Hi, I’m Daniel Thurman

Daniel reviews cyberpunk books, games, and more.

  • JUNG_E Review

    JUNG_E is the latest film written and directed by Train to Busan director Yeon Sang-ho. Here the famed South Korean director tries his hand at dystopian science fiction to arguably good success. Its influences are obvious, to the point that some may feel like it is derivative. And that’s perfectly fine. I’ve seen many movies recently that were derivative of previous works but were pretty good nonetheless. This is somewhat common nowadays especially in science fiction, and in dystopian and cyberpunk science fiction in particular.

    Blade Runner is the obvious big influence here. And one might be inclined to note similarities to franchises like The Terminator and Robocop. But I also see elements of some pretty famous anime and manga, the most obvious being Ghost in the Shell. There are also plenty of elements of Gundam, Alita, and Appleseed, among others. In fact the similarities are so bold that I feel like the inclusion of them is likely intentional and in homage to all those classic dystopian and cyberpunk franchises.

    Whatever the case, I feel like JUNG_E was made out of a massive love for the properties and franchises that came before it. And as an homage it definitely succeeds. It looks the part with it’s beautiful cinematography and dazzling special effects. But how is it as cyberpunkery? That’s why we’re here discussing it after all.

    The film takes place sometime in the 22nd century. Sea levels have risen catastrophically high due to climate change, which has caused Earth to become uninhabitable. Consequently most of humanity settles off-world and lives across a number of space colonies. This leads to several colonies banding together and declaring themselves as independent from the rest of humanity. War erupts between the breakaway colonies and the remaining ones. Of course.

    Humanity has nearly perfected a process to copy a human being’s brain into an artificial brain which is then implanted into an android body. This is apparently big business in this world. There are three payment tiers if people want their brains copied into new bodies.

    The first tier is “Class A.” This is astronomically expensive and clearly most people can’t afford it however those in this tier are completely free and treated like any other person after they are copied. There is also a “Class B” tier which is still prohibitively expensive but cheaper than Class A. The drawback is that people who are copied in this tier do not enjoy as much freedom afterward as those who were able to afford the Class A.

    And then there is the “Class C” tier. This one’s free. Though while it doesn’t cost anything, by choosing this tier, people are agreeing to allow an obviously very sketchy corporate entity to copy them infinitely and use them however they like. They can be sold to corporations or to rich upper class citizens to be used as slave labor. Or they can be used as military soldiers to fight in the seemingly endless war.

    The film follows one such military soldier, Yun Jung-yi (portrayed by Kim Hyun-joo), a famous and highly respected war hero who becomes a paid mercenary in order to pay for life-saving surgery for her daughter Yun Seo-hyun (portrayed by Kang Soo-yeon). However she is overcome and nearly killed in a battle that puts her in a comatose state for years with no chance of recovery. Her family, too impoverished to afford a higher tier, signs off to copy her as a “Class C.”

    Yun Seo-hyun later becomes one of the leading AI researchers working for the laboratory in charge of making the copies of her mother (now named JUNG_E). The goal of this laboratory is to perfect the combat of JUNG_E copies by finding out how and why she was defeated in that last battle and find a way to circumvent it. Presumably to create an army of super soldiers based on her.

    They do this by creating endless copies of her and running them through realistic simulations of the fateful battle that nearly killed her. Each time a copy fails, it is terminated and they try again by changing various factors. Here’s where the film’s plot runs into a major ethical problem.

    In JUNG_E when people’s brains are copied into the new bodies, they have all of the memories, life experiences, and emotions of the person they were copied from. And in fact it seems like many don’t even know they are androids at all. They can even feel an approximation of physical pain when their body is damaged. Essentially there is no difference between the AI copies and real flesh and blood humans aside from what they are made of physically. They are like the replicants of Blade Runner, just robotic instead of organic.

    So to be bought and sold as slave labor or, as in cases like Yun Jung-yi/JUNG_E, subjected to relentless torture, is a huge ethical dilemma. And it happens seemingly unchecked and unregulated by any government agency. And that fact is unfortunately never really called into question in this film, which was a bit of a disappointment.

    Yun Seo-hyun, while not exactly thrilled to participate in her mother’s repeated physical and emotional torture, nevertheless does for some reason that I’m not clear on. However she does reach a turning point when it is revealed that the war is ending due to a peace agreement being reached with the breakaway colonies with whom they have been at war for decades.

    The research project, now having no need for an army of robot soldier Moms, is directed to change focus away from combat models of JUNG_E for military contracts and toward marketing them for commercial, non-military purposes such as sexual slavery.

    It is this, and not the repeated torture and death of her mother, that inspires Yun Seo-hyun to take actions against the company she works for and liberate her (and all her copies). And I get it. It’s a step too far. And it’s her Mom. She doesn’t want to see her used as a sex slave for fanboys who grew up playing with action figures based on her (yes this literally happens in the film) or for whatever other frivolous purpose purchasers have in mind for her.

    It’s just a little frustrating at times that all the big moral questions are right there but JUNG_E never quite brings itself to ask them.

    But in spite of this, I really enjoyed JUNG_E. It was beautifully shot, featured some bangin’ special effects, some interesting world building, and great acting from the cast all around. I would Like to have seen more of the outside world to find out what kind of place it is where people would purchase a self-aware, conscious androids for frivolous slave labor. Most of the film takes place in the AI laboratory with only a couple of scenes taking place outside.

    And most of all I found the relationship between Yun Seo-hyun and Yun Jung-yi/JUNG_E touching. And that’s really what this movie was all about. So it didn’t really need to ask the big questions. Sometimes peoples’ motivations are in the smaller, more personal details rather than the grand. And that’s probably something most of us can relate to.

    JUNG_E is currently streaming on Netflix.

  • Cyberpunk: Edgerunners Gets a Full Trailer

    We’ve known for a while that we were getting a Cyberpunk 2077 anime at some point. We’ve since learned that it’s going to be called Cyberpunk: Edgerunners and it’s going to be created by Studio Trigger. The series is due to be released on Netflix in September. Last month we got the first teaser trailer for the show. Now, Netflix has released the first full length official trailer.

    The trailer as seen above focuses on introducing some of the show’s main characters. Namely David, Maine, Dorio, Kiwi, Pilar, Rebecca, and Lucy. The show is going to be a 10-episode standalone story set in the game’s glorious Night City.

    ABOUT CYBERPUNK: EDGERUNNERS

    The series tells a standalone, 10-episode story about a street kid trying to survive in Night City — a technology and body modification-obsessed city of the future. Having everything to lose, he stays alive by becoming an edgerunner — a mercenary outlaw also known as a cyberpunk.

    -Netflix

    Studio Trigger is best known for the series Kill La Kill and the film Promare. The studio was founded by Hiroyuki Imaishi, a former Gainax employee and director of the hit anime series Gurren Lagann. Many would argue that Studio Trigger’s unique style and attitude is perfect for a Cyberpunk 2077 show. Or any cyberpunk show, for that matter. We do not disagree one bit.

    Cyberpunk: Edgerunners is of course based on the hugely successful Cyberpunk 2077 game by CD Projekt Red. The game released in 2020 and to date has sold over 18 million copies, even as its development and release were fraught with controversy and technical problems.

    That won’t stop us from enjoying Cyberpunk: Edgerunners though. It looks incredible, which is to be expected from a Studio Trigger project. We can’t wait to watch this and talk about it in September when it gets released on Netflix.

    [Source: YouTube via CVG]

  • The Max Headroom TV Series is Getting a Reboot

    Now in news I didn’t expect to see today, it looks like a Max Headroom TV reboot is in the works for AMC. And, as if that wasn’t good enough news, Matt Frewer is set to reprise his role as the iconic AI personality. Marvel writer Christopher Cantwell is attached to write the series as well as act as its showrunner and the series is going to be produced by SpectreVision and All3Media. SpectreVision is the company founded by Elijah Wood and Daniel Noah. And indeed Wood and Noah are both going to be executive producers on this series along with Cantwell, Frewer, and Lisa Whalen.

    For those unaware, Max Headroom was a character that was created to be the host and veejay of a music video TV show called The Max Headroom Show for UK’s Channel 4 back in 1985. A TV movie called Max Headroom: 20 Minutes Into the Future was created and released that same year to essentially provide a fictitious back story for the character. The film also aired on Channel 4 in the UK but was later adapted into a TV drama series, simply called Max Headroom. The series ran for two seasons on American network ABC from 1987 to 1988. Frewer played the character in all three of these incarnations.

    The character went on to become a ubiquitous personality on TV both in America and the UK as he was used in advertising and other TV presentations throughout the later half of the 80s before fading quickly into obscurity.

    The dramatic show is often considered the first cyberpunk TV series, featuring many of the tropes of the genre. The Max Headroom character himself an AI amalgamation of human main character Edison Carter (also played by Frewer). It takes place in a dystopian future in which TV networks are all powerful corporate entities and essentially rule the world.

    AMC is no doubt banking on the wave of 80s nostalgia that has gripped the world over the last few years. But I’m ok with that. I have a strong affection for the original Max Headroom series. It, along with Blade Runner, was one of my first introductions to the genre as a young child. So yes, I’ll definitely take a modern reboot of this great show, even if AMC is simply trying to cash in. They at least got all the right talent involved to make it good.

    I re-watched the show recently and found that it holds up really well. It’s still a lot of fun and its biting, sarcastic commentary on corporate greed and social corruption are as relevant now as it has ever been, possibly more so. Definitely more so. If you replace the TV network oligarchs with Google, Amazon, and Facebook you basically have commentary on today’s big tech and their sometimes detrimental presence in our lives.

    No time frame for release has yet been provided but we’ll definitely be keeping an eye on this and will report back once we know when this is going to happen.

    [Source: Deadline via CBR]

  • Tim Miller Talked about Terminator: Dark Fate’s Commercial Failure at SDCC

    The Terminator franchise has had poor luck for a long time. Ever since the critically acclaimed Terminator 2: Judgement Day, the franchise has failed to recapture the magic of the first two films. Or to resonate with audiences at all really. Tim Miller, director of the franchise’s sixth film, Terminator: Dark Fate, spoke about it during the Directors on Directing panel at San Diego Comic-Con, hosted by Collider.

    The franchise’s failure to resonate has been the topic of much debate recently, with many suggesting that some sort of franchise fatigue may be a factor. Others believe it’s simply because the last few films weren’t that good. Miller noted that he believed if he simply made a good movie in the series, that it would have been a success. That however proved to be incorrect for reasons that are still speculated about amongst fans.

    Dark Fate was indeed a very good film in our opinion, but it was still a commercial failure. A massive one, sadly. And despite it having the recipe for success. Not only did it have Deadpool director Tim Miller at the helm, it had James Cameron returning to the franchise as producer and co-writer (for the first time since T2), and Linda Hamilton returning as Sarah Connor who despite her age was more badass than ever. And on top of everything, it was a direct sequel to T2, therefore retconning T3, Salvation, and Genisys—films that most of the franchise’s fans agree are not that great.

    Needless to say, it still failed and Tim Miller likely won’t be involved in any future Terminator films, despite the fact that his movie was actually pretty great. He did suggest however that it could yet have a future as a film franchise if the right director and actors were involved, but also lamented that the franchise may have been explored enough.

    The Terminator series may not have many, if any, future live action films but it is far from dead. As we previously reported, there is an anime in the works by Ghost in the Shell studio Production I.G.. And we just found out recently that there is a new open world survival horror video game being developed by Nacon. These are both promising entries. And who knows, they could reinvigorate interest in the franchise as a whole.

    I personally believe there is more to explore in the Terminator universe. I think it’s far from exhausted and would love to see more live action films. I’d hate to see them made and then fail again, though, so it would have to be at the right time with the right amount of enthusiasm from audiences for the property. Here’s hoping!

    [Source: ScreenRant]

  • Killtopia Comic to Be Adapted As an Animated TV Series

    Back in 2018, writer Dave Cook and artist Craig Paton debuted Killtopia, a delightfully over-the-top violent comic that takes place in a futuristic Japanese mega-city where pop culture is taken to the extreme. The first three volumes of the comic were successfully funded on Kickstarter and the series has gone on to receive widespread critical acclaim for it’s gritty action, beautiful art, and it’s unique video game and anime-inspired plot.

    Now, US studio Voltaku is going to adapt the comic series into an animated TV show, powered by Epic’s Unreal Engine. The series is planned to consist of eight twenty-minute episodes to bring the chaotic dystopia of Killtopia to life on the screen.

    When Killtopia launches, it’s going to look like nothing that’s been seen on TV before. Our world is garish and vibrant, where hype, fandom and pop culture rule the day, which is the perfect launching pad for big stories. I’ve always wanted to see something so colourful and abstract depicted in a 3D world. With Voltaku’s help, I think we’re going to blow people away.

    -Dave Cook, BHP Comics Press Release

    To get the Killtopia animated series started, Voltaku received an Epic Megagrant from Epic Games to get the project going. The Megagrant program was put into place by Epic Games to help give aspiring game developers, media creators, and startups funding to get their projects off the ground utilizing the company’s Unreal Engine.

    Of course, considering the fact that the series is going to be created in Unreal Engine, we have to wonder if there is the possibility of Killtopia becoming a video game at some point. It seems entirely possible. Given Cook’s background as a games writer and Killtopia’s penchant for wearing its video game influences on its sleeve, it wouldn’t surprise us if this is something that is planned further down the pipeline. It certainly is one step closer in that direction and that’s pretty exciting in our opinion.

    We’ll have more info on this series as it develops. And keep an eye out for our much-overdue reviews of Killtopia volumes 1-3 coming to the site soon.