We were watching The Matrix last week in my senior composition class, and we had already covered the philosophical implications of the film: we connected early scenes to Plato and Camus (The Allegory of the Cave and "The Myth of Sisyphus") and so all we had left to discuss was the ending, when conflict and drama inside and outside the matrix build in masterful intertwined lock-step . . . Neo appears to be dead in the simulation, the sentinels have breached the hovercraft, Morpheus is about to detonate the EMP, and Trinity finally uses her oracular knowledge and some tongue to resolve things; this is when I used my brilliant analogy-- and analogy almost as brilliant as Plato's cave . . . I explained that the final structure is analogous to when they are in class-- the matrix-- pushing the rock and trying to live and succeed in the false reality of academia, and their cell-phone is buzzing, bring them information and messages from the real world, the world outside the matrix-like environment of school, the world which they desperately want to learn about and enter . . . but they're not supposed to be using their cell-phones in the school, they're supposed to ignore the outside world, stay inside the cave and focus on the shadows on the walls, but they want to graduate and see the light and fly around in the sky with cool sunglasses to awesome heavy techno music (and they're going to be sorely disappointed).
I'd be fired for this, I suppose, but the other day, when I was showing my senior class the climax of The Matrix, there was a lock-drill . . . and so there was trouble inside the computer generated world designed to enslave humans (the matrix) because Neo was locked in battle with Agent Smith and there was trouble in "reality," because the robotic squid creatures were attacking Morpheus's hovercraft, and then the lock-down drill added another layer of trouble in our own reality outside of the movie and it made me think it would be really wonderful if I could stage some kind of attack of my classroom during this climactic moment, so there would be actual believable trouble on three levels of reality . . . the reality of the matrix, the reality of the world outside of the matrix but inside the film, and then the reality of the place where the film is being shown (some technical troubles with the projector might help the metaphor as well) but considering the climate in schools these days, I don't think it would be wise for me to stage an attack of my own classroom to accentuate a meta-philosophical point.
I watched Dark City on Blu-Ray the other night . . . possibly for the second time . . . it's a science-fiction film directed by Alex Proyas that is strangely similar to The Matrix (though it was released a year before in 1998) but more interesting than this comparison is the fact that I felt as if I was living parallel with the movie while watching it-- the movie begins with a naked man in a room (Rufus Sewell) with a murdered call-girl, and he has no memory of what happened to the girl or of the last three weeks of his life and he has only very dim memories of his past, and he slowly realizes-- as he makes his way through his very dark city, that aliens are manipulating not only his memories but the actual world he is living in; the movie is excellent and really looks spectacular on Blu-Ray, but I could only vaguely remember watching it in the past, and not when or where, and then Catherine came home and she couldn't remember watching it with me, and I rarely watch movies alone and it's not on my Netflix history nor have I rated it and there were only certain things that I remembered . . . like Shell Beach . . . and so I am wondering if I never really saw the movie at all, and if Kiefer Sutherland inserted it into my brain with one of his steam-punk memory injections, but now that I've got it recorded here on this blog, I'll be able to refer back to this post and foil the aliens that have been manipulating my brain (and there are the usual internet theories about how The Matrix stole from Dark City, but I find this highly unlikely, since the script for The Matrix was finished when they were shooting Dark City, and as one nut pointed out, all these ideas originated with the movie Tron . . . but at that point you might as well say that all of these type films-- ranging from The Game and The Usual Suspects and The Sixth Sense all the way to Bladerunner-- are an allegory for Plato's cave and forget who stole what from whom and just enjoy the special effects).
This sentence would be much better if I came to the end of three trilogies-- which is entirely in the realm of possibility, because the boys and I just watched The Matrix and I've never seen The Matrix Reloaded and The Matrix Revolutions, but I don't want to ruin the original movie and I've heard the sequels are nothing special, and so I may never complete that one; I did race to the end of two detective sagas, though, and both are well worth it: the final book in Adrian Mckinty's Troubles Trilogy (In the Morning I'll Be Gone) is the best one of the series -- IRA plots, a locked room murder, multiple intelligence agencies, and plenty of atmosphere . . . and the season three finale of the British TV series Sherlock (His Last Vow) is also worth the ride, enough twists and turns in the plot to make you queasy and -- like the Mckinty novel -- some wild violence, which seems even more so because of the intelligent build-up . . . summer is coming to a close so enjoy this stuff while you still can.
Yesterday, when the teacher I share a wall with asked me to come in and say a few words about the singularity, this made me increibly happy . . . because no one EVER asks me to say a few words on the singularity and if there's one thing in the world that I like to say a few words about, it's the singularity . . . the singularity and Moore's Law and the possibility of intelligent machines in our near future and Ray Kurzweil and the possibility of downloading one's self into a virtual universe and the odd paradox that we are most likely living in a virtual universe because if the computer exists then in some real universe the singularity has already been achieved and everyone has a tiny populated Matrix-like simulated universe on their desk-top-- and what are the chances that you were in that original universe where the original computer was invented?-- there's a much better chance that you are a virtual person inhabiting a Matrix-like virtual universe in one of the billions of model universe nested within the one and original universe, but does my wife ever ask me to say a few words about this?-- never, nor do my co-workers or my friends or my children . . . so this was a very exciting day for me.
David Cronenberg's eXistenZcame out at the same time as The Matrix, but it wasn't as popular-- possibly because it's easier to spell "matrix" then it is to spell "eXistenZ"-- but Cronenberg's film is weird and fun and the acting is certainly more entertaining than what Keanu Reeves had to offer as Neo . . . Jude Law and Jennifer Jason Leigh wade through multiple levels of a video game which may or may not be reality, and they run into Ian Holm, Willem Dafoe and lots of really gross props along the way.
Twelve years ago, my future wife and I went to the movies to seeThe Matrix, and during the film my future wife expressed her confusion with the plot, and so I whispered a long-winded explanation to her: beginning with Plato's cave, mentioning Tron and Lawnmower Man, citing William Gibson, and finally explaining how this ancient theme of living in a world of created shadows was being used by the Wachowski brothers . . . and I don't think this explanation helped her enjoy the film and, looking back, I'm sure she thought I was an annoying wind-bag, but she still married me, and--get this-- I have IMPROVED myself; last weekend we started watching Inception and because I had the flu, my wife had been minding the boys all day, so she was exhausted, and after about an hour of watching, she started falling asleep and she called the movie "stupid" and "full of itself," and I had been paying very close attention and I could have explained exactly what was happening, but instead of attempting a long-winded explanation, I AGREED with her, because she was right-- the film is full of itself, and she just wanted some validation of her emotions-- and the next day, while our kids were at the movies with my parents-- she let me explain the plot to her and we sat down and watched the rest of the movie together and had a great discussion about it afterward . . . and so, slowly but surely, I am learning how to communicate with women.
There is nothing new I can say about the plot of Inception that isn't said here or here, but I do have a few tangentially related points that I'm pretty sure originate from my own consciousness . . . although I can't be completely sure . . .
1) In both of his 2010 films, Leonardo DiCaprio plays a role where he is married to an insane woman who detaches herself emotionally from her children . . . I think his agent should recommend a romantic comedy with Jennifer Aniston, not only to lighten things up a bit but also to prevent him from being type-cast as a guy who's always married to a deranged child neglecting filicidal woman;
2) Like Memento, Nolan's other mind-bending film, Inception is a far better idea than movie-- it's more fun to reflect on it than it is to actually watch it . . . and for pacing and action in this genre, I prefer The Matrix, and for shared dreams, I prefer Dark City;
3) None of the aforementioned movies is as good as Eternal Sunshine of the Spotless Mind, and the reason is this: if you are going to be trapped in someone's mind, it's far more entertaining to dash about with Kate Winslet and Jim Carrey than to knock around with Leonardo DiCaprio and his somber crew.
This morning, my wife insisted I taste her mashed turnips. She always makes a batch on Thanksgiving, in honor of her mom. So-- for fear of offending the dead-- I couldn't refuse to take a bite.
I told her that I found the turnips bland and mushy, two food characteristics that don't sit well with me. My wife was shocked. She thought they were tasty and delicious. But she also likes mashed potatoes, and I think that removing the skin and then smooshing a potato to mush (with some milk! yuck!) is sinful.
Mashed turnips taste and look the kind of food you'd eat if you were voyaging to Mars, to start a new colony. The kind of food they might give you a dollop of in the big house. The kind of food you'd eat if you'd broken free from The Matrix and were riding around on with the crew of the Nebuchadnezzar.
So apparently Catherine would fare better than me in space. And in jail. And as an American colonist in the 1600's. I'm thankful for many things, but Thanksgiving food isn't one of them.
I know it's controversial, but I told my students anyway because I'm that kind of guy-- if I have an opinion, I speak it and let the chips fall where they may: my definition of science fiction is when the setting-- whether it's based on technology, set in the future, or simply a logical alternative to our own history-- is the main character of the novel or movie-- so that excludes and Star Warsand Godzilla, but does include Soylent Green and The Matrix.
I can't refer to The Matrixany more in class -- my students haven't seen it-- and when my older son, who was involved in some inane either/or scenario debate with his younger brother, asked (with all sincerity) "Do you mean a pool or a pond?" I (of course) immediately said, "A pond would be good for you" but neither of them knew what I was talking about (so then I showed them the clip, but out of context it doesn't make much sense, so then I had to explain the clip to them, and then I found this ridiculous video . . . maybe I should just give up and only make allusions to stuff they've seen).
We've been watching The Matrix in senior English class, and half-way through, I realized that if I shaved my facial hair into a goatee/mohawk then I'd look a bit like Cypher (at least in the facial hair department) and so I gave it my best shot (it's a bit crooked) and then on Monday I came into class with my new look, and I instructed my students to take out a sheet of paper for a quiz and then I said: "Question #1" and pointed to my face and asked them to"connect my face with what we've been doing in class," and about a third of the students answered correctly (and while it was well worth the laugh, the only problem is that I don't have a good exit strategy from this look, and so I've been wearing this ridiculous goatee/mohawk for a couple of days now . . . I even attended a wake with it . . . no one said anything).
This season, my U-13 travel soccer team made the leap from 9 v 9 on a small grass field to 11 v 11 on an enormous full-sized high school turf field-- the space is vast and incomprehensible for the pre-pubescent 11 and 12 year olds of which my squad is comprised, goals will be few and far between, and most attacks will peter out forty yards from the endline, so this year's mantra for my midfield is straight from The Matrix: there is no forward and there is no backwards, only open space and open players (our only hope is to possess the ball, bring it all the way back to the keeper, out to the sides, up the field a bit, then back again . . . until the other team collapses from exhaustion . . . then, if we've got anything left, we'll finally move forward).
If I were a free person in the 27th century cosmic war crime prison of Glasshouse, the Charles Stross sci-fi mindbender I just finished, I'd probably use a T Gate assembler to back myself up, then create a duplicate version of myself, have my duplicate write this sentence while my other self took a stroll on the beach, then merge the two neural nets into one version of me that contained both sets of memories . . . but before any of that, you have to solve Curious Yellow and the polity; a good fast read, as long as you don't get bogged down in the technical jargon; an exponentially advanced and precocious baby of The Matrix and Inception.
You're about to order some Bangin' Shrimp at your local Ruby Tuesday's when the old ladies in the booth next to you rip off their wrinkled faces, revealing that aliens live among us. You tell your server you're going to need a moment, stare into their big wet reptilian eyes and-- depending on where you born and how you were raised-- select one of the following options:
Approach them with sincere and open armed curiosity.
Run! And contact all the authorities . . . the FBI, CIA, KGB, MSS, Mossad, PETA, etc.
Drop to your knees and pledge obeisance to your new overlords.
Apprehend the undocumented interlopers and relocate them to an internment camp.
Clarification: Zombies vs. Aliens
The zombie apocalypse has a universal quality to it. It doesn't matter where you were born or how you were raised. We all know how it will go down. Around the globe, little bands of survivors will wander around, scavenging food and bashing brains.
But with aliens, it's up in the air. First contact narratives reflect the collective subconscious of the culture that creates them. Alex Graham's renowned "Kindly take us to your President" New Yorker cartoon from 1953 depicts a simpler time and a more trusting America. If the aliens weren't talking to a horse, then they'd be making a reasonable request.
Dwight D. Eisenhower was a moderate conservative who continued the New Deal, expanded Social Security, funded NASA, opposed McCarthyism, integrated schools, and built the Interstate Highway System. The joke wasn't on the President, it was on the aliens. They were asking a horse! That horse doesn't know President Eisenhower! Today, the caption would be very different (perhaps the horse would reply, "He's not my President" or "Sure, he loves fake news!" or something equally bi-partisan).
"Kindly take us to your President!"
I recently digested three excellent first contact stories, each from a different cultural perspective:
Representing the liberal American democratic techno-state: Hank Green's novel An Absolutely Remarkable Thing. Hooray for the liberal American democratic techno-state! If you're reading this blog then I'm assuming you are extremely familiar with this cultural milieu and the human rights/political stance inherent within it.
Cixin Liu's The Three-Body Problem hails from China; the story begins during the Cultural Revolution in the 1960s and heads into what is probably uncharted ideological, political, and philosophical ground for most Westerners.
District 9 is a 2009 South African sci-fi movie directed by Neill Blomkamp. It's streaming on Netflix right now . . . if you haven't seen it, watch it. It's awesome.
The arc of each of these three earthlings-meet-aliens narratives reveals just as much about the culture of the humans making first contact as it does about the desires of the aliens. All three present the same scenario: humans learn that they not alone in the universe, nor are they at the top of the technological totem-pole. They also learn that the aliens possess thoughts and emotions that might be slightly inscrutable to human reason. How folks handle an existential bombshell like this depends on their culture. And how authors portray how folks handle an existential bombshell like this depends on what culture the author is from. It's far more philosophical than a zombie apocalypse. The zombie apocalypse is pragmatic, which is why people love to imagine it. Food, shelter, weapons, and watching loved ones transform into slobbering ghouls. First contact is profound (at least Stanley Kubrick thought so . . . he thought it was so profound that it's almost impossible to watch 2001 in its entirety unless you're in an altered state . . . that's what you get when you make a first contact film in 1968).
What happened to the plot?
An Aside: Real Science Fiction vs. The Other Stuff
Before we dive in, I'd like to assert that District 9, The Three-Body Problem, and An Absolutely Remarkable Thing are "real" science-fiction (by my definition anyway). This is important. It means these stories go beyond the human, beyond character. This is normally a terrible idea. Characters are what makes stories great (e.g. Shakespeare and J.K. Rowling, both of whom used derivative plot elements to get the ball rolling, but excelled at creating fantastic characters). Plots are a dime a dozen. So real science-fiction is a risk because the setting has to become more than a plot device. It has to become the focus.
Certainly, sci-fi has some tried and tested working elements; it's usually speculative and contains themes of technology and alternative history, but more importantly-- the great risk of real science-fiction-- is that the setting is the main character. There might be actual characters, but you don't care about them as much as the setting. Brave New World is the perfect example. No one cares what happens to Bernard and Lenina, or even John the Savage. We're entranced by the world. There was no reason to make sequels to The Matrix. I refuse to watch them. I don't give two shits about Neo and Trinity. The real love story in that movie is between the alternate apocalyptic reality and the matrix. That dynamic is far more fascinating than the fact that Keanu Reeves is "the one." Cypher's choice is the sci-fi version of Sophie's choice. Which world does he love more? Ursula LeGuin's The Ones That Walk Away from Omelas is the extreme version of this principle, the story that tests the boundaries of convention. There is no character but the setting: Omelas.
So Star Wars does not qualify as "real" science-fiction. You could make it a Western and the themes would remain the same. Fathers and sons, good and evil, darkness and light. Horses instead of Tauntauns. Tonto instead of Chewbacca. E.T. is barely sci-fi. E.T. himself is more of a religious figure, and the story is about how individuals-- his child disciples and the others-- relate to him.
One more stick and it's perfect . . .
Close Encounters starts to grapple with how the government and the world would handle first contact, but it's more the story of the disintegration of a family because one of the members experiences an incredible event and that alienates him from his wife and family (we watched it a few weeks ago and my son Ian said he would help me if I started building a giant dirt and brick mountain in the living room, instead of splitting town with mom).
District 9, An Absolutely Remarkable Thing, and The Three-Body Problem are different. You might enjoy and root for some of the people involved, but these characters all pale in comparison to the detail and attention given to the worlds in each.
Let's Relocate to District 9
Just scrawl on the dotted line.
You might argue that District 9 is character driven (at least the second half). Wikus begins as a tragically bureaucratic anti-hero out of a Kafka novel who transforms into an actual warrior-hero (and there's even a bit of intergalactic romance at the very end) but truth be told, the real stars of the film are the South African government bureaucracy, the prawn relocation camps which have gradually devolved into metaphorical apartheid slums, the forcible relocations, the alien biotech, and Multinational United (the insidious quasi-governmental weapons manufacturer/mercenary task force the government hires to move the prawns). The impact of the film comes from the world and the message it delivers: your culture will steer how you treat aliens. If you are prone to apartheid and relocation, you will use these tactics on the newcomers. And once they are ensconced in that system, it will be hard to treat them as citizens of the universe.
An Absolutely American Thing
If you live in a polarized country where half of the nation is concerned with identity politics and the other half wants to wall off and defend the country from any change in identity, then this is going to be a major influence on how immigrants from the stars are treated. Especially if this country is essentially democratic, and the citizens possess freedom of speech and unlimited internet access.
This is the world of Hank Green's new novel An Absolutely Remarkable Thing. He tackles first contact from an emergent bottom-up viral media stand-point. Because this process is relatively democratic and unstructured, it inevitably pits the liberals against the conservatives. People think how they want to think, and then have the the capability to express this on a grand stage. They choose sides.
April and "Carl"
At the start of the story, sixty-four hulking alien statues miraculously appear in urban areas across the globe. Late one night, April May and her art school buddy Andy stumble upon the New York statue and film an empathetic and welcoming YouTube video, in which they name the statue "Carl." The video (and the nickname) goes viral. April May becomes the self-deprecating, self-aware, and self-consciously-famous narrator of our first-contact-experience. Not only is April May special, she's extra-special. Extra-terrestrially special. She's also emerged as the most important person on earth. The alien visitors chose her and so did the internet, and then-- at least for most of the story-- she uses her special status to stay several steps ahead of the government, her fans, and a political faction called the Defenders. She is constrained by nothing. In District 9 and The Three-Body Problem, all roads lead to authority. And authority controls decisions and destiny. But not in America. We don't need no stinking badges!
Meanwhile, things get very binary between the liberals, who want band together as one human species and solve all the puzzles the alien force has presented (in a shared Dream) and the Defenders, who are xenophobic and pragmatic and defensive. It's a bit of a political caricature of America, but it works, especially since this book is probably geared for precocious YA readers. We get democracy of thought at its best and worst. Individuals making decisions that have real impact. It's such an American perspective. The enemies of global cooperation are a large amorphous binary faction and from this mentality emerges some awful individual action. Terrorism. It's a simple way to view the world. There's us and them, the liberal and the conservatives . . . and even individual conservatives might have some good ideas, but some of them get carried away and take things too far and try to take matters into their own hands. It's a tale of individual fame and knowledge, and how that can get amplified by feedback loops and viral media. This is what Green gets best . . . and so the science and technology and viral nature of ideas and fame in our world is just as strange and speculative as the world of the shared alien Dream. They are both portrayed in loving detail, and make up for the fact that April May is a mildly annoying representative of the the liberal American democratic techno-state.
I also love that April May's trusty sidekick is Robin, the personal assistant/handler assigned to her by her ruthless publicity agent, Jennifer Putnam. April May and Robin, modern superheroes endowed with the power of millions of YouTube followers and the aegis of robots from space. America: we are an absurd society, a silly superpower.
Life is More Than Humanity
In stark contrast to Hank Green's ode to the power of individuality, we have Cixin Liu's depiction of China. The novel begins during the Cultural Revolution of the 1960s. A physicist is being beaten to death because he inserted Einstein's Theory of Relativity into his physics curriculum. The current regime regards Einstein as an American Imperialist who helped build the atom bomb, and so not only is Einstein the person anathema, but his ideas are heretical as well. He did not fit properly into the Revolutionary Ideology, and so both the idea and the individual bearing the idea are quashed. In this society, you are defined not as an individual, but by which government (or anti-government) faction you belong to.
In this top-down system, it's not possible for an individual viewpoint to go viral. April May is not possible. In fact, it's not even possible for disembodied ideas to go viral. The top-down influence can oppress and dismantle actual ideas. We first see this with the government and the various intelligence agencies, but then we learn that the alien forces also have the power to destroy ideas and impede science. Liu sees this in Chinese history, and assumes that aliens would use the same strategy. The aliens do not choose an individual, ergo there is no April May. They examine systems. Democracy of thought does not win out in this world. Killings are utilitarian and without empathy. They are done with a cost/benefit ratio in mind, whether it's a spouse, a rival, or someone who possesses information . . . computation trumps individuality. Some factions even consider the entire human race expendable for the greater good. Ideology creates morality, and individual morality is rare.
It's difficult or impossible to operate outside this top-down sphere. The only one who has some success is the hardboiled detective Shi Qiang (who goes by the nickname Da Shi). He's earned his individuality though, by brutal and pragmatic success within the police/counter-terrorism force. He's proven himself indispensable.
Thank God for Da Shi. He's the only way into the novel for someone like me. I'm not Chinese, so understanding this totally ideological, utilitarian perspective is a stretch (although I enjoyed the historical/political parts of the book immensely . . . they are just as strange as the sci-fi portions). And, I regret to admit, that I'm not that interested in the stars. Black holes, three-body star systems, light speed . . . I should be more curious, but I'm not. I'm interested in other life forms, but the vast expanse of space leaves me cold. I'm not profound enough to contemplate it. I like when creatures move around, procreate, evolve, eat each other and have sex.
So Da Shi is a breath of fresh air. Here's some archetypal Da Shi dialogue. He's talking to nanotechnologist Wang Miao. Miao has been experiencing some hallucinatory events involving the background radiation of the universe that is making him question the fundamental laws of physics.
"You're saying the universe was . . . was winking at you?" Da Shi asked, as he slurped down strips of tripe like noodles.
"That's a very appropriate metaphor."
"Bullshit."
"Your lack of fear is based on your ignorance."
"More bullshit. Come, drink!"
Wang finished another shot. Now the world was spinning around him, and only the tripe-chomping Shi Qiang across from him remained stable. He said, "Da Shi, have you ever . . . considered certain ultimate philosophical questions? For example, where does Man come from? Where does Man go? Where does the universe come from? Where does it go? Et cetera."
"Nope."
"Never?"
"Never."
"You must see the stars. Aren't you awed and curious?"
"I never look at the sky at night."
"How is that possible? I thought you worked the night shift?"
"Buddy, when I work at night, if I look up at the sky, the suspect is going to escape . . . to be honest, even if I were to look at the stars in the sky, I wouldn't be thinking about your philosophical questions. I have too much to worry about! I gotta pay the mortgage, save for the kid's college, and handle the endless stream of cases . . . I'm a simple man without a lot of complicated twists and turns. Look down my throat and you can see out my ass . . ."
The Three-Body Problem (Cixin Liu)
I love the fact that Da Shi lives in this very hardcore-sci-fi novel. He's a reminder that when the aliens come, most of us are going to have to go on living our lives. Business as usual. So how we treat the aliens will be constrained by the limits of our culture. I can't imagine that we'll treat them any better than we treat our own citizens with opposing political views, that we'll treat them any better than those who try to immigrate to our country without permission, or that we'll treat them better the members of our society who propose controversial ideas. We'll probably treat them worse than those people . . . because, when the aliens come, most of us will root for the home team (but not everyone . . . if you read The Three-Body Problem, you'll run into the Adventists, who think the human race might be expendable).
If you don't feel like reading Cixin Liu's trilogy, you could simply wait for Amazon to make the series. Supposedly, they're thinking about plunking a billion dollars down for the rights. I hope they get it done before the aliens actually arrive.
In my new, very special episode of We Defy Augury . . . which is based on my experiences teaching high school English in the age of AI (with bonus thoughts-- loosely--based on three classic science-fiction novels: Theodore Sturgeon's More Than Human and The Dreaming Jewels and They Walked Like Men by Clifford D. Simak) I attempt to answer this question: "Is AI Cheating Our Students Out of an Education?" and while I may not come to a definitive conclusion, somebody needs to address this issue . . .
Special Guests include: Gary Gasparov, Jimmy Kimmel, The Beach Boys, Alan Turing, The Matrix, Paul Lawrence Dunbar, ChatGPT, Bard AI, and Mark "Imprint" Zuckerberg.
I am beginning to think that Hamlet is a little like Neo, from the film The Matrix; Hamlet is somehow subconsciously aware that he is in a play called Hamlet, he realizes that there is a larger reality than the word he inhabits, and this makes him so much larger than any other character int he play--and so he tries to direct the play's action, tone, and content, and eventually he realizes that forces beyond him (Shakespeare? God? Morpheus?) control his fate-- that he is embedded in some kind of five act program.
How does Tank -- a self-professed child of Zion -- who claims to have been born outside of the Matrix, in reality, make the comment "Hey Mikey, I think he likes it" when Neo is down-loading ju-jitsu and various other forms of karate . . . how could someone born outside of the computer fabricated reality make an allusion to a 1970's Life Cereal commercial which may or may not have even happened inside the complex computer program enslaving all humans in the film?
Counterweight is the first book by anonymous Korean author Djuma translated into English-- I won't bother trying to explain the plot, but there's a space elevator; a giant corporation run by AI that has depleted the resources on a once impoverished island in order to build the space-elevator; a number of characters that may or may not be who they claim-- and most of these characters are under various amounts of influence, subconscious and conscious, from their respective Worms-- the brain implants that broker and network AI and organic neural activity . . . anyway, wheels-within-wheels, abundant conspiracies, and a different feel than the most typical American sci-fi trope . . . the lone rebel fighting the dystopian oppression: Katniss Everdeen against the Capitol, Neo vs. the Matrix, Montag fighting the book-burning-firemen . . . this has a different feel-- everyone is in on the conspiracy, everyone works for the company, or some other company (Green Fairy) and no one is a lone wolf, they are all aware that they are fighting the system from within, not without.
I'm often amused by the slang words high school kids sprinkle into their lexicon; I enjoy hearing them use "swag" and "lit" and "salty" and "ratchet" in context, but I rarely use these words myself (except for comedic effect) because there's nothing sadder than an old man trying to be hip to the young folks . . . however, despite my general dictum on avoiding the vernacular of the youth, I have adopted one new term because it works so well in so many spots, and it doesn't sound particularly absurd when I say it: recently, when kids want to say something is melodramatic, they use the word "extra," as in Keanu Reeves is so extra when he fights Agent Smith in The Matrix or just because you failed the physics test doesn't mean you have to get all extra about it . . . I'm hoping this one sticks around, it's especially useful for Shakespeare, where folks like Hamlet and Iago and Don John get extra about all kinds of things.
