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The cyberpunk revival and other details from the early 1980s

Ts

(Romanian)

As we stated in the previous episode, ideas are, in one way or another, derived from previous ideas, like climbing a ladder, step by step, in an evolution of knowledge…

Thus, in the chronological evolution of the “serialization” of the films of the last 50 years, 1982 brings us “Blade Runner”…

A film directed by Ridley Scott, which marked a turning point in the history of science fiction, being an adaptation of the novel “Do Androids Dream of Electric Sheep?” written by Philip K. Dick (published 1968)…

A novel whose “central theme” explores the question of whether androids (actually replicants) can think and feel, Rick Deckard, the protagonist of both the novel and the film, is tasked with eliminating androids that have gone “out of control”, all “set” in a dark, polluted and overcrowded future (which “fueled” the on-screen translation into a fascinating vision of a dystopian future).

The concept of artificial creation appears “from ancient times” in writers such as Mary Shelley, with her novel “Frankenstein”, where, although we are not yet talking about robots in the modern sense, such creations can be considered precursors to the concept of android or being artificial.

Or in the case of R.U.R. (Rossum’s Universal Robots) by Karel Čapek (1920), who introduced the term “robot” and explored the theme of machine revolt… The author’s idea was suggested by his brother, Josef Čapek, who was a painter, from the Slavic term “rab” (or “rob”) which meant “slave” “next” to “rabota” which was relatively similar, meaning “unconditional labor”, or “robota”, which in Czech meant “forced labor” or “servitude”, a term used for to describe the compulsory work that the peasants had to perform for the feudal or man/individual in total dependence on the feudal lord, without the latter having the right to kill him.…

Over time, the meaning of the word “robot” expanded, coming to denote any repetitive or servile work, the term “robot” acquiring the meaning of “artificial being that performs repetitive work”…

In this sense, we should not forget the “later cinematic creations” represented by Metropolis (1927 — a silent film presenting a futuristic society divided into classes, where robots play an important role) or Forbidden Planet (1956 — a science fiction film classic fiction that explores the theme of artificial intelligence and robot psychology)!

Then, with the advance of technology and industrialization, the idea of ​​automatic machines and their use began to take shape in science fiction literature, with writers such as Isaac Asimov introducing the concept of robots into his stories (also formulating the famous “Three Laws of Robotics” — I, Robot by Isaac Asimov, 1950).

Then came the 1950s and 1960s, when the Cold War context and nuclear threat fueled the imagination of sci-fi writers, who explored apocalyptic scenarios in which robots and artificial intelligence were used as weapons of mass destruction.

In the 1970s, the concept of the robot diversified, with the appearance of humanoid androids and cyborgs, combinations of man and machine, creations that were often portrayed as ambiguous, capable of both “good” and “evil”.

And the “theme” from “Blade Runner” (including from Philip K. Dick’s novel) signifies a kind of “inaugural” moment of this “manifestation”, foreshadowing the 90s and 2000s when, with the development of artificial intelligence, the concept of the robot has evolved, with robots becoming more autonomous and capable of making complex decisions.

Including the continuation of the “ethics” of “Blade Runner”, where ethical questions arose regarding the responsibility for the actions of robots and the possibility of them developing a consciousness of their own, where replicants are complex beings with emotions and self-awareness, fighting to — claimed his right to life.

Furthermore, replicants are capable of feeling pain, love, and hate (some replicants, like Roy Batty, struggle with their own identity and limited life span, and an inner struggle is born that can lead them to impulsive actions and violence), which makes them more like humans than machines, rebelling not out of a desire to destroy (being “hunters” to survive, being forced to defend themselves), but to defend their existence and escape from a life of slavery, which makes them tragic and fascinating characters, based on the conflict between creator and creation, between exploiter and exploited.

And, to complete this “early adolescent” development, and with the help of these works it can be said that we will reach the Neuromancer novels or films by William Gibson (1984 — One of the founding novels of cyberpunk, which presents a dark world, dominated by corporations and hackers, where robots play a crucial role in the conflicts between different factions), Terminator (1984 — killer robot, but also later protector), Data (from Star Trek, which “appears” for the first time on September 28 1987 in the episode “11001001”, or “The Naked Time” in the American version), Ghost in the Shell (1988 serialized from Masamune Shirow’s comics, a cyberpunk manga that explores themes of identity, consciousness, and the nature of humanity in -a world dominated by cyborgs and artificial intelligence)… Blah, blah (I will develop many details on this over time)…

And, let me not forget to remind you, in a kind of description of these “memorable steps” initiated (or continued) by “Blade Runner”, the soundtrack, made by the Greek composer Vangelis (who had previously stood out in 1981, in “cinematic” music, through the movie “Chariots of Fire” — it’s not the science fiction genre, but it’s an achievement of “excellence”).

Previously, in the “Science Fiction” genre, the soundtrack of the film “2001: A Space Odyssey” (1968), made by Richard Strauss and György Ligeti, was noted as a true masterpiece, with songs such as “Also Sprach Zarathustra” which became synonymous with space exploration.

Thus, a kind of “list of requirements” necessary for a science fiction film is “launched”, represented by the fact that the music must create a specific atmosphere, be it futuristic, dark, mysterious, or epic, and the musical themes must be light to be recognizable and stick in the mind of the viewer, the soundtrack must perfectly match the visuals of the film, emphasizing the emotions and actions of the characters, and why not, the best soundtracks bring new and original elements to the genre, expanding the boundaries of film music…

Not to mention the television series, whose soundtrack ends up being like a “call”, an “appeal”, to view the new episode, by creating a “sensation” of familiarity and unity….

Where, for example, the soundtrack by Robert Cooper (as main composer) for the television series, Stargate SG-1 (1997–2007) and Stargate Atlantis (2004–2009), had this effect on me (personally), without to also considering that it played an essential role in creating the unique and memorable atmosphere, becoming an integral part of the viewing experience of these series, contributing to their consolidation as true cultural phenomena.

Or, for example, which of the “genre elders” does not remember the soundtrack of the film “Star Wars” (1977) by John Williams, who created an epic orchestral score with memorable themes that captivated audiences worldwide and became something of a standard for science fiction movie soundtracks? Or the musical themes of the “Star Trek” franchise?

Then, why not, “Alien” (1979), where Jerry Goldsmith composed a scary and tense score, perfectly suited to the dark atmosphere of the film?

Musical style and compositional techniques indeed change over time, reflecting the evolution of technology and audience tastes, or there is the choice of composer and musical style that is certainly influenced by the director’s vision, but equally true is the “evolving presence of the column sounds”.

Perhaps that is why, in the years to come “evolutionarily”, it is strange (perhaps the audience does not have a “musical ear”) not to remember in these times, the soundtrack of the films:

• Contact (1997), where Alan Silvestri created a soundtrack combining orchestral and electronic elements, reflecting the theme of communication with aliens.
• Gravity (2013), where Steven Price composed a minimalistic and tense music that amplifies the feeling of isolation and loneliness of the protagonist.
• Interstellar (2014), where Hans Zimmer (a veteran composer of “excellent” film scores) composed a sweeping and emotional score that underscores the film’s cosmic dimensions.
• Ex Machina (2014), where Jeff Russo composed minimalist and tense electronic music that emphasizes the disturbing nature of artificial intelligence and the relationship between man and machine.
• Blade Runner 2049 (2017) where Hans Zimmer created a worthy sequel to the original soundtrack, keeping the melancholic and futuristic atmosphere but adding modern elements.
• or Dune (2021): where (the same) Hans Zimmer and his assistant, Benjamin Wallfisch, created an epic and atmospheric score that captures the grandeur and mystery of the Dune universe.

Even in the case of genre television series (science fiction and “assimilable”), they stand out by:

• Stranger Things (2016–present) where Kyle Dixon and Michael Stein created a synthetic and nostalgic soundtrack that evokes the atmosphere of the 80s and the horror films of that period.
• Westworld (2016–2022) where Ramin Djawadi (who also composed the “iconic” soundtrack of “Games of Thrones”; 2011–2019) composed a dark and tense orchestral score that reflects the complexity of the themes addressed in the series.

That’s it, I hope I haven’t bored you with my musical “slippage”! But the “ambiance”, the general “perception” of a “Science Fiction” achievement, will more and more significantly encompass the “full multimedia”, “imprintable” emotional ensemble “, “separating” and even “driving” readers to the screen (where, in time, a huge mass of “science fiction” “receivers” will be “assimilated” by video games). Let’s return to “Science Fiction”!

And, yes, “Blade Runner” has a sequel in 2017, under the title Blade Runner 2049. So…

It’s the “turn” of the movie “Tron”… A pioneer in the field of science fiction films, being one of the first to visually and conceptually explore the digital world, exploring complex themes such as identity, reality, and the consequences of technology.

Directed by Steven Lisberger, the film was a real adventure for the audience of those years, offering a unique insight into a universe created from codes and circuits, the story of Kevin Flynn, a genius programmer (who will become a program himself), who is sucked inside a supercomputer he created, waking up in a digital world, a maze of intelligent programs fighting for survival, joining a rebellion against the tyrannical MCP program that wants to take control of the real world.

At the time of its release, Tron’s visual effects were stunning, the film used a combination of traditional animation and computer graphics to create a vibrant and immersive digital universe, the film left a lasting mark on pop culture, inspiring generations of designers, artists, and filmmakers, being considered a classic of science fiction, having a significant impact on the development of visual effects in film.

And the “impact” has extended to other “areas”, such as the influence on fashion, the costumes in Tron becoming iconic, the cybernetic style of the film influencing fashion and design, or in the field of video games, based on the film, several games have been created, allowing fans to explore the digital world of Tron.

In a finale of sorts, in 2010, a sequel to the film was released, titled Tron: Legacy, which brought Kevin Flynn’s story into a new era.

For this 1982, there would also be something to say about “The Thing” and “Xtro” that I mentioned in a previous episode…

Now it’s the turn of the world of television series, which still seems to be waiting…

This year there are “serializations” such as:

• Voyagers! (developed 1982–1983, single season, 20 one-hour episodes, series that attempted to blend historical elements with space exploration in a time-travel format, but was “fined” by “audience “ due to the budget and technology available at the time, the special effects were quite simple, even if the creative ideas of the script compensated for this limitation),
• Q.E.D. (a SciFi of 6 one-hour episodes, which is quite similar in idea, but not related to the Q.E.D. universe that will be developed much later by Motohiro Katou, via manga, in Japan, among which I could mention Q.E.D.: Shômei shûryô),
• including the animation “Il était une fois… l’espace” (which would develop between 1982 and 1983, with 26 episodes of 26 minutes each, tackling complex themes such as space exploration, the origin of life, the Big Bang theory in an accessible and engaging for children).

As for the word “written”, 1982 is notable for the release of novels (science fiction, obviously):

• Neuromancer by William Gibson (apparently the author started writing the novel this year, the release would not be until 1984) is considered one of the founding novels of cyberpunk (a subgenre of science fiction that explores the intersection of technology, society, and the individual), introduces us to a dark future dominated by giant corporations and virtual reality, the protagonist, a hacker named Case, is engaged in a dangerous mission that will take him deep into cyberspace.
• The Running Man by Stephen King, published under the pseudonym Richard Bachman, is a dystopian thriller in which a man is pursued in a manhunt organized by a sadistic reality show, exploring themes such as surveillance, mass manipulation, and the consequences of technology (a novel that will inspire future movie).
• Cerberus: A Wolf in the Fold by Alan Dean Foster, a continuation of the “Humanx” series introduces us to a human society that has colonized an alien planet and faces a new threat: a mysterious and powerful creature, that will be continued in the same year by Charon: A Dragon at the Gate, also from the “Humanx” series, continuing the adventures of human colonists struggling to survive in a hostile environment.

And I have already written quite a few words about this year in science fiction…

Merticaru Dorin Nicolae

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