Posts Tagged ‘Blade Runner’

Xelasoma on his Favourite Artists of the Fantastic

February 3, 2019

And now, as Monty Python once said, for something completely different. At least from politics. I found these two videos from the artist Xelasoma on YouTube, in which he discusses six masters of fantasy art and how they have influenced him. They are Roger Dean, Patrick Woodroffe, and Rodney Matthews in video 1, and Jean ‘Moebius’ Giraud, Philippe Druillet and Ian Miller in video 2.

Roger Dean will be remembered by fans of ’70’s prog rock for his amazing album covers for the bands Yes and Asia. Woodroffe and Matthews are also artists, who’ve produced record covers as well as book illustrations. Moebius and Druillet are two of the geniuses in modern French SF comics. Moebius was one of the ‘Humanoides Associes’ behind the French SF comic, Metal Hurlant. Among his numerous other works was Arzach, a comic, whose hero flew across a strange fantastic landscape atop a strange, pterodactyl creature. As Xelasoma himself points out here, it’s a completely visual strip. There’s no language at all. It was also Moebius who designed the spacesuits for Ridley Scott’s classic Alien. Xelasoma describes how, after he left art school, Moebius spent some time in Mexico with a relative. This was his mother, who’d married a Mexican, and the empty, desert landscape south of the border is a clear influence on the alien environments he drew in his strips. Xelasoma also considers him a master of perspective for the way he frequent draws scenes as viewed looking down from above. And one of the pictures illustrating this is of a figure in an alien planet looking down a cliff at a sculpture of rock legend Jimi Hendricks carved into the opposite cliff face. Druillet, Xelasoma feels, is somewhat like Moebius, but with a harder edge, drawing vast, aggressive machines and armies of fierce alien warriors. He’s also known for his soaring cityscapes of vast tower blocks reaching far up into the sky, which also influenced Ridley Scott’s portrayal of the Los Angeles of 2019 in Blade Runner. The last artist featured, Ian Miller, first encountered in the pages of the British Role-Playing Game magazine, Warhammer. His style is much more angular, deeply hatched and very detailed. Fans of H.P. Lovecraft will recognize several of the pictures Xelasoma chooses to represent his work as depictions of some of the weird, sinister gods from the Cthulhu mythos. They include not only Cthulhu himself, but also of the half-human, amphibious, batrachian inhabitants of the decaying port in the short story, The shadow Out of Innsmouth.

What Xelasoma admires about all these artists is that they don’t follow the conventions of modern western art established by the ancient Greeks and Romans and the Renaissance. They alter and distort the human form and that of other objects and creatures. He describes Dean’s landscapes as organic. Patrick Woodroffe and Matthews also create strange, alien creatures and landscapes, and with the creatures Matthews depicts also very different from standard human anatomy. Many of the creatures, machines and spaceships in Matthews’ art are based on insects, and appropriately enough one of the bands whose cover he painted was Tiger Moth. This featured two insects dancing on a leaf. Another picture, The Hop, shows an insect band playing while other bugs trip the light fantastic in the grass, surrounded by items like used cigarettes. His humanoid figures are tall, stick thin, with long, thin, angular faces and immense, slanted eyes. Xelasoma admires the way Matthews can take a train or a deer, and turn them in something uniquely his, as he shows here. He states that he first encountered Dean’s and Woodroffe’s art in the art books his mother had, such as Woodroffe’s Mythopoiekon. He also identifies somewhat with Woodroffe, as neither of them studied at art school. Woodroffe was a French teacher, while for Xelasoma art was far too personal for him to submit to formal training.

Xelasoma points out that these artists were creating their unique visions before the advent of computers using the traditional artist materials of paint and brush, and before courses in SF, Fantasy and concept art were taught at colleges and universities. Nevertheless, he finds their work far more interesting and inspiring than modern SF and Fantasy art, which may be more anatomically accurate, but which, too him, seems very ‘samey’. He complains that it doesn’t make him hallucinate, which the above artists do. Well, I hope he doesn’t mean that literally, as that could be very worrying. But I know what he means in that Dean, Woodroffe, Matthews, Moebius, Druillet and Miller create strange, fantastic worlds that have a striking intensity to them. They seem to be complete worlds, either in the far past or future, or parallel realities altogether, but with their own internal logic drawing you into them.

Discussing their influence on him, he is critical of artists that simply copy the work of others, changing a few details but otherwise keeping to and appropriating the other artists’ own unique visions, some times trying to justify this by saying that their work is a ‘hommage’ to the others. Xelasoma is well aware that his own work is very different to the artists he talks about here, and that many of his viewers won’t be able to see their influence. But he goes on to describe how they have influenced him at the general level of form or composition, while he himself has been careful to develop his own unique style.

Dean, Woodroffe and Matthews have produced books of their work, published by Paper Tiger. Matthews and Miller also have their own websites, for those wishing to see more of their work. Moebius passed away a couple of years ago, but was the subject of a BBC4 documentary. There’s also a documentary about Roger Dean on YouTube, presented by that grumpy old Yes keyboardist, Rick Wakeman. Xelasoma believes in their fantastic depictions of landscapes and animal and human forms makes them as important and worth inclusion in museums and galleries as Graeco-Roman and Renaissance art. I wouldn’t go that far, but I would maintain that in their way, they are far more significant than many contemporary artists that have been promoted as ‘official’ art. Xelasoma’s documentary really shows only a few pieces from these artists’ works, and the bulk of these videos are about the particular impact they have on him. But nevertheless it’s a good introduction to their work, and explanation why they should be taken seriously as artists beyond their origins in popular culture.

Part I

Part II

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Spice Girls Call on People to Support May in Brexit Negotiations

November 13, 2018

Here’s another story from the I, simply reporting a piece that was in another newspaper. Yesterday, the I was repeating a piece from the Sunday Times that David Miliband might come back to England to lead the new ‘centrist’ Blairite party that’s been debated for months now. Today, 13th November 2018, the I ran a piece about an article in the Scum, in which the Spice Girls called upon the people of Britain to support Tweezer in her Brexit negotiations with Brussels.

The article on page 7 of newspaper ran

The Spice Girls have called on Britons to back up Theresa May in her Brexit negotiations.

The band were known for their girl power message during the 1990s, but Emma Bunton, aka Baby Spice, told The Sun of a change in message more than 20 years on. She said, “It’s people power. We’re about equality and bringing everyone together.”

Bandmate Geri Horner also backed Mrs May, saying the Prime Minister did not have an “easy position”.

She said: “We don’t have to agree on politics, it’s bigger than that. You can just support a woman doing the best she can and that’s it.”

Er, no, you don’t have to support May. She might be doing the best she can, but she’s the head of a party that has single-handedly done its absolute and level best to reduce ordinary working people, the sick, the disabled and the unemployed to grinding poverty. While at the same time depriving them of employment rights, privatizing the health service and stripping back the welfare state to make benefits as difficult and as humiliating to obtain as possible. As a result, something like 14 million are in poverty, a quarter of a million at least are using food banks, and homelessness has shot up. And there is an ongoing genocide of the disabled which is largely ignored by the mass media. Her predecessor, David Cameron, by calling the referendum did more to split the UK than Sinn Fein and the Scots Nats, because everyone in Northern Ireland and Scotland wishes to remain in Europe. It’s only we English, who swallowed the xenophobic rubbish and outright lies of the Leave campaign.

And whatever Tweezer says, any deal she makes will not benefit the vast majority of this country’s people. Despite her party’s rhetoric, there have no interest in doing anything to improve conditions for the rest of us. Quite the opposite. The Tory party is the party of the rich and affluent, the aristocracy and the business classes. Thanks to austerity, their wealth has massively increased while Britain’s working people have become much poorer. Any deal May will want to make with Brussels will be intended to benefit them, not us.

The best thing in the circumstances will be for Tweezer’s negotiations to fail, an election called and the Tories kicked out and replaced with a proper, Labour government that can actually do the job of rebuilding our economy, welfare state, NHS and relationship with Europe.

As for the Spice Girls themselves, I don’t hate them, but I was never a fan. They always struck me as Conservatives, and a number of my friends didn’t think much of them, regarding them as a manufactured band. As for their slogan ‘Girl Power’, the Science Fiction, Fantasy and Horror film website, Moria, in its review of their film, Spice World, said it was meaningless. It was a kind of ‘post-feminist feminism’, and so was essentially as meaningless and empty as their music. The video for ‘Spice Up Your Life’, in which the girls fly through a dark, twilight city of towering skyscrapers, drenched in rain and given occasional illumination by a distant searchlight on high-tech surf boards seems so much based on Los Angeles of the SF film Blade Runner that I’m surprised Ridley Scott didn’t sue them for copyright. Blade Runner is one of the great classics of SF cinema, not least for its striking cityscape and Vangelis’ synthesizer score. It’s a downbeat, depressing movie, in sharp contrast to ‘Spice Up Your Life’, which is just a piece of inconsequential fun. But the movie had something deep to say about humanity and our assumptions of moral superiority over the biological machines we may create to serve us. Plus the fact that it had that awesome speech by Rutger Hauer as the Replicant leader, Roy Batty, to Harrison Ford’s Rik Deckard at the end: ‘Now you know what it’s like to be a slave. To live in fear. I’ve seen things you people wouldn’t believe, seen ships on fire off the shores of Orion…’ etc. Seeing the Spice Girls’ video of ‘Spice Up Your Life’ the other day on YouTube reminded of just how great a piece of cinematic art Blade Runner was.

As for ‘people power’ and the rhetoric about equality and bringing everyone together, that’s very rich coming from the Scum. The Scum’s the mouthpiece of the Tory party, which has done everything it can since it was founded by Murdoch to divide Britain, not least through its strident, persistent racism. It’s thanks to the Tory party and their imitators, New Labour, that there is now a yawning chasm between rich and poor, while the Tories have exacerbated and created further racial divisions by whipping up hatred and fear against immigrants and asylum seekers. Quite apart from the general hatred and fear the Tory press incites against the unemployed and disabled, whom they despise and denigrate as ‘scroungers’.

The Spice Girls are planning a comeback, and if people like their music, that’s fine. They gave people a lot of pleasure back in the 1990s. But this time, their message in the Scum is definitely best ignored.

2014 Re-Release Trailer for 2001

December 23, 2017

It’s Christmas, so I’m trying to intersperse the serious stuff I’m posting up here with lighter material, so that’s there some seasonal good cheer flying around. I found this on the Movie Clips Channel on YouTube. Kubrick’s epic SF film, 2001: A Space Odyssey was re-released at the cinema in 2014, thirteen years after the film’s nominal date. And it shows brief clips from the movie, mixed with suitable quotes from critics and directors. The clips are from some of the film’s iconic moments – the black monolith, the discovery of clubs and tools by primitive apemen, HAL, the lone astronaut jogging around the spinning living space inside the Odyssey, which gives it artificial gravity, to Khatchurian’s ‘Gayane’. The Odyssey itself, natch, the super-sleek space shuttle approaching the wheeling space station to the tune of Strauss’ ‘Blue Danube’, the symbolism of the Sun and moon appearing in line with the Monolith early in human prehistory, the strains of ‘Thus Spake Zarathustra’, the Moon Lander descending to the underground moon base. And of course, the Star Gate.

Kubrick told Clarke he wanted to make the greatest SF movie of all time. And for many critics he did it. The film is epic, baffling and infuriating. When it was shown on BBC TV in Christmas 1983 or thereabout, my brother, father and myself all had an argument afterwards about what on Earth or space it all meant. It’s an intelligent, and paradoxically also a deeply religious one. Clarke, an atheist, who famously wrote the script, has made this point in interviews. It deals with intervention in human evolution by non-human intelligences, and has themes of death, rebirth and transcendence. Think of the last ten minutes or so of the movie, where Bowman ages before being transformed into the Star Child. And the pictures on his chamber walls are of the Madonna and Child. Again pointing up the theme of divine incarnation and birth with a salvific mission.

Back in the 1990s George Lucas re-released his Star Wars: Episode IV, which had been retouched with digital technology and computer graphics. Some of the critics got carried away, and announced that it was the greatest SF movie ever. Not so, replied the great man, who took out a whole page advert in the LA Times to say that 2001 was the greatest SF film of all time. A generous homage by one of the great masters of modern SF cinema.

There’s been a trend in some cinemas showing old movies. The other year one of cinemas around the country showed the original Blade Runner movie. Another showed the Czech SF epic Icarus. And one of the theatres in Cheltenham screened a series of old films, including the classic British comedy, The Ladykillers. This is film as it is made to be seen: at the cinema. My only regret is that I’ve managed to go to none of the re-releases, except Star Wars.

Yesterday’s Science Fiction as Today’s Reality: Bruce Sterling’s ‘Heavy Weather’

September 13, 2017

Bruce Sterling was, with William Gibson, one of the leading members of the ‘Mirrorshades’ group of SF writers, who launched cyberpunk in the 1980s. This is the SF genre set in dystopian, corporate futures, whose streetwise picaresque heroes entire a VR cyberspace through jacking into the Web. If you want an idea what the genre’s like, see the film Blade Runner, although the film actually came out while Gibson was writing his groundbreaking novel, Neuromancer.

This week the news has been dominated by hurricane Harvey and the other storms that are wreaking such havoc in Florida, Bermuda and other parts of the Caribbean. In a previous article I put up this evening about Trump’s appointment of Jim Bridenstine, a scientific illiterate, who doesn’t believe in climate change as head of NASA, I discussed how Jimmy Dore and his co-host Steffi Zamorano and Ron Placone had said that these storms bear out the continuing decline of the Earth’s climate. Way back in the early part of this century, after several heatwaves, climate scientists warned that climate change meant that the weather would become more extreme.

And Bruce Sterling wrote an entire book about the superstorms that would arise due to climate change in his 1994 SF novel, Heavy Weather (London: Millennium).

This was set in the devastated Texas of the early 21st century, where the aquifers have dried up. It’s a state wracked by violent storms, where thousands have been left homeless and forced into refugee camps by the unstable climate. The blurb for the book reads

2031 – the atmosphere’s wrecked. The Storm Troupers – media unit, scientists, techno-freaks – get their kicks from weather. Hooked up to drones through virtual-reality rigs, they can plunge like maddened darts into the eye of a storm and surf a ride from hell.

Their Holy Grail: the F6, a tornado so intense it’s off the scale. Dangerous in the extreme. Also dangerous: certain people’s sick dreams, full of tornado trails, shining insane paths of endless howling destruction.

The high-tech wonders of a decaying world … and a bunch of wild nomads longing to be blown away.

I think the book was a response by literary SF to the film Twister, about a group of meteorologists chasing tornadoes across the southern US, starring Piers Brosnan. I don’t think we’ve quite reached the level where masses of Americans are being left homeless in refugee camps, nor are their groups quite like the Storm Troupers. But these violent storms are becoming a reality, and will become ever worse as the climate deteriorates.

As Max Headroom used to say in his trailers for Channel 4: ‘The future…is now’.

And it’s disgusting that Trump’s trying to close down climate research, and put in charge of NASA someone who knows precious little about science, and doesn’t believe in climate change.

Blade Runner 2049: ‘Time to Live’

September 1, 2017

This is another trailer for the forthcoming sequel to Blade Runner, Blade Runner 2049. Described as a ‘featurette’, it’s a short film mixing scenes from the film with soundbites from the stars Harrison Ford and Ryan Gosling, the director Denis Villeneuve, and various members of the production crew, including its art director, and the director of the original classic himself, Ridley Scott.

It begins with Ford describing the immense impact of the scope and look of the original movie, and says it’s great to be back in his character’s, Deckard’s, old clothes. He’s glad they fit. Ridley Scott says he had no idea at the time the first movie came out that it would be so iconic. Later he says that it was meant to be a stand-alone movie, but there’s always more than you can tell in a two hour film. The production team tell how they wanted to preserve the look of the original, while also doing something that was ‘divergent’. And Villeneuve says that he never felt anxious while making it that Scott was watching over his shoulder.

I put up a previous trailer for Blade Runner 2049, the short prequel, Nexus Dawn, yesterday, and said that, while I’m looking forward to the film’s release in October, I also have mixed feelings about it. The film is now rightly regarded as one of the classics of science fiction cinema. It was a dark, dystopian vision of the future, that also mixed in French film noir, to create a dismal but stylish ‘Future Noir’. I’m afraid that the original is such a classic, and has set the standards so high for its sequel, that it will be simply impossible for the film to fulfill them, no matter how good it is. I think part of the problem many people were disappointed with the Star Wars prequels, and Scott’s prequels to the original Alien film, Prometheus and Covenant, is partly because these films are also cinematic classics.

There’s also the problem that part of what made these films classics was that at the time, they had a unique quality or vision that set them far apart from other films of the same type. In the case of Star Wars, it was Lucas’ creation of an entire galactic society, complete with its own form of mystical religion in the force, as well as the superb special effects. The spaceships and robots looked good. The film also broke with previous SF movies in that the technology looked used. I can remember reading in Starburst that it was the first SF movie to ‘dirty up’ the spacecraft. Rather than everything appearing antiseptically clean, the ships in Star Wars looked like people actually flew and maintained them in real conditions, in working hangers full of grease and whatever people in A Galaxy Far, Far Away use for enjoy oil.

In Alien, you also had the dirty, worn look of the spaceship Nostromo. It was dark, and dingy, stacked with equipment, and looked like what it was supposed to be: a functioning industrial complex, built for work, not beauty. And then there was the weird, biological design of the alien spacecraft the Nostromo’s crew encounters and explores, with the space jockey and the Alien itself, all designed by the Austrian surrealist, H.R. Giger.

The imagery and designs of these films have been so influential that they’ve become part of the stock visual language of much of the science fiction that followed them, to the point where it might be difficult for some younger film enthusiasts to understand just how exciting and revolutionary they were when they first came out.

As for Ridley Scott’s comment that he had no idea that Blade Runner would become the classic it is, this is very true. It flopped in the cinemas. This was partly because the studio didn’t think audiences were intelligent enough to work out what was going on, or understand some of the future slang, so they insisted that Ford also did a voiceover during certain scenes. There’s a rumour that Ford thought it was such a bad idea, that he deliberately made his voice as flat and monotone as possible in the hope the result would be so terrible the studio wouldn’t use it. But they did. And unfortunately it did affect the way audience received it. Put bluntly, it made the film a laughing stock. A friend of mine went to see it – he was a few years older than me – and he said that people in the cinema were laughing at the voiceover.

What saved the movie were the fans, who discovered it on video, who turned it into a cult movie, so that its audience and reputation increased. This reached the point where it allowed Scott to do something that had never been done before: he released a director’s cut of the film. Which critically removed that stupid voiceover.

And the result of that long process of rediscovery and growing appreciation is that the original movie is a cinematic classic. Blade Runner 2049 has a lot to live up to, but I’m really looking forward to it.

Blade Runner 2049 Short Film: 2036: Nexus Dawn

August 31, 2017

The sequel to Ridley Scott’s SF classic, Blade Runner, Blade Runner 2049 is another film I want to see when it comes out in October. It isn’t directed by Scott himself, but the French Canadian director, Denis Villeneuve. In this short piece, Villeneuve talks about how amazed he was by the original film, and introduces this very short film. It’s a kind of prequel to the coming full length cinematic feature. Set 13 years before the Blade Runner: 2049 in 2036, the manufacturer Niander Wallace introduces his new generation of replicants, utterly obedient to humanity, even at the cost of their own lives.

Although I’m really looking forward to seeing the film, I’ve also got some reservations about it. Blade Runner is rightly regarded as one of the very best SF movies, and so the bar for its sequel has been set very high. I’m afraid that the film’s going to be a disappointment because of this, in the same way many people hated the Star Wars sequels, and were also disappointed by Scott’s prequels to the Alien franchise, Prometheus and Covenant. As it stands, from what I’ve seen from the trailers, Blade Runner: 2049 looks very good, expanding Scott’s vision of a dystopian Los Angeles, and using a diffuse, golden light similar to the colour palate Scott used in the original movie. But we’ll only know if it is as good as it looks when it’s finally released in British cinemas on October 6.

New SF Series Coming to Channel 4: Philip K. Dick’s Electric Dreams

August 28, 2017

Last Sunday I caught this trailer on Channel 4 for a new science fiction series, Philip K. Dick’s Electric Dreams.

The title is obviously an homage to Dick’s most famous work, Do Androids Dream of Electric Sheep?, which became one of the great, classic SF films of all time, Ridley Scott’s Blade Runner.

The series will consist of ten, self-contained episodes, each based on a different Dick short story, starring some of film and TV’s top actors. These include Timothy Spall, Steve Buscemi, Jack Raynor, Benedict Wong, Bryan Cranston, Essie Davis, Greg Kinnear, Anna Paquin, Richard Madden, Holliday Grainger, Anneika Rose, Mel Rodriguez, Vera Formiga, Annalisa Basso, Maura Tierney, Juno Temple and Janelle Monae.

One of the executive producers is Ronald D. Moore, who worked on the Star Trek series, Star Trek: The Next Generation, Deep Space 9 and Voyage, as well as Battlestar Galactica and Outlander.

More information, including plot summaries, can be found on Channel 4’s website at http://www.channel4.com/info/press/news/philip-k-dicks-electric-dreams And Den of Geek, http://www.denofgeek.com/uk/tv/philip-k-dick-s-electric-dreams/50380/philip-k-dicks-electric-dreams-7-reasons-to-get-excited.

This looks really promising. Den of Geek say in their article that the anthology format already recalls Channel 4’s Black Mirror, and The Twilight Zone. I have to say I wasn’t drawn to watch Black Mirror. It was created by Charlie Brooker, and was an intelligent, dark examination of the dystopian elements of our media-saturated modern culture and its increasing reliance on information technology. However, it just wasn’t weird enough for me. Near future SF is great, but I also like spacecraft, aliens, ray guns and robots. And this promises to have some of them, at least.

Channel 4 have also produced another intelligent, critically SF series, Humans, based on the Swedish series, Real Humans. With Black Mirror, it seems Channel 4 is one of the leading broadcasters for creating intelligent, mature Science Fiction.

The Influence of Metal Hurlant on Science Fiction Cinema

April 25, 2017

Yesterday I put up a piece I found on YouTube about the influence French Science Fiction comics had on Star Wars. This short video by the same poster, Abstract Looper, explores the profound influence the artists of the French adult SF comic, Metal Hurlant, known to the Anglophone world as Heavy Metal, has had on modern Science Fiction cinema. Metal Hurlant was founded in 1974 by Les Humanoides Associees Jean ‘Moebius’ Giraud, Dionnet and Philippe Druillet. The video shows the striking visual similarities between scenes and designs in the comic’s various strips, and the films Mad Max, Alien, Blade Runner, Nausicaa – Valley of the Wind, Avatar, the original 70s Battlestar Galactica TV series, Hellboy, Prometheus and the Matrix. There’s a clip of Ridley Scott saying that when he made Alien, he was influenced by the visual material produced by Moebius and the French magazine. Guillermo del Toro also confessed that he was influenced by Richard Corben, another of the magazine’s artists. Terry Gilliam also states that the magazine was an influence on him. As does James Cameron. Rutgar Hauer, who played Roy Batty in Blade Runner also appears, telling how the producers visualised the future as already old. In fact, the producers of Blade Runner based their vision of Los Angeles on the towering cityscapes of Philippe Druillet. As well as Druillet, Dionnet, Corben and Moebius, another of the comic’s creators, the Franco-Yugoslavian artist Enki Bilal, was also influential. Also making the point are the similarities between the comics’ art and the concept drawings produced for the Alien and Matrix movies.

You could also add the Judge Dredd movies to this list as well. 2000 AD’s creator, Pat Mills, hates superhero comics. When he launched the Galaxy’s Greatest Comic way back in the 1970s, he was influenced by the French SF comics. Which naturally includes Metal Hurlant. Judge Dredd’s look was created by Carlos Ezquerra, a Spanish artist living in London, who has an artistic style very similar to Moebius.

As an aside, I was also pleased that the interview with Ridley Scott also had Russian subtitles. This shows how much the world has changed since I was at school. This was the years of the new Cold War, created by Thatcher and Reagan, when there were real fears of nuclear Armageddon. I felt profoundly optimistic when the Berlin Wall fell, along with Communism. There seemed at last a real possibility of a genuine, lasting peace between eastern and western Europe. I believe very strongly that it has been a massive improvement in world affairs that the peoples of the former eastern bloc can come to Britain to live, work and raise families.

And I am appalled and angry that Trump and the Democrats are pushing a new Cold War with Putin, and thus endangering the world all over again.

Warning: Heavy Metal was an ‘adult’ comic, which means that there’s some cartoon nudity. This was the magazine that was filmed as The Heavy Metal Movie, and which became notorious for the female nudity of the ‘Taarna’ sequence, which in turn inspired the episode ‘Major B***age’ in South Park. This may have changed, however. In an interview in the comics press a few years ago, its British editor stated that the magazine was dropping the nudity, because it was irrelevant given the amount of real nudity on the Web. He promised that the magazine would still be sexy, however.

The Influence of French Science Fiction Comics on Star Wars

April 24, 2017

This is another fascinating video about French SF comics and the influence they may have had on George Lucas’ Star Wars. In his description for the video, the post, Abstract Loop, writes

Beginning in the late 1960s and early 1970s, French comics artists revolutionized their medium and created groundbreaking works of science fiction. Artists like Jean-Claude Mézières, Philippe Druillet, and Jean Giraud, aka Moebius, had a significant, if rarely recognized, influence on many Hollywood films. Star Wars is one of the most prominent examples.

“There are quite a few illustrators in the science-fiction and science-fantasy modes I like very much. I like them because their designs and imaginations are so vivid […] Druillet and Moebius are quite sophisticated in their style.”
– George Lucas, 1979

Unless noted otherwise, all art in this video is taken from the following comics and comics series:
Jean-Claude Mézières & Pierre Christin: „Valérian and Laureline“ („Valérian et Laureline“)
Jean-Claude Mézières: „Les baroudeurs de l’espace“
Moebius & Dan O‘Bannon: „The Long Tomorrow“
Moebius & Alejandro Jodorowsky: „The Incal“ („L’Incal“)
Moebius: „Le Bandard fou“
Moebius: „The Airtight Garage“ („Le Garage hermétique“)
Philippe Druillet & Jacques Lob: „Delirius“
Philippe Druillet: „The 6 Voyages of Lone Sloane“ („Les 6 Voyages de Lone Sloane“)
Philippe Druillet: „Salammbô“
Philippe Druillet: „La Nuit“

Film stills: „The Empire Strikes Back“, „The Return of the Jedi“ & „Star Wars: Droids“
Concept art and storyboard panel by Joe Johnston

Music: Tycho „Awake“

For further reading:
“Valérian and Laureline”
: http://kitbashed.com/blog/valerian-an…
“The Moebius Probe”: http://kitbashed.com/blog/moebius
“Als die Zukunft wieder cool wurde” (in German): http://www.tagesspiegel.de/kultur/com…

Certainly the artists mentioned have had an impact on Science Fiction cinema. Scott used Philippe Druillet’s depictions of soaring futuristic sky-scraper cities as the basis for the Los Angeles of Blade Runner, and Moebius certainly was a profound influence on the style of Luc Besson’s The Fifth Element. From this video I’m not sure how much influence French comics had on Star Wars. Some of the pieces shown are very similar, others less so, and some of the similarity between Star Wars and the comics could simply be due to coincidence between two similar scenes that were produced entirely independently. Nevertheless, the video does how the power and individuality of the vision of the future produced by the great French SF artists in their comics.

Counterpunch on the Threat of Military Policing in America by 2030

February 19, 2017

Last week there was a chilling piece in Counterpunch by John Whitehead. The left-wing American magazine, the Intercept, had obtained a five minute promotional video by the Pentagon. This forecast that by 2030 conditions in American cities will have decayed to the point where the army is being sent in as a police force.
He writes

The U.S. military plans to take over America by 2030.

No, this is not another conspiracy theory. Although it easily could be.

Nor is it a Hollywood political thriller in the vein of John Frankenheimer’s 1964 political thriller Seven Days in May about a military coup d’etat.

Although it certainly has all the makings of a good thriller.

No, this is the real deal, coming at us straight from the horse’s mouth.

According to “Megacities: Urban Future, the Emerging Complexity,” a Pentagon training video created by the Army for U.S. Special Operations Command, the U.S. military plans to use armed forces to solve future domestic political and social problems.

What they’re really talking about is martial law, packaged as a well-meaning and overriding concern for the nation’s security.

The chilling five-minute training video, obtained by The Intercept through a FOIA request and made available online, paints an ominous picture of the future—a future the military is preparing for—bedeviled by “criminal networks,” “substandard infrastructure,” “religious and ethnic tensions,” “impoverishment, slums,” “open landfills, over-burdened sewers,” a “growing mass of unemployed,” and an urban landscape in which the prosperous economic elite must be protected from the impoverishment of the have nots.

He then makes connections between the demands by the commentary in the Pentagon’s video to ‘drain the swamp’, with the same slogan used by Donald Trump. He also points out that Americans have become used to the all-powerful surveillance state, which can pinpoint your location and gain information through mobile phones and personal computers.

For further information, see: http://www.counterpunch.org/2017/02/16/coming-soon-to-a-city-near-you-military-policing/

Whitehead states that it’s like the ’60s political thriller, ‘Seven Days in May’. It’s actually far closer to the urban dystopias of Cyberpunk and similar SF, like Blade Runner, Elysium, James Cameron’s Strange Days and John Carpenter’s Escape from New York and its sequel, Escape from LA. This is the America the Pentagon believes will arise within the next fifteen years. Back in the 1990s there was a programme on one of the Beeb’s documentary slots arguing that the cyberpunk future that had been forecast would arise from Thatcherism hadn’t emerged, and that thanks to free market economics, countries all round the world were actually prospering. This is just right-wing biased reporting and wishful thinking. It’s becoming painfully evident that neoliberalism is destroying countries around the world, and immiserating their citizens in even more grinding poverty. But it makes massive profits for big business, so they and their shills in the media will keep that very carefully covered up. The predictions were true. They just go their timing wrong.

There’s another point to be made here as well about the brutal methods America has used around the world to enforce its domination. These have included organising Fascist coups and right-wing military dictators. Critics of this policy that have argued that in addition to the harm done to the countries that have been the victims of these policies, there is the added danger that inevitably the repressive measures empires use to oppress the indigenous peoples of their colonies return to be used on the people of the imperial homeland itself. And this will be the case in America.

Unless neoliberalism is comprehensively scrapped, wealth is redistributed and the widening gap between the poor and the rich is closed.

Here’s the opening titles from Escape from New York, to show the kind of America such SF depicts, and which may arise in the next decades unless we do something to stop it.