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Sci-fi itself has changed from space operas to fantasies tinged with sex and distopic anger; it's changed to something away from hardware and exploration, to a genre that sells better to a dazed and frustrated populace.
This is a distopic version of a concept called the Technological Singularity, a notion I'll discuss at greater length in an upcoming essay on Charles Stross's Glasshouse and Accelerando, two new novels from a hot new author.
Once one determines that EPIC is futurism broadly (whether distopic or utopic has never been particularly clear to anyone), the questions change — as some students who began parsing the film determined.
Well may it be we can't do a whole lot about it in the real world, but who on earth thought it was a good idea to import this distopic I don't mean distopia as a troll.
This is in the same 'universe' as CyberZone, and involves a semi-distopic techno-future.
I just stopped being a technophobe like, two months ago, and now here's this crappy distopic literary scenario to contend with.
Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn’t constantly distract the audience from the story with thoughts like “hey, look at those flying cars” or “hey, look at what phones are going to look like someday”.
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