks, because I think the death of the movie star and the impact Marvel's had on the broader concept of a movie star, are kinda two different things).

I've been thinking about it a bit again recently though, particularly as the Oscar race gears up, and Jacob Elordi and Charles Melton''s respective stars are rising in an industry currently desperate to find the new young Hollywood male 'talent', and I've been thinking about it again because honestly?

I agree with Jennifer Aniston, I think the movie star is dead.

We are a long, long way from Golden Age Hollywood where actors like Cary Grant and Marilyn Monroe could captivate a public imagination in a way that translated to big box office effect, after all. Hell, we're even out of New Hollywood, an era dominated by names like Al Pacino, Jack Nicholson, and Jane Fonda, and the Blockbuster era with Tom Cruise, Sylvester Stallone and Harrison Ford.

My original reply went into a lot of the different reasoning as to why this is (like with many things, I don't think there's any one reason for it), in particular how the advent of streaming has changed our relationship with films and TV shows, how the saturation of the market has diluted the staying power of celebrities, how social media and the perceived accessibility of celebrities removes personal mystique which in turn removes intrigue and increases a sense of entitlement, and the fact that so many people having stopped going to the cinema means that the experiential element of seeing a film in a setting larger than life has been diminished.

I think call out culture plays a role too, with any actor on the rise being torn down by tweets they made eight, nine or ten years ago impacting how their star rises, I think the dismantling of the studio system (which is a good thing!) also harmed actors in the long run as studios stopped investing the same resources into making and training stars (they used to be able to sing, dance and act! Now some can barely even act!), and I think, of course, the rise of prestige TV changed the industry substantially (after all, movie stars were movie stars - they traditionally did not, and would not, do TV, which created a clear class structure in terms of screen-based storytelling).

And yeah, I think the language shift from film and TV to content has done irrepairable damage to the artistry of filmmaking and the consideration of a movie star as an actor at the top of their field instead of an actor with the most Insta followers or YouTube subscribers (after all, if everything's content, isn't it the same thing? [no lol]).

Which I guess is kind of where Quentin Tarantino's argument comes in, right? What he's saying is that Marvel's made it so that the IP - the content itself - is the star, not the actor, and I'd say he's probably right with that.

Think of it this way - back in the New Hollywood/Blockbuster era, Harrison Ford was the movie star - he was leading new franchises left-right-and-centre between Star Wars and Indiana Jones, sci fi epics like Blade Runner, leading action thrillers like Patriot Games, The Fugitive and Clear and Present Danger and getting nominated for Oscars for Witness.

He was a movie star in every sense of the word because you could hinge a film - one with a new concept, not just remakes or sequels - on him and be virtually guaranteed a success. He was what sold the tickets, the director just hopefully had to make something good enough people would leave the cinema glad they saw.

Tarantino's argument is the Marvel model - - hell, even the new Star Wars properties, turned the franchise into the star, for better or worse, which means original films can't compete because nobody knows the IP. Back when Harrison Ford was at the top of his game, his name was what helped original films including smaller, standalone works like Witness find an audience, but the studios have changed that. Capitalism has changed that.

Properties with existing audiences and deep pockets for merch were prioritised, only now those franchises are faltering and you've got a generation trained that 'cinematic events' are reserved for blockbusters in established universes, instead of taking a risk on a new film because you know you love an actor who's in it.

Do I think we could go back?

Maybe, but probably not.

I think the place we are now in the history of cinema / TV / 'content' means you can't make a movie star anymore because I think the industry is simply so different that no actor can break through in the same way that even Leonardo DiCaprio could 30 years ago. That industry doesn't exist anymore, actors aren't guaranteed draws (Bones and All proved that for Timothee Chalamet, and Wonka I think could go a similar way), or they have to heavily rely on other industries to become household names which I think dilutes them as a pure 'movie star' (Zendaya's a great example of this - I like her a lot, but how many movies has she even been in? They built her career up in peripheral industries long before they tried to sell her as a movie star, and frankly, I'd question her even as a leading actress yet given she's typically only either been in ensemble casts or clear supporting).

It's a whole new world, and yeah, I think the movie star is dead.

[georgiapeach30513]

Soba 1000% is not making the cut when compared her age bracket.

All of the 20s actresses you’ve mentioned are talented. Varying levels of talent but all of them have done something memorable and worthwhile that brings their name to the conversation.

Soba only has her husband for clout.

When you compare her to all of the other actresses worth mentioning in her bracket, I dare say she is the only one who when you have to explain how do people know her? It’s not because of a role she played but because of who she married.

Remember, WN launched back in 2020. There was a whole season where it was on Netflix (internationally) and yet the only time CE fans even noticed her is because he followed her on SM and people had to google who she was and what she did. Sure WN had its own smaller fanbase but she was the star and still forgettable.

He inadvertently put her on the map (whether or not intentionally is still TBD) because his fanbase was the one who started to do the legwork and get her name mentioned in things like DM and other gossip fodder due to their incessant crazy stalking.

If anything, these latest pics at the restaurant are giving serious Ben and Ana vibes from 2020. Most of CE fans knew Ana because of knives out and there were some GP who knew her from blade runner 2049 and knock knock, but her dating Ben really put her on the GP map and during peak Covid. People were wondering who she was and while she was out being embarrassing with Ben on the daily, she paid her dues, walked away, and came back 200 fold stronger. Now look at her. Oscar nominated (though I have issues with that role and how it happened) and now a household name in her own right. She played the game right and with her own hard work - she earned that shit.

People may disagree with me but I personally see a lot of similarities between these two but the main difference is how these women will leverage their added publicity and fame.

Ana wanted to make a name for herself.

To me, soba is not currently showing much of that. She’s showing “wants to be a sugar baby” but pretends she’s feminist and wants a career. I could be wrong but from her own actions and especially how she’s quick to gallivant around the world on vacation and attending fashion shows, but extremely reluctant to come out and actually promote her own work and show up for work obligations, I’m not seeing someone who really wants to work hard. She wants fame and that’s it. She also wants the luxury that comes with fame and fortune but not the pay your dues part.

Just my take though.

🙌🏻 you get it. There is a lot of similarities between Ana and soba. Ana isn’t the most talented actress, but there is this beauty and poise to her. She is likable with a great personality. But what really sets her apart is her work ethic. That woman PROMOTES HER STUFF!! She knew Ghosted was a flop, and she promoted it daily. She repped herself so hard that she is a Louis Vuitton girl.

Hollywood is a tough world. It’s not easy to make it to it. Just because you get cast, and you act, your job isn’t done. Promoting and press is part of the job. It is tedious and boring and should be done. Ana got an Oscar nod very quickly in her career. Why? Because she wanted it.

Ana has my respect because she earned it. Acting is more work than people realize. Being an influencer is more work than people realize. For someone who has been given a platform, she knows fuck all to do with it. Again, she needs to be humbled.

[wonderfulworldofmichaelford]

Psycho Analysis: Lois Einhorn/Ray Finkle

(WARNING! This analysis contains LETHAL LEVELS OF TRANSPHOBIA! Literally what the FUCK!)

I have wanted to review Ace Ventura for a long, long time. I mean, this was part of Jim Carrey’s break into the big time alongside Dumb & Dumber and The Mask, two films I wouldn’t hesitate to call comedy classics. But then there’s Ace Ventura, a film many would say sits alongside those… and to a degree, it does. The titular character may be one of the funniest and most awesome film protagonists ever made, and for the most part it is a genuinely funny comedic mystery.

But then comes the twist.

The villain of the film is revealed to be Lois Einhorn, a cop that Ace had been working with. But that’s not actually the real twist. No, the real twist is that Einhorn is disgraced football player Ray Finkle… and thus, a man. It doesn’t take a rocket scientist to see the problem here.

Finkle/Einhorn has long been considered one of the most transphobic characters in 90s media, and it is genuinely hard to disagree. But is there anything of value to them? Is this character really as bad as people say? Well, I’m going to tell you how I feel, though two things need to be kept in mind. First, I’m a cis guy. I am going to be upfront and say I agree this character is horribly problematic, but I definitely recommend seeking out what actual trans people have to say about Finkle as well (this video’s a good place to start). Second, I’m going to be using “They/Them” pronouns for Finkle. I’m doing this mainly because the movie is wildly unclear about how they view their own gender identity, and it’s actually unclear if they’re actually trans or just so insane they’ve gone to the biggest extremes to disguise themselves as a woman for their vengeance since, you know, the movie doesn’t particularly care about their gender identity beyond it being a vehicle for mockery.

Now, let’s go ahead and open this big ol’ can of worms...

Motivation/Goals: Finkle’s motivation is where they really shine, because it’s genuinely insane and amazing. They ended up being shunned by society and disgraced after a screw up that cost the Miami Dolphins the Super Bowl, and went completely insane from the derision. This led to them concocting an absurdly complicated plan that involved the kidnapping of the team’s mascot, rising through the ranks of the police department, and assuming the name of a dead hiker, all to kidnap and kill their former teammate Dan Marino for his role in their fumble. It’s so brilliantly batshit!

Oh, and they decide to unndergo a sex change as part of this scheme. It’s done as tastefully as you can imagine a 90s comedy would do.

Performance: Blade Runner’s Sean Young plays Finkle-as-Einhorn (and even portrays Finkle in a photograph back when they were a man). Whatever problems this character has, I don’t think it’s completely fair to blame them on Young; she does a relatively good job playing a comedic femme fatale villain when it comes right down to it. If the writing were better, this could easily be a career highlight for her. Alas, that’s not the world we live in.

Final Fate: They get arrested. I guess it’s better than them getting killed? They were in a room full of cops, it was the early 90s, and they are presenting as a woman while being assigned male at birth. It is genuinely a miracle that the worst thing that happened to them is that they were sexually harassed by Jim Carrey.

Evilness: This is the tricky one. On the one hand, Finkle has quite a list of genuine crimes under their belt: Murder, kidnapping, attempted murder, animal abuse… They might also be responsible for the death of the original Lois Einhorn, but it’s extremely ambiguous and I’m not going to hold it against them. On the other hand, Finkle’s downfall and subsequent shunning by their own hometown to the point their life was destroyed and they were driven insane is so over-the-top in how cruel it is that it’s kind of hard not to feel a little bit of sympathy for them. Like hell, I think I’d go batshit insane too ifI got treated like that for a mistake that was out of my hands! The narrative is trying to say they should score a 4 or even 5, but I think they’re more around a 3, a tragic villain who was driven to madness. It’s certainly a high three because it’s hard to excuse some of their worse actions, but I’m feeling a little more lenient towards them than the movie is.

Worst Scene: The big gender reveal at the end, of course.

Let’s ignore that dolphins have been observed having gay sex before. Let’s also ignore there is a non-zero chance that someone on the police force isn’t totally straight; there was a cop in the Village People for a reason, after all. Setting all that aside, this just isn’t fucking funny. It’s just a tasteless, bottom-of-the-barrel gag cranked up to eleven. I know the 90s weren’t the most enlightened years, but this is still excessive, especially since this is the gag the entire movie’s central mystery builds up to.

Final Thoughts & Score: There is so much to unpack here. Like, unbelievable amounts. This is a villain in a fucking detective comedy film, this really shouldn’t have to be so goddamn hard to talk about!

This character is just so stuffed full of offensive stereotypes that there is genuinely no charitable read for them. Looking at what the film is laying out for you, we have a man who has gone to insane lengths to disguise themselves as a woman for their revenge scheme, the sort of lengths that are usually reserved for people who are actually trans. So this isn’t even straightforward transphobia, it’s invoking the “trap” stereotype. For those of you blessed with ignorance, the “trap” is a nasty stereotype of trans woman that essentially believes they are a man disguised as a woman looking to rape unsuspecting men. It’s a pretty vile term that was and still is pretty popular among the coomer crowd, so yeah, not a good look when your character is what 4channers were calling Bridget Guilty Gear for years.

But hey, maybe the transphobia is just accidental! Even the director has said the intended joke with stuff like Ace barfing after discovering the truth is meant to be a dig at how fragile his masculinity really is if he falls to pieces over something like kissing a man! So instead of transphobia, the joke is… homophobia! Yay? This excuse doesn’t even hold water when the entire police force and the fucking dolphin barf at the big reveal too.

All of this is bad enough, but here’s the kicker: Aside from that massive, glaring flaw, Finkle is actually a genuinely good villain for a story like this. Their plan is insane and convoluted, perfectly fitting into a comedic narrative, but they’re also a genuinely threatening villain when they need to be. But this just makes it all the worse, because they took this good idea, wrapped it up in the sort of shit Joanne Rowling writes for her crappy detective novels, and then made it the punchline the whole movie builds up to.

If it weren’t for the exaggerated 90s bigotry the character is steeped in, I think they’d be a really solid bad guy who would likely deserve a score at least as high as Buffalo Bill got. But the existence of the novel that elaborates on Bill’s whole deal, the (admittedly minor) efforts of the movie to deny Bill is trans and is merely insane and delusional, and the fact he is played entirely seriously and is not the butt of jokes make him far more defensible than Finkle is.

I don’t think there’s ever been a twist villain that so thoroughly decimates the quality of the film they’re in. Bellwether didn’t ruin Zootopia, Hans didn’t ruin Frozen, and Roy Burns didn’t ruin Friday the 13th: A New Beginning. But Finkle? They fucking tank Ace Ventura, and it didn’t have to be this way. There are plenty of ways to have a character pretend to be a woman and have it be tasteful and funny; Bugs Bunny is a queer icon for a reason, and movies like Some Like It Hot and Mrs. Doubtfire, while obviously not perfect, manage to be a lot more tasteful in their jokes. But here, they just aim right for the bottom of the barrel.

With how times have changed, I think it’s genuinely easy to read them as a sympathetic character, provided you can look past the murder and homicidal revenge of course (something easy to do when you remember what caused them to snap). When the movie is doing all it can to demonize and humiliate them for not conforming to gender norms as opposed to ridiculing them for the sheer absurd lengths they’re going to for revenge or the fact they literally fucking killed someone, it’s hard not to take their side. The narrative is already against them for the stupidest reasons, so why dogpile them? You go, girl! You can have a little murder and kidnapping, as a treat.

I’ve gotta give them a 0.5/10. And that .5 is pretty much only because aside from the horrible twist, they’re honestly not a bad villain and there’s actually a lot of great foreshadowing that they’re behind the dolphin kidnapping. It really is just the gender reveal thing that not only completely ruins the character, but torpedoes the movie too. Ace Ventura is probably one of the best characters ever, and one of Carrey’s best performances alongside Truman and Robotnik, but he’s stuck debuting in a film where the big joke is “queers are fucking freaks lmao.” What a sick joke.

[theresattrpgforthat]

THEME: Revolution

This week’s games have to do with rising up against oppression and tyranny! A very important note: while the tone and tenor of the following games vary in severity, it is a good idea to use safety tools for your table when running these kinds of games, as it is easy to fall into territory that can be uncomfortable to your players. I recommend you check out tools such as the X Card, by John Stavropoulos, and Lines & Veils, by Ron Edwards.

When the Guilds Pay in Copper, Crime Pays In Gold, by Andrew J. Young.

Ostentia is a city of wealth, magic, and incredible disparity. The city's alchemy guilds hold all the power, with squads of street-level enforcers and an army of mercenaries playing the guilds off each other. The common folk are hired by the guilds to serve in alchemy rituals, draining life from their bodies, paying them their purse of coppers, and sending them home until the next day.

What the city needs is a revolution, but the best you can do is retribution. And distribution. Thwart the guilds' exploitative plots and steal as much gold as you can. And when the job is done, go back to your family, friends, and familiar haunts. Spend your gold to improve your character and use downtime to help your community.

When the Guilds Pay in Copper, Crime Pays in Gold is a two-page tabletop RPG designed to be played with 2 or more players, one of whom should take on the role of a Story Guide to facilitate scene setup and NPC actions and dialogue.When the Guilds Pay in Copper, Crime Pays in Gold's system uses dice pool mechanics with d6s.

If you’re interested in Blades in the Dark but want less pre-defined setting, less rules, and more magic, you might want to check this game out. The players of this game are fighting back against guilds using underhanded methods, but the gold they manage to steal goes into community help, rather than a retirement plan. If you want to hit the bourgeoisie where it hurts without having to read too many rules, and if you want a lighter feel to your game, you might want to check this game out.

And You Shall Shatter Temples, by Anna Landin.

They may be gods, but you are done being faithful.It's time to burn their kingdom down.

Sing songs with the words they could not take from you. Raise the banner woven from the flags you stole back from them. Arm yourself with the swords you forged from their discarded bones.

And You Shall Shatter Temples is a game about rising up against an overwhelming power that is trying to crush you. All you have is what you carry with you, and those who rise up by your side. Together, you can turn the tide. Together, you can dethrone a god.

This is a GM-less game that uses playing cards and d6s to help determine what you do and where the story goes. The main premise is that there are gods, but you get to decide what kind of world they have ruined, and how you bring them to their knees. The game brings you through three stages, with each stage bringing you closer and closer to dethroning a god. The creator offers the text-only version for free, and encourages that you support real-world causes that fight oppression instead!

Hunting Billionaires for Sport, by Vex Chat-Blanc.

It's exactly 1 year since people first started hunting billionaires for sport. In that time the sport has grown at an extraordinary rate, giving rise to both the Extrajudicial Means Distribution Union and Nero.tv. Nations around the world have enacted a total ban on firearms and ammunition sales, as well as dedicated buyback schemes for existing guns. Science and arts have seen a simultaneous market boon, and their advances have integrated seamlessly into daily life. Welcome to 2023.

A game for 1 session runner and 2-5 hunters. It's easy to pick up, simple to explain, provides a quick reference sheet for those new to the rules. It contains interesting and variable character advancement, and a progressive and gentle introduction to more advanced rules. World-building, character background, collaborative action, and character retirement are all tied together mechanically.

If you want to see a game where Billionaires’ greed is what allows for the revenge of the masses, this is the game for you. The setting is incredibly tongue-in-cheek, and the characters are both powerful and competent. Character skills are classified as either Limelight (flashy) or Lowlight (concealed), and can be Active, Passive, or Reactive. You’ll also have Beats that drive your character forward and tie you into the fiction, as celebrities on a high-profile streaming service. If you like the idea of turning modern capitalism back onto itself, this might be the game for you!

Compromise / / Empire, by Swamphen.

The forces of the Empire, the forces of totalitarianism and exploitation, are invading. They have secured a foothold, and want complete control. Their soldiers trample the land, their spies and diplomats are in your places of power, time is limited.

You represent a faction. One of the factions who are working to resist the Empire. As a representative you must extend a hand and form whatever alliances you can with the other factions at play. Resisting the Empire will cost you, and your faction. Compromises must be made.

Compromise//Empire is a GMless roleplaying game for 2-3 players about forming temporary alliances and resisting empire. Each player takes the role of a faction forced into an unlikely alliance. You must represent your agenda while making compromises to fight against the forces of empire.

This is another game that allows you to decide exactly what kind of world you’d like to play in. Crises will arise over the course of the game, and you will attempt to find a solution that makes you and your allies happy. Success is not guaranteed in this game - you may find a way to work together, but your plans may also fall apart. If there is a setting or game you’d like to set-up for, this is an excellent option! 

Voidheart Symphony, by UFO Press.

here’s a wound in the world, a rot eating at hope and community and empathy. You’ve seen it in dark alleyways and gleaming boardrooms, gifting terrible power to those who will use it to hurt others. You’ve had enough. You’re going to dive through that wound into the nightmare castle on the other side. You’re going to find the avatar of the one bringing you misery, and strike them down.

But what’s next, once you’ve stolen their power and ruined their ambitions? Will you return to your daily grind? Cherish those who are close to you? Or revel in the power you have taken from the void? Because within that wound, the castle waits, and it is hungry.

Voidheart Symphony is a tabletop roleplaying game about mundane people diving into a demon-filled labyrinth to save the ones they love. Based on Apocalypse Worldand Rhapsody of Blood, it’ll fill your story with dramatic choices and dynamic action. Your rebels each have a core strength – they may be an Authority, a Provider, a Watcher. But your enemy is far too great for you to face alone. 

If you’re interested in the Persona series, this game is probably up your alley. Shadowy powers lurk behind everyday folks, and your rebellion may not ever make it to the front page. You are heroes behind the scenes, fighting for the freedom of folks who may never know to thank you. If you like the idea of being unsung heroes in the modern day, you should check this game out!

Spire: The City Must Fall, by Rowan, Rook & Decard.

Spire is a mile-high impossible city, older than anyone can remember. Two hundred years ago, the high elves – or aelfir, strange and beautiful masked creatures from the far north – took it from the dark elves by force. Now, they graciously allow dark elves, or drow, to live in the city if they perform four years of service to an aelfir lord once they come of age. Spire is crumbling from within and without; it is ancient, and has been built and rebuilt countless times, and at the centre of the mass there is a jagged, weeping hole in reality called the Heart. It is a nightmarish, dizzying place of perverse luxury and widespread destitution, where drow labourers toil in vast gardens and sweltering factories to produce treasures for their masters.

Spire is a roleplaying game about desperate revolutionary dark elves caught up in a secret war against the high elves, or aelfir, who rule the towering city of Spire. The world of Spire is a brutal one, and players can expect to see their characters suffer at the hands of their oppressors, or their rivals; bodily harm, psychological scarring and reprisals against their allies are commonplace. But for those willing to do what it takes, Spire is on the brink of full-scale rebellion, and you are poised to push it over the edge.

This game uses a D10 system that uses dice pools to determine success -  the highest number indicates whether or not you are successful, and how successful you are. The rebellion in this game is dark and vicious; the characters are pushed to do terrifying things in the name of death, vindication, and revenge. This is a fantasy game through and through, but make sure to bring some safety tools to the table, as a game of Spire can easily turn bloody and grim.

If you are interested in this setting but want a game about dungeon-delving instead, you can try Heart: The City Beneath, by the same company.

Previously advertised games that fit this theme:

Balikbayan: Cyberpunk Elementals escaping enslavement. Brinkwood: Brigands fighting against Vampires. Rising Tide: Eco-Justice pirates hitting Corporations at sea.

[dirtyriver]

The “Blade Runner” series in the works at Amazon Prime Video has cast Michelle Yeoh in a lead role, Variety has learned.

The series, titled “Blade Runner 2099,” was ordered at Amazon in September 2022. It serves as a sequel to both the original “Blade Runner” film and the followup film, “Blade Runner 2049.” Exact plot details are being kept under wraps, but sources say Yeoh will play a character named Olwen, described as a replicant near the end of her life.

[romanceyourdemons]

as a philip k dick adaptation, total recall (1990) has the most adequate of all worlds. whereas blade runner (1982) exemplifies the neo-noir sensibilities of dick’s novels, a scanner darkly (2006) their reality-bending and themes of drug abuse and addiction, and minority report (2002) their dense social commentary, this film—although retaining traces of all those themes in the narrative—chooses to shift the focus away from those and toward late-twentieth-century sci-fi sex and action. i would describe the whole effect as a more narratively substantive the fifth element (1997), with the two films sharing many elements of their narrative skeleton; however, a key difference lies in the fifth element (1997)’s distinctive and hugely ambitious visual style, matching or exceeding that of blade runner (1982) in its depth and memorability. there are definitely visuals in this film that deserve commendation, both in terms of vast sets, excellent if understated costumes, prosthetics, and practical effects; everything the film sets out to do, it accomplishes fully. even arnold schwarzenegger’s dramatic acting carries the character without relying too much on his muscles, and michael ironside puts on a stunning show even in his supporting role. all of these things were very enjoyable, but when laid side-by-side with the other films this film shares intertextual links with, its tendency to play it safe becomes very obvious. philip k dick is a dense and distinctive writer, whose stories have many notable features, and total recall (1990) declines to commit to any one of them, without bringing much of anything else to the table; although the final effect is by no means bad, it does smack of loss and invites the question of what, under bolder artistic hands, might have been

[vintage1981]

Space: 1999 Stars Barbara Bain & Nick Tate Goes Board Documentary About Sci-Fi Show’s Legendary Spacecraft

Actress Barbara Bain, star of the British sci-fi series Space: 1999, is preparing to board an upcoming documentary about the Eagle, the famed spacecraft at the heart of the show that ran from 1975-1977.

Bain will appear in The Eagle Has Landed as will Nick Tate, her cast mate from Space: 1999. The documentary includes the participation of several other notable figures: Apollo XVI astronaut Charles Duke Jr., Academy Award-winning visual effects artist Bill George (Blade Runner, Star Trek), and Brian Johnson, the VFX artist on Space: 1999 whose work is said to have influenced Star Wars. The film is being directed and produced by Jeffrey Morris, who also hosts the documentary. 

The Eagle Has Landed “explores the cross-generational impact of the iconic vessel” in the series that also starred Martin Landau. According to a press release, the film “showcases never-before-seen archival footage” and will be released in time for the 50th anniversary of Space: 1999’s debut, in 2025.

“Space: 1999 appeared on TV a few short years after the world watched Neil Armstrong take the first steps on the moon,” Morris noted in a statement. “The show’s unforgettable Eagle inspired a generation to envision a future in space and is still doing so decades later. The question we explore is ‘why?’ What is it about this imaginary craft that has captured and held imaginations for nearly 50 years?

Morris’s FutureDude Entertainment is producing the documentary in partnership with Zero Point Zero Production Inc. Anne Marie Gillen is a producer on the project, along with Morris. The film is written by Morris and Fredrick Haugen. Morris is represented by Espada Entertainment.

Space: 1999 ran for a total of 48 episodes, with Bain and Landau in all of them as, respectively, Dr. Helena Russell and Commander John Koenig (the actors were married to each other at the time; they had previously co-starred together in Mission: Impossible).

The show revolved around the denizens of Moonbase Alpha, scientific researchers living on the moon whose existence was threatened by a nuclear explosion, which rocketed the moon out of Earth’s orbit. Tate, an Australian-born actor, played pilot Alan Carter on 42 of the show’s 48 episodes. Originally, his character was to be killed off in the premiere episode, a casualty of the nuclear explosion, but producers Gerry Anderson and Sylvia Anderson liked his work and expanded his role.

“Hovering above the Moon in one of Alpha’s Eagle spacecraft, Alan Carter is an observer to this holocaust, watching helplessly as the Moon spins out into space,” according to a synopsis published by the Catacombs.Space1999.net website. “Sacrificing his only chance to return home, Carter decides to give chase to the runaway Moon, joining his friends on the endless intergalactic journey.”

Tate told the website, “I didn’t have to dig too deeply with this character. Alan Carter was all the things I was as a young man: friendly, happy-go-lucky, someone who loved adventure and accepted a challenge.”

Ian McShane, Joan Collins, and Leo McKern were among actors who appeared in single episodes of Space: 1999.

[riverjphoeniix]

Curious if anyone would be interested in a plot similar to the world Detroit: become human or blade runner! Big into world building as well and love the idea of that universe. I have never written anything like it before and am SO curious. I’m massively into world building as well so if you’re interested in that, that’s also a plus for me! This would be a dystopian/sci-fi/thriller type plot involving droids disguising as humans or hiding to avoid deactivation. This could take place before or after bots are found to be becoming deviant. Whether you’d prefer a role as a human or a deviant/droid is up to you! Definite plus if you’re familiar with the the game or film 💛

This plot would be 21+ and contain fairly dark themes. I am interested in playing female and male roles, but would prefer I wasn’t designated strictly male for all. I do f/m and f/f ships, I would do m/m but I am not capable/confident in my ability.

I prefer novella/doing 3+ paragraphs in a reply. Please feel free to like this post and I can reach out! Even if it’s just to discuss the universe. Thanks!

[denimbex1986]

'We often talk of comeback years, with actors returning to the scene after an extended hiatus or an unintended drop in bookings, but just as worthy of celebration are the cases of a quiet, exponential rise. Sometimes, a name reaches household status by way of an explosive debut, while other names slowly ecru credit after credit for commendable performances, until the subject of occasional recognizability becomes the frequent favorite. David Dastmalchian is the epitome of such a case.

He's had the biggest 2023 out of anyone, showing no signs of slowing down ahead. From the Marvel Cinematic Universe to the latest Christopher Nolan banger, Dastmalchian's year has stretched across just about every kind of scale and genre an actor could want, with parts in some of the year's biggest movies...

Christopher Nolan's 'Oppenheimer' Marks a Powerful Collaboration

While Dastmalchian won't be closing out the year with a reprisal in Dune: Part Two, considering his character's fatal demise in the first film, it's safe to say that he would have if his character lived on. One of his greatest strengths is his evident desirability, with filmmakers asking him for project after project. His portrayal of Piter de Vries, one of the sinister House Karkonnen's Mentats, was the third collaboration between Dastmalchian and director Denis Villeneuve. After first working together on 2013's menacing thriller Prisoners, the pair reunited for two incredible blockbuster follow-ups: Blade Runner 2049 and Dune: Part One.

This is a common occurrence in Dastmalchian's career and a key element of his well-earned success. Arguably the best example of this came this year with Oppenheimer, Dastmalchian's second Christopher Nolan film, arriving over a decade after their first outing together. Most people that have had their "I know that guy" moment over the past few years could likely trace that thought back to 2008's The Dark Knight, the crown jewel of Nolan's Batman trilogy and the first feature film of Dastmalchian's career...

Aside from The Dark Knight and the Ant-Man franchise, Dastmalchian played a pivotal role as Polka-Dot Man in James Gunn's The Suicide Squad in 2021 (collaborating with Gunn once again after working together on The Belko Experiment), and further adding to his gloriously bloated 2023, Dastmalchian had another superhero-centric entry with Batman: The Doom That Came to Gotham...

Dastmalchian, as you may have noticed, has a history of playing incredibly dark supporting roles, a track record that began with The Dark Knight...'

[cyberpunkonline]

The Role of The Moon in Cyberpunk Fiction

In the neon-lit, tech-infused universe of cyberpunk fiction, the urban sprawls and AI overlords often steal the spotlight. Yet, there's a celestial body that has quietly played a pivotal role in shaping many cyberpunk narratives – the Moon. Though it might not be immediately apparent, the moon's presence or absence in these dystopian futures offers a reflection on our society's advancements, fears, and hopes. Let's take a fascinating journey through the moonlit alleys of cyberpunk fiction and explore the various fates that await our lone satellite.

1. The Moon as a New Frontier:

In a world dominated by mega-corporations and cutting-edge technology, it's only logical that humanity would look beyond Earth for expansion. Many cyberpunk tales envision the Moon as the next outpost for human civilization. Be it for mining rare minerals, establishing colonies, or just as a transit hub, the Moon represents untapped potential and opportunity.

Examples:

In the game "Deliver Us The Moon," the satellite becomes humanity's primary source of energy after Earth's resources are depleted.

"Moon," a film by Duncan Jones, explores the life of a man working alone on a lunar base, only to uncover a dark corporate secret.

2. Abandoned or Ravaged Moon:

Sometimes, the Moon in cyberpunk fiction is depicted as a testament to human ambition gone awry. Whether due to warfare, experiments, or mining gone wrong, this once-pristine celestial body becomes a scarred, desolate land.

Examples:

The anime "Cowboy Bebop" has an Earth with a shattered moon, causing meteor showers and making much of the planet uninhabitable.

"Hard Reset," a video game, features a world where a failed experiment on the Moon led to a catastrophic event, forever changing the trajectory of human civilization.

3. The Moon as Symbolism:

In some cyberpunk stories, the Moon serves less as a physical location and more as a symbolic entity. It might represent the untouched purity in contrast to a polluted Earth or serve as a reminder of a past where nature and technology coexisted harmoniously.

Examples:

The movie "Blade Runner" uses the Moon as a backdrop in certain scenes, evoking a sense of nostalgia and longing amidst the high-tech chaos.

In "Neuromancer" by William Gibson, the Moon often appears in the background, symbolizing the vastness and mysteries of the universe amidst a digital-dominated world.

4. The Moon as a Tool:

In the ruthless corporate-dominated landscapes of cyberpunk, nothing is sacred. The Moon, in some narratives, is used or weaponized for power and control.

Examples:

"Akira," the cult-classic anime, hints at a weapon powerful enough to destroy the Moon.

The game "Deus Ex" introduces orbital stations around the Moon that can launch devastating attacks on Earth.

In conclusion, while skyscrapers, neon signs, and rogue hackers often dominate the visual palette of cyberpunk, the Moon remains an integral part of its narrative fabric. It serves as a reflection of humanity's ambition, folly, hope, and despair in a world where technology can either be our savior or downfall.

- REV1

[scifigeneration]

Pluto: Netflix’s anime masterpiece explores how robots ‘feel’ when humans exploit them

by Thi Gammon, Research Associate in Culture, Media and Creative Industries Education at King's College London

There have been many TV shows and films inspired by the dual fear and excitement surrounding advances in artificial intelligence (AI). But not many exhibit such masterful craft and profound humanity as the new Netflix anime miniseries, Pluto.

Pluto is adapted from a manga series of the same title (2003-2009), created by Naoki Urasawa and Takashi Nagasaki. The manga version – considered a comic masterpiece for its beautiful art and sophisticated storyline – incorporated fundamental elements from Osamu Tezuka’s celebrated manga series Astro Boy (1952-1968), including the beloved android adolescent who was the titular character.

Pluto is set in a futuristic world in which humans and robots coexist, albeit within a hierarchy in favour of humans. Robots excel in various jobs ranging from nannies and butlers to architects and detectives, but they are treated as second-class citizens.

Although robots gradually gain their own rights codified into law, they are still exploited by humans, who downplay their worth and emotional intelligence. As much as humans depend on AI, they also feel threatened by it.

An AI murder mystery

Pluto, which has both Japanese and English audio versions, follows German robot detective Gesicht (Shinshū Fuji/Jason Vande Brake) as he traces the mysterious killings of robots and humans. The world’s seven most advanced robots (including Gesicht himself) and robot-friendly humans (including his creator) are the targets of this assassination scheme.

What’s most perplexing is that the murders appear untraceable. This suggests that the killer might be a very advanced robot, challenging the belief that robots can’t ever kill humans due to their programmed constraints.

This enigmatic case echoes the cautionary message found in Mary Shelley’s Frankenstein – beware of human beings’ ambitious dreams and creations. While the story begins as a murder mystery, it evolves into a thoughtful drama about the conflicted relationships between humans and androids.

While Pluto draws on many familiar sci-fi concepts, it distinguishes itself through its meticulous character development and the depth of its micro-stories. Every character is complex, and the audience is able to get to know them and become invested in their fates. The anime’s unhurried pace also allows viewers ample time to contemplate its philosophical questions about consciousness evolution and the powerful impacts of emotions.

Despite all its brilliance, however, the series is not without flaws. It has a dated representation of gender roles, with no female characters – whether human or robot – playing an important part. None of them break free from the stereotypical role of nurturing, stay-behind support for their exceptionally capable and powerful male partners.

Animation of the year

Pluto maintains a melancholic tone throughout – but despite this overarching dark ambience, it is at times romantic and moving. It exalts love, friendship and compassion without falling into sentimentality, evoking an emotional resonance reminiscent of Blade Runner (1982).

The series emphasises that life, or the process of living, imparts character and humanity, transcending biological organs and blood. Androids may initially be devoid of complex emotions, but they develop sentience through everyday experiences and interactions with fellow robots and humans.

Robots can even learn to appreciate music, as manifested by the charismatic North No.2 (Koichi Yamadera/Patrick Seitz), who was designed for intense combat but grows weary of warfare. The narrative underscores the simultaneous beauty and danger of emotions – particularly the destructive force of wrath.

With great technological advancements and comfort, this futuristic world is still torn by war. It poses the question: “Will war ever end?” – reminding us of the conflicts and tragedies happening in the real world. The anime suggests that an end to war is unlikely as long as hatred persists.

For me, with its beautiful art and riveting narrative, Pluto stands out as one of the best Netflix productions of all time. It’s certainly the best animated work of the year.

[misterivy]

In MEMORY of RUTGER HAUER on his BIRTHDAY - (January 23, 1944 - July 19, 2019)

Career years: 1969 - his death

Born Rutger Oelsen Hauer, Dutch actor. In 1999, he was named by the Dutch public as the Best Dutch Actor of the Century.

Hauer's career began in 1969 with the title role in the Dutch television series Floris and surged with his leading role in Turkish Delight (1973), which in 1999 was named the Best Dutch Film of the Century. After gaining international recognition with Soldier of Orange (1977) and Spetters (1980), he moved into American films such as Nighthawks (1981) and Blade Runner (1982), starring in the latter as self-aware replicant Roy Batty. His performance in Blade Runner led to roles in The Osterman Weekend (1983), Ladyhawke (1985), The Hitcher (1986), The Legend of the Holy Drinker (1988), and Blind Fury (1989), among other films.

From the 1990s on, Hauer moved into low-budget films, and supporting roles in major films like Buffy the Vampire Slayer (1992), Confessions of a Dangerous Mind (2002), Batman Begins (2005), Sin City (2005), and The Rite (2011). Hauer also became well known for his work in commercials. Towards the end of his career, he made a return to Dutch cinema, and won the 2012 Rembrandt Award for Best Actor in recognition of his lead role in The Heineken Kidnapping (2011).

Hauer supported environmentalist causes and was a member of the Sea Shepherd Conservation Society. He also founded the Rutger Hauer Starfish Association, an AIDS awareness organization. He was made a knight in the Order of the Netherlands Lion in 2013.

Early life -

Hauer was born in Breukelen, in the Province of Utrecht, while the Netherlands was under German occupation during World War II. He stated in a 1981 interview, "I was born in the middle of the war, and I think for that reason I have deep roots in pacifism. Violence frightens me." His parents were Teunke (née Mellema) and Arend Hauer, both actors who operated an acting school in nearby Amsterdam. He had three sisters. According to Hauer, his parents were more interested in their art than their children. He did not have a close relationship with his father, and writer Erik Hazelhoff Roelfzema later became a father figure to Hauer after they met during the filming of Soldier of Orange.

Hauer attended a Rudolf Steiner school, as his parents wanted him to develop his creativity. At the age of 15, he left school to join the Dutch merchant navy. He spent a year travelling the world aboard a freighter, but was unable to become a captain due to his colourblindness. Returning home, he worked odd jobs while finishing his high school diploma at night. He then entered the Academy for Theater and Dance in Amsterdam for acting classes, but soon dropped out to join the Royal Netherlands Army. He received training as a combat medic, but left the service after a few months as he opposed the use of deadly weapons. He subsequently returned to acting school and graduated in 1967.

Career:

Early works -

Hauer had his first acting role at the age of 11, as Eurysakes in the play Ajax. After graduating from the Academy for Theater and Dance, he became a stage actor with the Toneelgroep Noorder Compagnie. Hauer made his screen debut in 1969 when Paul Verhoeven cast him in the lead role of the television series Floris, a Dutch medieval action drama. The role made him famous in his native country, and Hauer reprised his role for the 1975 German remake Floris von Rosemund.

Hauer's career changed course when Verhoeven cast him in Turkish Delight (1973), which received an Oscar nomination for best foreign-language film. The film found box office favour abroad and at home, and Hauer looked to appear in more international films. Within two years, Hauer made his English-language debut in the British film The Wilby Conspiracy (1975). Set in South Africa, the film was an action-drama with a focus on apartheid. Hauer's supporting role, however, was barely noticed in Hollywood, and he returned to Dutch films for several years. During this period, he made Katie Tippel (1975) and worked again with Verhoeven on Soldier of Orange (1977), and Spetters (1980). These two films paired Hauer with fellow Dutch actor Jeroen Krabbé. At the 1981 Netherlands Film Festival, Hauer received the Golden Calf for Best Actor for his overall body of work.

American breakthrough -

Hauer made his American debut in the Sylvester Stallone film Nighthawks (1981) as a psychopathic and cold-blooded terrorist named Wulfgar. With his sights set on a long-term career in Hollywood, Hauer worked with an accent coach in the early 1980s to develop a convincing American accent. Unafraid of controversial roles, he portrayed Albert Speer in the 1982 American Broadcasting Company production Inside the Third Reich. The same year, Hauer appeared in arguably his most famous and acclaimed role as the eccentric and violent but sympathetic antihero Roy Batty in Ridley Scott's 1982 science fiction thriller Blade Runner, in which he delivered the famous tears in rain monologue. Hauer composed parts of the monologue the evening prior to filming, "cutting away swathes of the original script before adding the speech’s poignant final line". He went on to play the adventurer courting Theresa Russell in Eureka (1983), investigative reporter opposite John Hurt in The Osterman Weekend (1983), hardened mercenary Martin in Flesh & Blood (1985), and knight paired with Michelle Pfeiffer in Ladyhawke (1985).

He appeared in The Hitcher (1986), in which he played a mysterious hitchhiker tormenting a lone motorist and murdering anyone in his way. He received the 1987 Golden Globe Award for Best Supporting Actor for his role in the television film Escape from Sobibor. At the height of Hauer's fame, he was set to be cast as RoboCop (1987), but Verhoeven, the film's director, considered his frame as too large to move comfortably in the character's suit. Also in 1987, Hauer starred as Nick Randall in Wanted: Dead or Alive as the descendant of the character played by Steve McQueen in the television series of the same name.

In 1988, he played a homeless man in Ermanno Olmi's The Legend of the Holy Drinker. This performance won Hauer the Best Actor award at the 1989 Seattle International Film Festival. Hauer was chosen to portray a blind martial artist superhero in Phillip Noyce's action film Blind Fury (1989). He initially struggled with the implausibility of the character, but learned to "unfocus my eyes, to react to smells and sounds" after meeting with blind judo practitioner Lynn Manning during his research for the role. Hauer returned to science fiction in 1989 with The Blood of Heroes, in which he played a gladiator in a post-apocalyptic world.

Commercials and later roles -

By the 1990s, Hauer was well known for his humorous Guinness commercials as well as his screen roles, which had increasingly involved low-budget films, such as Split Second (1992); The Beans of Egypt, Maine (1994); Omega Doom (1996) and New World Disorder (1999). In 1992, he appeared in the horror-comedy film Buffy the Vampire Slayer as the main antagonist vampire Lothos. He also appeared in the Kylie Minogue music video "On a Night Like This" (2000). During this time, Hauer acted in several British, Canadian and American television productions, including Amelia Earhart: The Final Flight (1994) as Earhart's navigator Fred Noonan, Fatherland (1994), Hostile Waters (1997), The Call of the Wild: Dog of the Yukon (1997), Merlin (1998), The 10th Kingdom (2000), Smallville (2003), Alias (2003), and Salem's Lot (2004).

Hauer played an assassin in Confessions of a Dangerous Mind (2003), a villainous cardinal with influential power in Sin City (2005) and a devious corporate executive running Wayne Enterprises in Batman Begins (2005). Also in 2005, he played the title role in Patrick Lussier's film Dracula III: Legacy. Seven years later, he portrayed the vampire hunter Abraham Van Helsing in Dario Argento's Dracula 3D. Hauer hosted the British reality television documentary Shock Treatment in 2005, and featured in Goal II: Living the Dream (2007) as Real Madrid coach Rudi Van der Merwe. He also recorded voice-overs for the British advertising campaign for the Danish butter brand Lurpak.

In 2008, Hauer received the Golden Calf Culture Prize for his contributions to Dutch cinema. The award recognised his work as an actor as well as his efforts to aid the development of young filmmakers and actors, through initiatives such as the Rutger Hauer Film Factory. In 2009, his role in avant-garde filmmaker Cyrus Frisch's Dazzle received positive reviews; it was described in Dutch press as "the most relevant Dutch film of the year". The same year, Hauer starred in the title role of Barbarossa, an Italian film directed by Renzo Martinelli. In April 2010, he was cast in the live action adaptation of the short and fictitious Grindhouse trailer Hobo with a Shotgun (2011). Hauer played Freddie Heineken in The Heineken Kidnapping (2011), for which he received the 2012 Rembrandt Award for Best Actor. Also in 2011, Hauer appeared in the supernatural horror film The Rite as an undertaker named Istvan, the protagonist's father.

From 2013 to 2014, Hauer featured as Niall Brigant in HBO's True Blood. In 2015, he starred as Ravn in The Last Kingdom and as Kingsley in Galavant. In 2016, he joined the film jury for ShortCutz Amsterdam, an annual film festival promoting short films in Amsterdam. Hauer voiced the role of Daniel Lazarski in the 2017 video game Observer, set in post-apocalyptic Poland. Lazarski is a member of a special elite police unit that can hack into minds and interact with memories within. Hauer also provided the voice of Xehanort in the 2019 video game Kingdom Hearts III, replacing the late Leonard Nimoy and was himself replaced by Christopher Lloyd following his death.

Personal life -

Hauer was married twice:

Hauer and his first wife, Heidi Merz, produced Hauer’s only child, Aysha Hauer (born 1966). An actress, she gave birth to Hauer's grandson in 1987.

Hauer was with his second wife, Ineke ten Cate, from 1968, and they married in a private ceremony on 22 November 1985. Cate was the daughter of Laurens ten Cate, the editor-in-chief of the Friesland-based newspaper Leeuwarder Courant.

Although born in Utrecht, Hauer had strong links to Friesland. He once stated in an interview with the Algemeen Dagblad that he "needed to feel the Frisian clay under his feet".

Hauer was an environmentalist. He supported the Sea Shepherd Conservation Society and was a member of its board of advisors. He also established an AIDS awareness organization called the Rutger Hauer Starfish Association.

In April 2007, he published his autobiography, All Those Moments: Stories of Heroes, Villains, Replicants, and Blade Runners (co-written with Patrick Quinlan), in which he discussed many of his acting roles. Proceeds from the book go to the Rutger Hauer Starfish Association.

Death -

Hauer died at his home in Beetsterzwaag, following a short illness. He was 75 years old. A private funeral service was held on 24 July. On 23 January 2020, which would have been Hauer's 76th birthday, a ceremony was held in Beetsterzwaag in his honour. Attendees included Sharon Stone, Miranda Richardson, Diederik van Rooijen, and Prince Pieter-Christiaan of Orange-Nassau, van Vollenhoven.