TV-Seriensichtung beendet „Helix“ (Staffel 01)

Helix is an American science fiction thriller drama television series that aired on Syfy from January 10, 2014 to April 10, 2015. The series followed a team of scientists from the Centers for Disease Control and Prevention who traveled to a research facility in the Arctic to investigate a potential outbreak of disease. While there, they find themselves stuck in a life-or-death situation that could decide the future of humankind.“ (Quelle)

Soapige CSI-Variante mit Horroranleihen. Fies, ist aber so.

CfP beantwortet: „Violent Urbanscapes: Urban Poverty and Violence in Videogames as Functional Stereotypes“

Zu dritt für die gute Sache – folgenden Call for Papers galt es zu beantworten:

http://widerscreen.fi/about-widerscreen/

//Eugen Pfister, Institute of Culture Studies and Theatre History, Austrian Academy of Science
//Rudolf Inderst, Chief Editor Resort Games at Nahaufnahmen.ch
//Arno Görgen, Department of the History, Philosophy and Ethics of Medicine, Heinrich-Heine-University, Dusseldorf

Cities in digital games are more often than not represented as urban structures in aesthetic, sociopolitical and moral decay. Apparently, they were designed with the singular aim to confront the players with violence and poverty, not only as an aesthetic or narrative device but also to implement a game mechanic for conflict. In terms of game mechanics, the city – as an arena for the player – offers the developers many advantages like its natural spatial limitation as well as opportunities to construct mazes or routes for the player’s transition. In terms of the game world, the mis-en-scène of cities can tap a seemingly infinite back catalog of aesthetic and narrative traditions of popular knowledge to bring the journey of the player to life and to create an evocative space, which naturalizes the artificial environment.

Negative imageries of the city are used to create an immersive environment in which the stigma of an impoverished, ‘violent urbanscape’ is semantically refigured and functionalized in terms of creating the illusion of authenticity for the player. In our paper, we want to investigate, how these representations of the city differ between different game genres. After a theoretical introduction to ‘urbanscapes’ in games, their functions and forms, we will present two specific examples of genre-
specific imaginations of violence, poverty, and decay in fictionalized urban environments:

While beat’em ups instrumentalize comparable subcultural aesthetics and imaginative perceptions of older action movies of the 1970s and 1980s, role playing games and action-adventures often implement imaginations which rather build on dominant historicized class stereotypes of urban poverty and violence. In both cases, the aesthetical design of the games aims at the same functional idea: to evoke a need of the player to spatially overcome the critical situation by changing the causes of the negative urban surroundings.

Comiclektüre beendet „Stephen Kings Der Dunkle Turm: Bd. 15: Drei – Bittere Medizin“

„Roland, der letzte Revolvermann in Mittwelt, ist unbeirrbar auf der Suche nach dem Dunklen Turm, um ihn vor dem Einsturz zu retten, damit nicht das gesamte Weltengefüge zugrunde geht. Viele Weggefährten sind dabei schon durch sein Verschulden auf der Strecke geblieben. Und sein Erzfeind, der Mann in Schwarz, hat ihm einst orakelt, dass Roland weitere Gefährten in seine Welt ziehen wird – und mit ins Verderben. Den Junkie Eddie Dean hat er schon aus dem New York des Jahres 1987 rekrutiert. Nun rekrutieren Eddie und Roland eine weitere Begleiterin: die Herrin der Schatten, eine Frau, die im Rollstuhl sitzt, seit sie von einem Zug überrollt wurde. Als kleines Mädchen wurde die spätere Herrin der Schatten zudem von einem Backstein am Kopf getroffen und leidet seitdem unter einer gespaltenen Persönlichkeit: Odetta Holmes und Detta Walker. Odetta ist eine höfliche, gebildete Bürgerrechtlerin. Detta ist eine wütende, gewalttätige Furie. Während die eine die beiden Gefährten bei ihrer Suche unterstützen will, ist die andere ein gefährliches Pulverfass.“ (Quelle)

ANGRYANGERMÄN187 schreibt auf Amazon: „Bei manchen diese Aquarellbildern hatte ich wirklich Schwierigkeiten, überhaupt zu erkennen, was darauf abgebildet war.“ Ja, Du Vollhorst. Nur, weil hier nicht alles für Dich ausbuchstabiert ist, muss es keinen Deut schlechter sein. Alter. Der Band ist gut. Sage ich. Genauso profund. Hihi.

Erspart diesen fünf Animes eine Realverfilmung

Nachdem ich – anders als andere zornige Geister – die Realverfilmung von Ghost in the Shell durchaus mochte, ging ich etwas in mich, um zu darüber nachzudenken, welchen Anime-Stoff ich explizit NICHT als Realverfilmung erleben möchte. Weil Listen natürlich immer gehen, habe ich mich für folgende fünf Titel entschieden:

  • Jin-Roh
  • Perfect Blue
  • Paprika
  • Summer Wars
  • Vampire Hunter D: Bloodlust

JIN-ROH

The film follows Kazuki Fuse, a member of a special police unit during the alternate history 1950s Japanese riots. Failing to follow an order to execute a frightened young girl only to see her commit suicide by detonating an improvised explosive device before his very eyes, Kazuki is put on trial and sent back to the training camp for re-evaluation. Visiting the grave of the suicide, he meets Kei, the girl’s sister, who doesn’t hold Kazuki responsible for her demise. The film proceeds as the two develop a peculiar relationship.

Befürchtung: Lächerliche Kostümchen machen die Wolfsbrigade zur Lachnummer.

PERFECT BLUE

Perfect Blue (パーフェクトブルー Pāfekuto Burū) is a 1997 Japanese psychological thriller animated film directed by Satoshi Kon and written by Sadayuki Murai. It is based on the novel Perfect Blue: Complete Metamorphosis (パーフェクト・ブルー 完全変態 Pāfekuto Burū: Kanzen Hentai?) written by Yoshikazu Takeuchi. The film follows Mima Kirigoe, the member of a Japanese pop idol group who decides to retire from music to pursue an acting career. As she becomes a victim of stalking and goes deeper and deeper into her first role, she starts to lose her perception of what is real and what is fiction.

Befürchtung: Film endet als durchschnittlicher Videotheken-Thriller der Klasse B.

PAPRIKA

Paprika (Japanese: パプリカ Hepburn: Papurika) is a 2006 Japanese science-fiction anime film co-written and directed by Satoshi Kon, based on Yasutaka Tsutsui’s 1993 novel of the same name, about a research psychologist who uses a device that permits therapists to help patients by entering their dreams. It is Kon’s fourth and final feature film before his death in 2010.

Befürchtung: Schlimme CGI-Effekte lassen das Blut zornig kochen.

SUMMER WARS

Summer Wars (Japanese: サマーウォーズ Hepburn: Samā Wōzu) is a 2009 Japanese animated science fiction film directed by Mamoru Hosoda, animated by Madhouse and distributed by Warner Bros. Pictures. The film’s voice cast includes Ryunosuke Kamiki, Nanami Sakuraba, Mitsuki Tanimura, Sumiko Fuji and Ayumu Saitō. The film tells the story of Kenji Koiso, a timid eleventh-grade math genius who is taken to Ueda by twelfth-grade student Natsuki Shinohara to celebrate her great-grandmother’s 90th birthday. However, he is falsely implicated in the hacking of a virtual world by a sadistic artificial intelligence named Love Machine. Kenji must repair the damage done to it and find a way to stop the rogue computer program from causing any further damage.

Befürchtung: Siehe Paprika oben. Plus: Soundtrack wird nicht übernommen, sondern durch Generik-101 ersetzt.

VAMPIRE HUNTER D: BLOODLUST

Vampire Hunter D: Bloodlust (吸血鬼(バンパイア)ハンターD ブラッドラスト Banpaia Hantā Dī: Buraddorasuto) is a 2000 anime film written and directed by Yoshiaki Kawajiri. The film is based on the third novel of Hideyuki Kikuchi’s Vampire Hunter D series, Demon Deathchase.

Befürchtung: Erschaffung eines heterosexuellen Über-Musicals. Schlimm.

Lektüre beendet „Homo Deus“ (Yuval Noah Harari)

„In Homo Deus, Yuval Noah Harari examines humanity’s future, offering a vision of tomorrow that at first seems incomprehensible but soon looks undeniable: humanity will soon lose not only its dominance, but its very meaning. Over the past century, humankind has managed to turn the uncontrollable forces of nature—namely, famine, plague, and war—into manageable challenges. Homo Deus explores the projects, dreams, and nightmares that will shape the twenty-first century, from overcoming death to creating artificial life. But the pursuit of these very goals may ultimately render most human beings superfluous. We cannot stop the march of history, but we can influence its direction.“ (Quelle)

Einmal so locker schreiben können wie dieser Herr. Wunderbare Lektüre. So locker. So schneidend.