#Distopic Future

[losterror]

[asamuraicalledjack]

'Long ago in a Distant Land...' - by MacUaine

[thebuhonerodazorrow]

Cyberpunk 2077: Trauma Team 4 de 4

Dark Horse

CD Projekt Red

[cobblepot1966]

𝖢𝖱𝖨𝖬𝖤𝖲 𝖨𝖭 𝖭𝖤𝖮𝖭

𝖳𝖧𝖤 𝖢𝖨𝖳𝖸 𝖮𝖥 𝖳𝖧𝖤 𝖣𝖤𝖠𝖣 𝖣𝖱𝖨𝖭𝖪

"In the shadows of Sin City, a cancer has taken over a population struggling to survive in an apocalyptic dystopia. By setting foot on these lands, you completely renounce your human identity, giving up your rights to immerse yourself in a environment where crime dictates its own rules. Here, you live to survive, and every breath is a fight to stay afloat."

In a city dominated by human corruption, three characters—a corrupt investigator, a blonde bounty hunter, and a weapons dealer—find themselves trapped in a shared past that brings them together again. Despite their dark background, a loving bond between them makes them question their true intentions.

The city is corrupt, and survival is the only goal. Together, this trio will try to escape the greed and ambition that threatens to consume them, while facing the dangers of an environment where death lurks around every corner.

(My content)

[beautifuldimorphism]

by Artem Shashkin

[vitoruemura]

Future water sources

[importantsecret]

[babsggordon]

I find funny when in movies portray immortal beings like "Yeah, he looks like 30 and he's been like that for the past 70 years" and then they start aging naturally since that point of the chronology.

I mean, if you're gonna show him old at least be realistic and put him in a distopic future scenario.

[ariel-seagull-wings]

Hey Ariel. I just realized something. I don't think I've ever seen you share YOUR idea for your own X-Men series. The closest I've seen is your idea for an animated series on The New Mutants. Not sure if you have one, but if you do. What is it like? What will make it stand out from others?

I would like to give the X-Men a chance to explore their potential for the slice of life and comedy angles, with a touch of urban fantasy, light sci fi, romance and horror, and would call this encarnation The Magnificent X-Men, homaging the movies The Seven Samurai and The Magnificent Seven, in an animesque style reminiscent of Lupin III: The Castle of Cagliostro, Nimona, Elemental, Entergalactic, the Spider-Verse movies and My Adventures with Superman, and a tone and narrative progression and tone similar to the DC Webtoon's Batman: Wayne Family Adventures and Vixen: NYC.

The timescale and timeline would avoid convolutedness by having characters who, in the comics, were originally clones or alternate timeline children to be children born in the main series timeline born and raised by previous characters that while mentioned as important, are not the main characters of the narrative, exploring the idea that as a group, the X-Men have a history that goes back to the 60s, where there were founding figures, partisan dissidences, characters went to college, graduated, retired from the battlefield to get married and raise children, or died while fighting for mutant rights.

The school setting would be upgraded from high school to University where people come not only to learn control of their powers, but also study and get grades to learn a trade to live.

Students come from a variety of backgrounds: there are not only mutants, but humans, aliens and robots.

The team line-up would combine Claremont and Davis Excalibur with Jason Aaron' Amazing X-Men: Nightcrawler would be the field team leader, and his teamates would be Cerise, Piotr Rasputin (Colossus), Illyana Rasputin (Magik), Rachel Grey Summers (Phoenix), Kitty Pryde (Shadowcat), Hank McCoy (Beast) Ororo Munroe (Storm), Logan Howlett (Wolverine), Jean Paul Beaubier (Northstar), Angelica Jones (Firestar), Bobby Drake (Iceman), Brian Braddock (Captain Britain) and Meggan Pucceanu.

Jean Grey (the first Phoenix) and Scott Summers (Cyclops) are retired from superhero life and live in Canada, making grassroots activism work for the world wide progress of mutant rights, but come visit their former teamates and their daughter Rachel from time to time.

As the main settings, the X-Men and many mutants have relocated to South Africa and Australia, countries they constantly alternate between by crossing the Indian Ocean trough flight or sea, working both as University Teachers and Superheroes.

Embracing solarpunk, the protagonists would live simple functional lives in sync with the beauty of nature, in cozy enviroments with plants all over the place, presenting a commentary on how to grow a brighter future for everyone instead of submitting to gloom.

The architecture of their homes would be colorful, retro futuristic, standing side by side with ancient ruins, surrounded by nature without antagonizing it, but incorporating it as part of the city life, and airplanes and boats would be the main source of transport, rather than asfalted roads with fossil fueled cars and buses (think of Talespin's Cape Suzette).

The main historical mark of the universe is the Jaspers Warp, a conflict that was an important storyline from the Captain Britain comics, called A Crooked World, when the reality warping villain Mad Jim Jaspers crossed dimensions and converted England into a distopic society where anyone who was perceived as having superpowers was imprisoned in camps and civilians who tried to protect then were imprisoned and killed. In the comics, this was concentrated to England, but in the show, keeping relevant to recent events, it would involve both the whole UK and the United States that has a whole history of persecuting mutants and humans that dared to ally with mutants.

The older sibling of Brian Braddock, Jaime Braddock, was revealed to be a villain and mutant with similar reality warping powers, whose main flaw was egotism and selfshiness, so it would be fitting to combine Jaime Braddock and Mad Jim Jaspers into the leaders of the main antagonistic forces who the heroes had to defeat to work in building a better world.

And this would be the main setting and theme: reconstruction after surviving what was basically the end of an unfair world as we knew, and move on into something better, rather than go back to what was before.

Along with comedic supervillains that provide lighter conflict during the slice of life episodes, the main antagonists to bring stakes would be groups of people who are part of US political groups, the Purifiers and the Friends of Humanity, searching for a way to gain access to the remnants of world ending super weapons, like the infamous Fury created by Mad Jim Jaspers, and use them to rule the world.

They are the ones who never let go of the so called "glory days" when they had privileges and minorities "hadn't so many rights", and are so hung up on having a War to win that they’ll wreck the world all over again, which the X-Men have to fight so as not to stop progress and allow the people of Earth to move forward.

VISUAL CONCEPT ART INFLUENCES

Alan Davis, Todd Nauck and Ryan Stegman

[thebuhonerodazorrow]

Cyberpunk 2077

¿En donde esta Johnny? (Were´s Johnny?) #1 de 3

CD Proyeckt

[beautifuldimorphism]

by Илья Кузюк:

[postersdecinema]

Uma Gota de Mel

UK, 1961

Tony Richardson

8/10

O Triunfo da Vida

Dificilmente um título poderia ser mais irónico do que este "A Taste of Honey". Esta colheita de mel é bem amarga e além disso hereditária. A amargura passa de geração em geração, atenuada por breves momentos de ilusória doçura.

Tivesse este filme sido feito vinte anos antes e teríamos uma lição de moral, um castigo divino perdoado pela benção da vida e da maternidade, provavelmente até do casamento.

Mas Tony Richardson traça um retrato bem negro desta Inglaterra do pós-guerra, nos subúrbios destroçados, pelo fim anunciado da revolução industrial. Um mundo negro, feio, abandonado, quase distópico, mas cheio de crianças. E de mães solteiras.

"A Taste of Honey" está para o cinema britânico, um pouco como Ladrões de Bicicletas ou Umberto D estão para o italiano. É um poderoso retrato da miséria do pós guerra e uma lembrança permanente, às gerações vindouras, de um passado miserável, preconceituoso, inconcebível, mas onde, ainda assim, era possível viver momentos de felicidade.

Se De Sica consegue dar um toque poético à pobreza urbana, já Richardson dá-nos um vigoroso murro no estômago. Mas a vida está ali, nos tugúrios tristes, dos bairros pobres das grandes cidades.

E a vida triunfa sempre, mesmo sobre as maiores adversidades.

The Triumph of Life

A title could hardly be more ironic than "A Taste of Honey". This honey crop is very bitter and also hereditary. Bitterness passes from generation to generation, mitigated by brief moments of illusory sweetness.

Had this film been made twenty years earlier, we would have seen a moral lesson, a divine punishment forgiven by the blessing of life and motherhood, probably even marriage.

But Tony Richardson paints a very bleak portrait of this post-war England, in the suburbs destroyed by the announced end of the industrial revolution. A dark, ugly, abandoned world, almost distopic, but full of children. And single mothers.

"A Taste of Honey" is to British cinema a bit like Bicycle Thieves or Umberto D. are to Italian cinema. A powerful portrait of post-war misery and a permanent reminder, to future generations, of a miserable, prejudiced, inconceivable past, but where, even so, it was possible to live moments of happiness.

If De Sica manages to give a poetic touch to urban poverty, Richardson gives us, instead, a vigorous punch in the stomach. But life is there, in the sad slums of the poor neighborhoods of big cities.

And life always triumphs, even over the greatest adversities.

[tel-farkas]

It's like a desease spreading through the internet and destroying the credibility of real artists. I fear there will be a time when people don't even try to be creative in any way cause there is a machine that can do draw, write and create music.

Like straight out of a distopic future movie we're happy about it's just a movie until we realise it had become reality...

AI images being literally everywhere is making me question everything i see instead of just enjoying the pretty art and i hate it so much 😭 seriously i just wanna look at something and appreciate it and not wonder if a machine made it, like is that's too much to ask

[theageofthemovies]

RUUSUJEN AIKA (aka "Time of Roses") - (Risto Jarva, 1969)

"In the future (actually the year 2012, in which the story takes place) humanity lives peacefully, everything is calm and quietly controlled and violence seems having been "definitively" banned but when an independent filmmaker tries to unveil the past of a young woman who died by an accident he will realize that things have not really changed.... ".

Young director Jarva succeeds in his courageous intent to make a distopic S/F apologue (with social and political intents) by realizing a stunning modern drama through a personal style that recalls the artistic and cinematic motives of the opt-Art, the French nouvelle vague (" La jetée") and Bourguignon's "Cybèle" and confirms the Finnish cinema as one of the most interesting, creative and problematic (in the good sense) of the whole Europe.

r.m.

R.M.