Uniting the disparate aesthetic styles of the episodes is their depiction of tropes common to the underground comics of the 1970s, which in turn influenced the production of Heavy Metal. Led by Miller’s Blue studio, which is known for its hyper-realistic, video-game style aesthetics, and produced using a variety of animation tools, the show is characterized by vivid, realistic details and cutting-edge animation. Like Heavy Metal, it utilizes advanced and diverse animation techniques, pushing the genre into new territory. Yet, while the series offers some interesting explorations within each of these fields of interest, it is problematic in its traditional framing of issues related to sex and, more specifically, its catering to the male gaze.Ī re-imagining of Tim Miller and David Fincher’s initial plan to remake the animated science fiction anthology film Heavy Metal (1981), Love, Death & Robots continues its predecessor’s efforts of legitimizing adult-oriented animation and genre fiction. They raise, for example, questions concerning the future of humankind, the destructive consequences of colonial expansion and capitalism, the threat of a nuclear holocaust, the privatization of space travel, and the dilemmas of robotic consciousness. These episodes, which do not exceed 20 minutes in length, reflect disparate genres such as cyberpunk, alternate history, and dystopia while covering themes from AI and transhumanism to colonization. Bringing together the talents of different casts and creative teams, the series consists of standalone episodes exploring diverse themes of the science fiction genre. (To Yan before her death) "Yan! Do not speak to that human, you know how dangerous they are.Currently in production of its second season, LOVE DEATH + ROBOTS is an anthology series produced by Netflix. She seems to be able to turn in another half form state (reached just before Renshu killed her), where her traits are more similar to those of a normal human being, but with the presence of fox ears and a long tail. She is completely naked, as her clothes disappear as she transforms (likely they are the result of a mere illusion she uses). In her half form state, she is a hybrid of a human and a fox, and as a result her aspect is more animalistic and wild. Her hair and eyes are dark, while she wears a traditional chinese dress. In her human form she resembles the aspect of an elegant middle-aged woman. Tsiao Jung is a beautiful huli jing who has the ability to turn into a fox. Renshu, after asking if there were any other huli jings, collects Tsiao Jung's severed head as a bounty. While warning Yan to stay away from Liang, she is brutally beheaded in front of her daughter, who manages to escape. Severely injured, she escapes to the place where she lives with her daughter Yan, but she is eventually reached by Liang and his father. Blocked in a half form, she escapes by jumping roof-to-roof through Hong Kong. After a brief fight she tries to turn into a fox and runs away, but her transformation is blocked as Liang's father throws a jar of urine at her. As she gets closer, Renshu attacks her with his sword. She appears while she is reaching a man who invokes her. Tsiao Jung is the huli jing that Liang's father, Renshu, is hunting.
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