Overview: Bubblegum Crisis (BGC) is one of the all-time classics of cyberpunk animation and anime in general. With a team of hawt chicks kicking butt in cute mecha outfits, while upbeat songs play in the background, Bubblegum Crisis has developed a franchise and staying power that few titles can match. Quite a number of sequels have been created as a testament to this. BGC is influential in a number of ways. Not only has its character animation been widely imitated, BGC was one of the first shows brought over in the US with subtitles. Overall, while there are some dark moments, the original BGC is an action-oriented, mostly light-hearted affair.

The Story: In 2025 an earthquake destroyed Tokyo. With the assistance of androids and robots created by the omnipresent and ever-powerful Genom corporation called boomers, Tokyo is rebuilt as Mega-Tokyo. Unfortunately, like Bladerunner, sometimes the boomers get out of line, often in fact. Boomers can appear human, but often this is just a fascade for a far more dangerous bio or mecha beast that can break-through the skin. In response to this danger, the authorities have created an under-funded agency called the AD Police, who’s primary mission is to handle boomer incidents. Unfortunately, often the boomers are too strong for the police to handle.

Enter the Knight Sabers. Headed up by Sylia Stingray, the billionaire daughter of the former Genom Corporation scientist who invented boomers, Sylia has advanced the research on her father’s mecha hard suits, and has recruited a team of three other hawt action chicks who, along with Sylia, comprise the Knight Sabers. All of them have secret identities. Priss is a pop singer, Nene is a hacker who works as a dispatcher at AD Police HQ, and Linna is an aerobics instructor. But all four of them have trained to become mercenaries extraordinaire in defense of boomer incidents.

Unlike most OAVs, BGC is designed with each episode being as self-contained story. While many of the stories string together, there are no cliffhangers here. Some of the episodes have at least a modicum of intrigue, but generally, when it gets right down to it, the goal is for the knight riders to kick some boomer ass. Action dominates, which works considering the relatively short time allotted to each story (up to 50 minutes). As the series continues, most of the storylines deal with the Kight Sabers foiling attempts by the Genom corporation to secure even more power. A few of the episodes have complex storylines, but the majority are straightforward, with evil genius types (boomer or human) directing boomer machines who create death and destruction.

For me, my favorite episode is Episode #5, where a two unique bio-based sexroid boomers who need blood for sustenance escape from escape Genaros, the SDPC’s orbital supply station for humanity’s moonbases, and make their way to Mega-Tokyo. The episode is far more complex than most, and touches on similar issues to Blade Runner, in that these Boomers just want to be free to live. Most of the boomers in BGC (other than the major villains) don’t really exhibit any form of sentience, but the ones in this episode (and the continuation in #6) are sentient and multidimensional.

Influential Visuals: Along with Akira, BGC animation has been very influential in transforming anime to the popular style we see today. Characters with overly large eyes and the familiar facial styles are on display in BGC, as are a bevy of experimental looks and styles. The look of anime changed dramatically from the late 80s to the early nineties – BGC will always hold a place in history due to its influence on this change.

Mega-Tokyo: BGC took the Blade Runner city visuals and applied them to anime, which was then imitated by most of the shows that followed. The cityscapes are modern looking with a blue background, with various green and red highlights. Grays and blues are shown in abundance, with occasional orange and red daytime scenes. Most of the shots are from above, focusing on the overall city-scape, but there are a number of ultra-modern buildings including the Genom’s Tower (which looks like the Blade Runner Terrel Corporation building) and the AD Police building – same as Blade Runner as well.

The Action: By far the best quality animation BGC brings is in their action sequences. While the rest of the series is really not very special, the action sequences are very well done. We get a variety of effects and perspectives that driving the relatively quick-pacing. In many of the scenes, the backgrounds show a variety of methods to enhance the speed and action. Often BGC engages in mecha-style battles (many of the bad-guy boomers are variations on mecha characters), but these are different from some in that the Kight Sabers are in nimble, tight-fitting suits, which increases the speed of the action.

The Music: Very few OVAs have music as recognizable as BCG. BGC is known for being one of the first (or at least one of the most recognized) to essentially embed music videos into their action sequences. The songs play a big part in Bubblegum Crises, with a large number of the action sequences and dramatic moments overlaid with song accompaniment. Almost twenty years later, this innovation has blossomed and morphed into what we see with FLCL for instance, where entire sequences are purely videos intertwined with the story.

The Bottom Line : While I’m generally not too excited about mecha anime (this is purely a preference on my part, and not a knock on mecha), I find BGC quite enjoyable. BGC is more like an earlier version of GITS SAC in that the focus is action first, and philosophy second. While a few episodes do explore what it means to be human, in all but a few cases, this is usually done in the context of a fairly light plot and intense action. Perhaps the philosophical aspects would have been highlighted had the series continued, but for legal reasons, BGC was cut short at only eight episodes. On pure enjoyment I’d probably rate the series a 7 out of 10, but due to its significant influence on anime and cyberpunk I’m giving it an extra star.

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Overview: Matrix Reloaded, one of the most anticipated movies of 2003 provides a very interesting follow-up to one of the best, most influential movies in cyberpunk and all of Sci-Fi. Many have knocked this (and Revolutions more) for being a significant step down from the original movie, and to an extent they are in that the “newness” of the idea has worn off. But truly, it would be absurd to expect the Wachowskis to not use the universe they have already painstakingly created. In this sense, the sequels HAVE to provide a different sensation. In this sense, Reloaded does not disappoint. We get great performances by the Matrix leads, along with a number of truly terrific supporting roles. For this review, I’ll try to concentrate my comments more on the Sci-Fi aspects of the movies versus the religious narrative, as this also covered wonderfully elsewhere. I’ve also tried to use less well known screencaps on the first page of this review. To see some of the more popular Reloaded screencaps, go to page 2 of this review. Also, this review goes in line with my more in-depth assessment of the trilogy from a SciFi perspective:

• The Matrix Trilogy: A Man-Machine Interface Perspective

No “The Matrix Sucks/No It’s Great - You Just Don’t Understand!” Debates: Just a fair warning – if youre expecting Matrix sequel bashing, I’m afraid you’ve come to the wrong site. There are numerous places to read such banter if you’re interested. I absolutely love the sequels for a variety of reasons (some of which I explain below), but I really don’t mind in the least if you hate the sequels. Yet, for this movie, I’d really like the comments on this entry to be more related to the movie itself versus whether or not you hate the sequels. Believe me when I tell you I’ve participated in many more hours of discussion on this topic than I ever care to, and absolutely will not get into this in the comments section of this review. If you MUST engage in the “Matrix Sequels Suck/No - They’re Great, You Just Don’t Understand!” debate, please use this thread in the Meatspace.

The Story: I’m going to go out on a limb here and guess that about 99.9% of you reading this review have already seen Reloaded, so I won’t spend much time on an overview of the story unless its specifically requested. In brief, Matrix Reloaded is the sequel to the Matrix, and is the second of three movies in the trilogy. In Reloaded, six months have past since the end of the Matrix, during which time, Morpheus, Neo and Trinity have been busting hump freeing massive numbers of battery people. In Reloaded, we get to see Zion, a return of Mr. Smith, and eventually, a fuller understanding of the nature of the Matrix and the Prophecy of the One.

The Supporting Characters: One of the real strong points of Reloaded is the cool character additions. The best ones are of course the Merovingian (played magnificently by Lambert Wilson) and Persephone, played by the ultra-sexy Monica Bellucci in a totally hot see-through dress. When they are onscreen, both absolutely steal the scenes. Almost as terrific is the Architect (Helmut Bakaitis) and the blasé evil ghost twins (Adrian and Neil Rayment – who actually are twins) – they have to be up there as some of the best henchmen ever to grace the screen. Seraph (Collin Chou), Councilor Hamann (Anthony Zerbe), Link (Harold Perrineau), the Keymaker (Randall Duk Kim), and Niobe (Jada Pinkett Smith) all really add to the movie as well.

The Action: Reloaded is filled to the brim with awesome action scenes. In addition to some wonderful Woo-ping Yuen choreographed fights, we get one of the best highway chase scenes ever put on film. The Trinity motorcycle part in particular is just awesome. Truly though, serious credit has to go here to Keanu Reeves’ preparation and training for this film. By all accounts he was an absolute machine in terms of preparation. It really shows on screen. His wire work and martial arts scenes are just terrific (And no, I’m not comparing him to those in Hong Kong who’ve spent an entire career doing this stuff). The CG for the most part is absolutely top notch.

The Visuals: Matrix Reloaded has a lot more diversity in its visuals than the Matrix provided us. We have a few experimental shots like the graphic novel scene of Neo flying with the Moon behind him – and lots of yellows and greens. For yellows, we get rave scenes, explosions, and fights in a yellow weapons room. Greens, of course, still dominate the majority of the scenes – like the first movie, they are omnipresent in most low-light scenes. All in all, the visuals are incredibly diverse and interesting.

The Pacing: Matrix Reloaded starts off with a bang (literally) before getting into the story. We get a mixture of plot discussions, action sequences and philosophical breaks. But Reloaded is as a whole is definitely of a different style pacing than most movies. It and its sequel more closely resemble the approach taken in Oshii’s Ghost in the Shell, where there are philosophical and thematic discussions that are then played out in the action sequences. The ending clearly comes off as a cliff-hanger, which is to be expected considering this is the middle of a trilogy.

The Architect Conversation: The Architect conversation provides some of the best dialogue of the entire trilogy. This is a philosophical break, a plot buster, and more importantly, the major turning point in the trilogy. The Architect and his minions serve as the ultimate representation of a negative feedback (negating change from an initial goal state) control system. His whole purpose in life is to ensure a steady supply of power (electricity) to the Machine City. As the power is created off the electricity in humans, the Architect must develop a plato cave-like virtual reality simulation that provides humans with a believable reality. The Architect reveals the details of the control system that has kept the machines satiated with electricity for the past 600+ years. In this we find that the prophecy of the One is merely one more layer of control to maintain the status quo to handle the problems arising from freewill (more on this below). Unfortunately, something (or someone) has thrown a monkey wrench into his carefully laid plans. Neo has fallen in love, and in so doing, creates a personal connection with a human that is potentially larger than his overall connection with humanity.

Freewill: Matrix Reloaded spends a good bit of the philosophical breaks discussing the impact of freewill on actions, decision making and on control systems. The Merovingian assets that without the “why,” freewill is merely a facade by those in power that is placed on the powerless. The architect who created the Matrix based on mathematical equations. While he has accounted for almost all anomalies, he had to develop a special periodic subroutine to address the issue of freewill. Because a very small subset of the population would reject the Matrix programming, there needed to be a way of handling this. His approach involves the creation of an external holding bin called “Zion,” which which he would let fill up with the problem battery people, and then every hundred years or so would clean out the holding bin and start again. Simultaneasly, Morpheus, who is unaware of this freewill control subroutine, sees the prophecy of the One as a deterministic journey - one which both reduces the power of freewill while supposedly saving Zion.

Positive Feedback Out of Control: From a cybernetic standpoint, Positive feedback, or the deviation from an initial goal state, plays a huge role in both reloaded and revolutions. In fact, both movies constitute an emergence and interplay among dueling feedback systems. The architect has created a negative feedback system that has been in force for at least 600 years. Yet now, the perturbations to the negative feedback control system are systemic – in fact, they constitute an initial kick in an entirely new direction. The study of cybernetics tells us that negative feedback systems are destroyed – often never to be repaired to their original state – if the upper or lower threshold values in the are exceeded. For instance, if the body temperature in a human exceeds 106 degrees Fahrenheit, the human will die. In the futuristic dystopia of the Matrix, this is the strategy the Oracle takes. The rationale is that unless the architect’s control system is rendered moot, the “ebony and ivory, living in perfect harmony” future (with machines and humans) the Oracle desires cannot occur.

Elements of the positive feedback system, represented in totally by the Oracle and the causality she creates, include both a modification of Neo’s operant conditions and an intrusion into Mr. Smith’s deletion. Neo’s love for Trinity changes the outcome of the Architect’s freewill subroutine – instead of having only one real choice (saving humanity), Neo has a new choice – save trinity now and spend 24 hours trying to rescue Zion and humanity or continue with the control system which will wipe out Zion. Additionally, Mr. Smith has been transformed into a virus. When Neo destroys him in the first movie, Mr. Smith did not disappear – instead (as we find out in Revolutions), the Oracle intervenes and creates the new, viral Smith. While there is no resolution to this in reloaded, the context is set for the resolution in Revolutions.

I Believe…: I believe this phrase (“I believe”) is used twenty times or more in Reloaded. There are times it fits perfectly, whereas others it seems to interfere with the dialogue. The scene where Commander Lock is discussing strategy with the Council is the most egregious example of this. Versus “I believe we need every ship…” it would have been far more realistic had he used a simple “We need every ship if we are even to have a chance…” The problem of course is the whole issue of whether or not the Commander and Council believe in the Prophecy of the One. As impending doom draws nearer, the tendency to place faith in supernatural explanations for salvation becomes too great to resist.

The Bottom Line: The Matrix Reloaded is a terrific follow-up to one of the most influential movies ever. The Wachowski brothers have provided a movie where the action is terrific, the characters are memorable, and the narrative is complex and interesting. Lawrence Fishbourne as Morpheus in particular shines here, which is great, in that is role is significantly diminished in Revolutions. While Reloaded suffers somewhat from being the middle movie in a trilogy, I think it handles this well. The ending provides us with a cliffhanger, which, at the time of release, sparked IMENSE numbers of interesting theories and ideas. I’m guessing most of you have watched Reloaded, so I feel strange giving a plug to watch it. All I can say is I love it.

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Overview: Parasite Dolls, another cyberpunk anime written by the prolific cyberpunk anime master, Chiaki Konaka (Serial Experiments Lain, Texhnolyze, Armitage III, Malice@Doll, and Bubblegum Crisis 2040), is a visually interesting, VERY adult OVA from the Bubblegum Crisis universe. The androids (called boomers) in this show are fully android (at least regarding their mental processes) unlike in other Bubblegum stories where they seem to be a combination of human and android. While this is a three part OVA, I really like that they are almost integrated like a movie, versus as separate episodes. Fair warning, you get gruesome deaths in the throws of sex, prostitution, lots and lots of gore.

The Stories: There are three separate, interlinked stories on the Parasite Dolls OVA. At the start of the first story, set in the year 2034, where society has become a troubled mix of humans and androids called “Boomers.” The Genom Cooperation has created boomers to serve mankind in all aspects, from police support to sex dolls. Unfortunately, problems emerge, both with the boomers and with humanity’s reaction to their presence. A clandestine division of the Advanced Police (A.D Police) called “Branch” has been created to investigate human to boomer related crimes. The story follows “Buzz” Nikvest, a policeman with a troubled past, and his partners at the Branch division, which include a very helpful Boomer called Kimball and a stereotyped spunky, sexy, tough cop chick named Reiko Michaelson.

In the first episode, rogue boomers start randomly attacking and killing innocent humans. Buzz and company are brought in to investigate. During the course of their investigation, they find that things at the Genom corporation are not all above board. This story has some pretty cool visuals of shot-up boomers, and a few interesting

The second episode, which takes place a year later, involves a truly bizarre android monster called the “Boomer Crusher” and a very lifelike boomer prostitute who has feelings and has dreams. Unfortunately, the prostitute is being controlled in her dreams to cause some truly bizarre human deaths. We find out more in the third story of who probably created this monster, but it isn’t really stated in the narrative.

In the third episode, which takes place 5 years later, Takahashi, the head of Branch Division is missing. In searching for their missing box, Buzz, Kimball and Reiko find a connection between Takahashi’s disappearance and the recent spate of anti-boomer activity that has grown in recent years. Worse, as explosions go off all over the city, Buzz is framed as the fall guy. As the story unfolds, the viewer is left with the idea that all three stories are related to the same larger plot.

The Visuals: Parasite Dolls has a really nice diversity of looks, often emphasizing extreme shadows in single color light settings. Both blue and gray are used extensively for this, often yielding terrific visuals. In other cases, Parasite Dolls looks like a rather decent, but not spectacular anime. It does best when it strives for the edgy look. Had this been used throughout, Parasite Dolls could have come off as something bordering on special. As it stands, some parts really stand out, while others you almost wait to get through.

Boomers – property or unique individuals: Nothing new here – Parasite Dolls explores the continually explored question of whether androids are merely property or something more unique. Unfortunately, no new ground is traversed. Instead, the interesting aspects of this come from the seedy visuals themselves. There are a few scenes in Parasite Dolls where the visuals make a far more interesting statement than the narrative. These usually involve truly gruesome Boomer deaths.

The Seedy Underground: A seedy feeling pervades Parasite Dolls. We get nudie bars, slovenly side-walks, seedy corporate meetings, and absolutely base human behavior. We have hot chick boomers continually debased and abused. Even the weird creatures that appear have an icky feel to them. The constant theme we see here are fallen boomers. They had so much potential, but…

The Bottom Line: The stories themselves are somewhat uneven and problematic, but the visuals are interesting enough to make this worth a watch. While the narrative is more straight forward than many of Chiaki Konaka’s stories, it does require a few minutes thought to put the overall picture together – otherwise, all three episodes almost seem disconnection. Even though Buzz is a pretty interesting character, the rest of the characters we encounter are pretty much the cookie-cutter variety. Worse, as the episodes take place over a six-year time period, you would really expect to see growth in the characters, or at least changes in the nature of their relationships. Instead, the characters we encounter at the beginning are the same ones six years later. Still, for a 3 part OVA, Parasite Dolls is worth a watch for the visuals alone.

Overview: In the best of cases, remakes of cherished shows rarely turn out good. The MTV Aeon Flux cartoon series was an intensely creative post-modern show by Peter Chung, who broke all the rules of how narratives are supposed to be told. The lead character, Aeon Flux, the ultimate anti-heroine, dies on a regular basis; nobody was purely evil or purely good; and everything was high-tech body modification chaos. Unfortunately, the movie does away with all that. In an attempt to “humanize” the iconic figure of Aeon Flux, the movie version goes for a standard rebels-versus-Orwellian bad guys movie with a twist. While some of the visuals are absolutely terrific (including some wonderful action scenes by Charlize Theron), in the end, this is a very different story with very different characters, and must be understood as such.

The Story: Aeon Flux takes place 400 years after a virus has devastated humanity, killing off 99% of the population. Now, one walled city named Bregna, holding 5 million people is all that remains of humanity. Bregna is ruled by a council of genetic scientists who have (supposedly) been avidly working on fixing the fallout of the virus for the past 400 years. For reasons only partially explained later in the story, the ruling council has instituted a totalitarian government with an extreme crackdown on personal freedoms, and have backed their authority with an intense surveillance apparatus. A group of rebels called the “Monicans” have challenged their right to rule, and have vowed to destroy the ruling council, especially their leader, Trevor Goodchild (Marton Csokas), at all costs.

Aeon Flux (Charlize Theron) is the Monican’s very athletic, butt-kicking, black spandex wearing operator-extraordinaire. No mission is too dangerous, and no obstacle is insurmountable. In what serves as the prologue, Aeon’s last surviving family member, her sister is killed by the Bregan Council authorities – all that remains for Aeon is revenge and the mission. Finally her time comes when the fiery-haired Monican handler (Frances McDormand) authorizes her to go assassinate Trevor Goodchild. So Aeon and her partner with four hands and no feet, Sithandra (Sophie Okonedo), storm the garden and infiltrate the Brega Council compound.

Unfortunately, as Aeon finally encounters Trevor, not all is at it seems. She suddenly has memories of kissing Trevor in a former life. Worse, it looks like there are other forces at work, and perhaps Trevor isn’t the bad guy the Monicans have made him out to be. As Aeon follows her heart and the ever expanding mystery, she engenders anger from the Monicans, while Trevor ends up at the wrong side of a coup-des-tat at the hands of his evil brother, Oren Goodchild (Jonny Lee Miller).

Story Problems: While the front half of the Aeon Flux story works, the back-end is riddled with inconsistencies. If you spend an ounce of time thinking through the motivations, the actions of the main bad guy make no sense. What he really wants (immortality) can be accomplished even Trevor’s experiments prove successful. This is muddied further when the Jurassic Park mantra, “Nature finds a way” is added to the mix. Even weirder is Pete Postlethwaite’s character, who comes across almost as the watcher in a Fantastic Four comic. We are never sure if he is real or Memorex. Worse, his final monologue where he explains his actions adds yet another strange element to the scifi-mix – precognition. In the end, there are too many fantasy-like technologies for this to come across as believable. In brief discussions with on the writers (Phil Hay), it appears that the original script might have been tampered with. I really hope this is the case, as the visuals of the movie were more than strong that they would work for even a passable story.

Changes With Aeon and Trevor From the Cartoon: The move version of Aeon Flux in no way matches the lead characters of Aeon Flux and Trevor. In Peter Chung’s cartoon, Aeon Flux comes across as the ultimate anti-heroine. While she clearly knows right from wrong, and generally tries to stop the worst abuses, Aeon is an ultra-acrobatic, top-notch action-espionage heroine who works for herself, and only operates under her own agenda. Trevor is a mostly malevolent, superior dictatorial character who as a true soft-spot for Aeon. For her, he will bend his approach, but otherwise he rarely is a nice guy. We rarely see fear, doubt, or self-loathing out of Aeon, although she too has an eternal love for Trevor that trumps all. Kusama’s version of Aeon and Trevor tries to humanize them, and in doing so, removes much of their uniqueness and appeal. New motivations and afflictions are created where none previously existed. Worse, their very nature changes. In the end, Trevor turns out to be a misunderstood hero who works valiantly to save humanity – his only fault is he turns a blind eye to his brother’s excesses. Aeon becomes an agent working for others goals, but only later turns to herself based on principled evaluation of what is right and wrong. Again, while both of these characters may be interesting if done well, they bare little resemblance to the mindset of the Aeon and Trevor characters from the original show.

Still, I must give credit to Charlize Theron’s athletic feats in this movie. By all accounts she spent 3 months training to be a gymnast and fighter, and it shows. While for the most part she does away with the ultra skimpy clothes from the cartoon, she really does nail the gracefulness and style of the cartoon Aeon Flux. And while I don’t necessarily agree with the humanization approach, Aeon does pull this off very well, especially considering she has very little dialogue. The fact that she got seriously injured on the tenth day of shooting (herniated disc injury), but came back to continue the vast majority of the stunt work is a testament to her commitment and professionalness, and should be applauded. If I had one complaint with her protrayal, she really doesn’t really “look” the part, in that the cartoon character was a taller figure with a far more angular face and tapered hair.

Editing is Way Too Frantic: Aeon Flux was a very contemplative animated show. Almost always, you had time to properly digest a scene. The atmosphere of the original series is largely based on the pacing. In the movie version, the editing seems designed to artificially hype the tension. In the end, it results in sucking the life out of many of the scenes. You rarely have time to feel connected to the scenes. More often, you feel like you’re riding a roller coaster, even when the scene is nothing more than two people talking.

The Technologies in Aeon Flux: The body modifications (such as hands replacing feet, and various stuff stored within the skin) in Aeon Flux really added to the visual appeal. Also, there were a number of interesting technological innovations. Probably the biggest was the peer-to-peer interaction in “brain space” that the Monicans use to elude the Orwellian-style surveillance systems that the council has set up. The flat metal slices that turn into semi-autonomous exploding balls were visually cool, as was the room that worked in two dimensions (each dimension of frequency holding completely different items). I also liked the bubbling Band-Aids that Aeon has stored, hiding on her skin.

The larger technology involved cloning. In Aeon Flux, cloning equates to flawed reincarnation. With each generation the people are cloned, the memories of their lives somehow stay with their soul – yet with each time they are cloned, the new person has memories from the previous versions. Over time, the cloning ends up destroying each other’s reality. For the most part, I don’t think this idea worked all that well. It gets especially troublesome when we look at the Keeper, who seems to be able to “remember forward” and thus, make decisions 400 years ago that will help save the world well into the future.

The Visuals: Visually, Aeon Flux is a gorgeous movie. We have also sorts of beautiful futuristic city settings, beautiful characters, and really fun FX. Some of the visuals are completely nonsensical though – the most egregious being an early scene involving Aeon wearing white for the ONLY time in the movie when she wants to stealthily sneak into the Brega compound at night. While this helped make Aeon’s character stand out more, it immediately brings a sense of Hollywood unreality to the whole affair. Still, while many of the action scenes didn’t make lots of sense, they were all nicely shot. Some of the fights were pretty gritty, but for the most part, the resembled a gun-version of a kung-fu dance movie.

Lots of Hawt Chick Fighting! One of the better aspects of Aeon Flux involves the massive amounts of hawt chick fighting! Yes, its low-brow, but we like it. We get some really juicy fights between Aeon and Sithandra, and Aeon and Trevor’s bodyguard, Freya (Caroline Chikezie). And of course we have massive amounts of Charlize Theron in tight black spandex, kicking butt. While some have compared this aspect to Catwoman, the comparisons are unfair in that 1) we don’t have Mouseketeer ears, 2) all the fighters are very athletic, unlike Sharon Stone in Catwoman, and 3) the fight choreography is far far better.

The Bottom Line: While there enough to like in Aeon Flux to give it a passing grade, I really can’t give it more than that. A movie version of Aeon Flux should have been a creative, postmodern event that stayed true to the cores of the characters in the cartoon. Evidentally, the studio thought an innovative approach such as this wouldn’t fly with the vast movie-going public. What was created instead, even though different, could have been decent, but was mired down with horrid editing choices and incoherent motivations in the later half of the story. In the end, it’s hard to buy a number of the decisions various characters made.

However, the narrative problems in Aeon Flux may be due more to ridiculous studio meddling than with the actual script – apparently the editing was one casualty of studio meddling. Phil Hay has indicated that he will write an essay on how the Director’s Cut would have been different. He is hoping that DVD sales will be high enough that the studio will agree to release the Director’s Cut, which he claims is a very different movie. Still, Charlize Theron’s excellent acrobatics makes for good eye candy, and turns in a credible performance as a humanized version of Aeon (the Trevor portrayal is completely uncrecognizable from the cartoon though). The visuals are terrific, and the technology is pretty interesting. Similar to other 6 star movies that are high on visuals but have problematic stories (Ultraviolet, T3, Appleseed), you may still be interested in giving this a watch.

Overview: Some movies are just absolute absurd fun – so fun that you end up watching it endlessly. The Fifth Element is that way for me, and is a movie I’ve seen around 20 times or so. The tone of the movie is too light-hearted to be considered a real cyberpunk movie, but like Tank Girl, we can consider this a cyberpunk comedy. The characters are all a hoot, and the movie never takes itself seriously – in fact it’s almost always over the top. Many of the cyberpunk themes still exist in Fifth Element, although, again, they are enacted in a light-hearted way. It’s the visuals that really bring Fifth Element into the cyberpunk subgenre.

The Story: 217 years into the future, ultimate evil is again coming to destroy the earth. Ultimate evil takes the form of an absolutely massive malevolent ball of blackness that is on a course to destroy earth. Every attack the Federated Territories try only makes it larger. It turns out that a group of priests has been keeping the ancient technology necessary to destroy ultimate evil – four stones representing the 4 elements, which surround a fifth element. In this case, the fifth element is s beautiful girl (Milla Jovovich), reconstructed from the remains of a small DNA sample.

Korben Dallas (Bruce Willis) is a down and out highly decorated former military commando, now turned failing cabbie, who has a beautiful girl named Leeloo (Jovovich) fall into her cab – literally! The authorities are after her, as it turns out she has escaped those who recreated her. She can’t speak English yet she figures a way to ask for help. After she asks, Korben Dallas takes her to the priest, Father Vito Cornelius, who recognizes her as the Fifth Element, and promptly kicks Korben out.

From there, things get crazy. The military approaches Korben for a secret mission to retrieve the stones necessary to stop ultimate evil. The stones are hidden with a famous Diva who is performing at the famous floating hotel, Floston Paradise. At the same time, Zorg, an evil corporate CEO (Gary Oldman) has hired a group of Mangalores (evil, ugly aliens) to retrieve the stones. Simultaneously, Father Vito Cornelius and Leeloo also find a way get to Floston Paradise to retrieve the stones. Things get even weirder when the famous radio host, Ruby Rhod (Chris Tucker), an outrageous guy with a penis-head hairdo hosts the Floston Paradise experience with Korben as his guest!

The Acting: All the main characters in the Fifth Element are quirky and memorable. Bruce Willis really works as a former hero, now on his last leg. Jovovich is beautiful and otherworldly. Tucker is a riot! This movie really got him known (Rush Hour made him famous though). And Gary Oldman as Zorg is flat out awesome as a completely crazed power-hungry evil doer with a quirky sense of style and salesmanship. Truly, Besson did a great job in casting this.

The Visuals: The Fifth Element totally rocks in the cool futuristic visuals department. The colors include dark yellows with neon blues for the backgrounds, saturated blue scenes and orange clothes for the leads. But its the city-scapes, reminiscent of Lang’s Metropolis that are especially memorable. They flat out nail a far out vision of the future. Additionally, we have airports with 30 foot tall trash heaps due to a garbage worker strike, fully automated, ultra-processed McDonalds, deaf rock stars

The Editing: The editing in the Fifth Element is just terrific. The splicing of the various story strands, as crazy as they are, flow wonderfully. In discussing the missing stones, the simultaneous, intermixed dialogue between Leeloo and Father Cornelius and Zorg with the Mangalores are just one terrific example of this; the Diva opera singling intermixed with Leeloo’s fighting is another. With the amount of stuff going on here, this could have ended up a disaster. Sylvie Landra, who also edited Leon – the Professional, deserves heaps of praise for this.

The Fifth Element Cyberpunked Future: Dropping the crazed fantasy aspects of the stones and ultimate evil, The Fifth Element gives us a pretty dire view of the future. Cities are built high to escape the constant layer of smog that coats the surface; corporations are all-powerful; governments are impotent; fashion statements have gone seriously awry; cockroaches are used as intelligence, surveillance and reconnaissance systems - but at least we still get cheap Chinese food! Plus robots now do all our menial work!

The Bottom Line: No, the Fifth Element is not intended to be taken seriously. Still, this movie is just far more enjoyable than it has any right to be. The action and romance are fun, the characters are unforgettable, the story is entertaining, the music is great, and the visuals are marvelous! The Fifth Element has been in my regular heavy watching rotation since it came out. Give this a watch if you’re looking for a witty futuristic cyberpunk action-comedy flick.

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Overview: Masamune Shirow’s Appleseed recently got a second anime treatment. The last was in 1988 – this time, in 2004, the anime is done up in eye-popping 3D graphics. With a budget of only 10 million as compared to over 90 million for a movie like The Incredibles, we shouldn’t be expecting too much. Surprisingly, we get far more than expected, especially with regards to the wonderfuly rendered backgrounds. While the animation is interesting enough, the story is more problematic. So too are the change in the feel of the characters. This is really where the original version succeeds far better than Aramaki’s version.

The Story: Appleseed takes place in the year 2131, a war-ravaged dystopian future where most all of human society is in ruins. Over two years after the last war, the only example of advanced human civilization is a newly made city called Olympia, which has been engineered to be a created as a perfect refuge from the rest of the world. Over half of the city’s inhabitants are comprised of bio-engineered “biodroids,” which are human-like beings designed to serve specific roles in the society. An all-knowing computer named GIA supports the city council in controlling all aspects of city life.

Deunan Knute, a fighter extraordinaire has been living alone in the wastelands, not realizing that the war is over. She is beset by two warring groups of fighters, one of which who is trying to kill her, and the other group, which rescues her and takes her to Olympia. There she is re-acquainted with her long lost lover, Briareos, who now has been transformed into a cyborg after his body was lost in the war. She is tasked to join “ESWAT,” a special mecha-enabled police force that keeps order within the city. Deunan also befriends a biodroid named Hitomi, who shows her around the city. Unfortunately, Deunan barely gets a chance to settle down before the assassination attempts on her life start.

Duenan quickly learns that she has been dropped in the middle of a power struggle between humans, who are concerned that the biodroids secretly aim to exterminate them, and biodroids, who worry the same about the humans. Somehow, Deunan has become essential in this struggle, yet it has nothing to do with her fighting capabilities. It turns out that her parents, before dying, developed a method for biodroids to reproduce, which would make them almost exactly like humans. But this research was lost long ago. Now, Deunan has become a pawn for both sides of this struggle, and worse, it appears as if her ex-lover, Briareos has chosen sides.

Unfortunately, the story in this version of Appleseed is problematic at best. There are too many sub-plots that obfuscate the key points. The myriad of loose ends introduced that are never followed up on. Gia, the sentient computer that runs Olympus is the probably the worst casualty. We get introduced to her, and, if you know something of the Appleseed story from the Manga, you expect to see lots more than what actually ends up being conveyed. In the end, the plot centers on a simple theme of racism. This is a shame as there were so many interesting cyberpunk aspects of Olympus that get short-circuited.

The Animation: Appleseed’s backgrounds are wonderfully rendered. This more than anything accounts for the majority of the “wows” Appleseed received. They are done in a way that allows 3D camera maneuvering, so as to allow you to see the same scene from multiple angles, and at times, even provides Matrix bullet-time effects. For the most part, the 3D CG overlaid with 2D cell shading really works. It’s an extension of the idea we saw in Malice@Doll, only with far better rendering tools. The machines look especially awesome. Both the Gunhed style tanks at the beginning of the movie and the platform sentinels at the end. Unlike many cyberpunk movies, there isn’t a dominating color palette in Appleseed, but the color scheme seems to stick more often than not to light and dark shades blue-greens, with yellow & browns in transition scenes.

In terms of the characters, only Deunan Knute really looks polished. Her body movements, facial expressions and general actions really work. The rest, especially the human characters, often look stilted in their moments. Hitomi, their biodroid friend, is especially problematic at times. This might be due more to the motion-capture techniques they use, which work wonderfully for the city, but not so well for the characters. Also, I really dislike the way they animated the hair. The hair on the humans in the 2004 edition look like something out of Reboot. However, considering the budget, I think they made the right decision in spending scarce resources on Deunan. Had they just made everyone look slightly better, Appleseed would have faltered horribly. By at least making Deunan polished, they developed a star that fit right alongside their wonderful backgrounds.

The Sound: Many times throughout the anime, Appleseed plays more like a music video than it does a movie. The modern heavy rock beats worked well for the action scenes. And truly, the action scenes are where Appleseed excels. There, the 3D positional sound, the music accompaniment and the 3D CG graphics are at their absolute best. The accompanying score really wasn’t all the memorable, but at least served up the slower paced moods fairly well.

Differences From Shirow’s Work: While both animes deviate from Masamune Shirow’s Appleseed Manga, Aramaki’s version is the most egregious. While the 2004 version starts outside of Olympia as the Manga does, it only has Duenan there, whereas in the Manga has both. This version introduces a new dramatic twist of Duenan and Briareos getting back together for the first time in two years. While this in itself isn’t bad, the side-effect is: these two characters are no NOTHING like the Manga. The Duenan Knute and Briareos of Shirow’s Manga, and of the 1988 version, are precursors to the Ghost in the Shell’s Motoko and Batou. Here, Briareos is a moody, lost soul trying to deal with his cyborg body, and Duenan is far more vulnerable than tough. The playful chemistry we see between these two both in the Manga and the 1988 anime is completely missing here. For those who aren’t familiar with the Manga, this probably won’t bug you, but it certainly sapped some of the enjoyment out of this movie for me – so much so that I’m dropping a star off the review for it.

The Bottom Line: Appleseed is definitely worth seeing for the visuals alone. While some of the characters don’t work, the Duenan, the machines and the action scenes work wonderfully. Unfortunately, the story doesn’t equal up. Too many elements are introduced and then discarded in favor of a truly simplistic storyline. They could have done better. Also, as I mention above, this is not the Deunan and Briareos I’ve become familiar with – these characters are different from both the Manga and the earlier anime. This bugged me enough to drop a star from the review, but you might not mind so much.

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Overview: Heavy Metal represents one of my great teenage film memories. Back in the day, before the porn repository known as the internet was formed, Heavy Metal was edgy stuff. As a young teen, Heavy Metal was everything a kid my age wanted to see – sex, drugs, rock-n-roll, violence, defiance of authority, and hot chicks! Add the most awesome hard rock soundtrack, and Heavy Metal became the drug of choice for young folk back then. That it was animated somehow made it alright with the parents. Make no mistake – Heavy Metal is not high brow fare, nor is it particularly well made. But it is definitely a very fun guilty pleasure.

The Story: Heavy Metal is a series of somewhat interrelated vignettes about the journey that ultimate evil makes, this time in form of an evil sentient green orb, called the Loch-Nar. The Loch-Nar captures a little girl in present times for reasons unknown till the end, and shows her a series of stories about how the Orb has corrupted people of all races in all times and places.

In each story segment, we get a strange, otherwordly setting in which the orb enters, corrupts and then leaves. Often a hero stops the orb from fully corrupting everything, but always the orb leaves a stain. The atmosphere is one of interrupting and ongoing scene with something truly unusual that occurs. But it’s the ending vignette, Taarna which is the best, and also the one that finally gives us insight into why the Loch-Nar has captured this little girl. Taarna isn’t really cyberpunk in any way but a few of the visuals, but it is a lot of fun.

Is it cyberpunk? Clearly, some of the vignettes, many in fact, are more fantasy than cyberpunk. So why do I have this movie listed? While some of the vignettes do have the cyberpunk feel, most clearly Harry Canyon, Heavy Metal absolutely belongs here due to its magazine roots. Both William Gibson and Ridley Scott credit visuals in the Heavy Metal Magazine is very influential for helping create their settings. Most cited is the Moebuis illustrated “The Long Tomorrow” comic. As you can see by the link, the Long tomorrow gives us a gritty neo-noir, near future comic that’s edgy, dangerous, and lots of fun. And more importantly, the atmosphere – the mood in Heavy Metal throughout seems pretty cyberpunk.

Heavy Metal is Male Fantasy Material: Heavy Metal is NOT sophisticated - far from it in fact. Heavy Metal caters to the sophomoric, prepubescent male, and emphasizes gratuitous nudity, hot chicks kicking butt, nerds who grow massive bodies and get laid, android-hot chick sex, etc. Heavy Metal falls right in line with the old “Gonad the Barbarian” style books, so in this way, it really isn’t cyberpunk. Cyberpunk as a sub-genre dramatically improved the quality and intelligence of what we found on the scifi-fantasy shelves. Heavy Metal the movie does not, although many of the stories do provoke an interesting thought or two.

The Animation: Each story segment is written and animated by completely different teams, although some of the voice actors such as John Candy appear in many episodes. Some of the segments seem pretty simple, whereas others have more than decent texture. All in all, Heavy Metal represents a mixed bag, but at the time, it truly was on the revolutionary side. While French director René Laloux’s most awesome animated movies were far better, outside of them, few things touched Heavy Metal. The fact that Heavy Metal included the themes and visuals teens were looking for back then transformed it into the ultimate cult rebellion flick.

The Sound Track: Heavy Metal still should be considered among the best sound tracks for a movie. It SOOO added to the atmosphere. We get a heaping dose of great hard rock from the likes of Blue Oyster Cult, Black Sabbath, Sammy Hagar, Cheap Trick, and Don Felder’s most awesome rendition of Heavy Metal (Takin’ A Ride). In addition, we get great little 80s tunes like Devo’s “Working in a Coal Mine,” Journey’s “Open Arms,” and Stevie Nicks’ “Blue Lamp.” Truly, if you’re interested in experiencing 80s counter-culture at its fantasized finest, Heavy Metal is the movie to watch.

The Bottom Line: Heavy Metal is not a great movie, but it is a lot of fun. While it has a few vignettes that are clearly cyberpunk in nature, the majority of the movie is unsophisticated SciFi-Fantasy. Still, the visuals and atmosphere are more than interesting, as are the diversity of animation styles. Heavy Metal should be seen more for the vision this film represents from the Magazine. This, as much as anything is responsible for the genre we now call cyberpunk.

Overview: Aeon-Flux, the brainchild of Peter Chung (also the writer/director of the terrific Animatrix short, “Matriculated”), is one of the really innovative and unique animated shows to come out of the United States. We really have to thank MTV for allowing this show to get produced, and then, after realizing that they just couldn’t control it, for letting it go on unfettered for a second season. Aeon-Flux is not meant to be a coherent whole – this postmodern cyberpunk show is as nihilistic as they come.

The Story: Aeon Flux takes place in a truly bizarre near-future setting, in which genetic engineering, body modifications, and excessive self-gratification are the norm – yet these extremes take place in a controlled surveillance society. Nearly all events take place in the utopian city, Bregna, which is controlled by a supreme oligarchy. Trevor (voiced by Vampire Hunter D’s John Rafter Lee), one of the two central characters, is a prototypical mad scientist who, at first seems to have little regard for anything other than his own perverted desires. As the show goes on, we find that he is in fact truly besotted with Aeon Flux, who, in many ways is his complete opposite. Aeon Flux (voiced by Denise Poirier) represents the forces of anarchy, and is continually involved in fucking up Trevor’s carefully laid scheming. Unfortunately for Aeon, she too cannot resist Trevor’s guile, which just as often, leads to her downfall.

Virtually every episode is different in Aeon Flux, but all of them deal with a strange, fast-paced plot that deals with espionage in some way. Episodes usually have the feel of a chess match, where Aeon and Trevor match wits over completely strange and esoteric plots. More often than not, nobody wins. In fact, unlike most shows, the winning and ending itself is rarely important. This is not what the shows are about. More important is the mood, the feel, and the atmosphere that exudes from the visuals, the dialogue and the score.

Spoiler – Aeon Flux Dies…A lot! Well, OK, it’s not really a spoiler. It’s more a fact of the show itself. Unlike most shows, in this one, the star dies regularly. Early on in the long shows, Trevor clones Aeon Flux, so thematically, there is now an infinite number of Aeons just waiting to bite the big one. And while there’s now a “rationale” for the deaths, this isn’t really the point – Aeon Flux isn’t meant to hold together that way. It’s almost as if each episode is completely it’s own show. But if she dies, rest assured it will happen in a truly innovative and gruesome way. It could be drowning in a vat of poisen, getting dropped out of a plane, being eating by bizarre genetically modified creatures, or, well, you get the idea. .

Aeon Flux – the Ultimate Anti-heroine? In many ways, Aeon Flux comes across as the ultimate anti-heroine. While she clearly knows right from wrong, and generally tries to stop the worst abuses, Aeon is an ultra-acrobatic, top-notch action/espionage heroine who works for herself. She’s just as likely to take an assassination job as she is to stop a horrid virus from killing mankind. Did I mention she’s drawn up in ultra-hot, skimpy clothes, and likes to have sex a lot? In this way, she really does qualify as a more female than female character (usually cyberpunk reserves these for cyborgs and androids). Most interestingly, because of Aeon Flux’s propensity for dying, you never know whether or not she’s going to make it through alive, or even whether she’ll complete her mission (she seems to fail almost as much as she succeeds). This really does add an excitement to the episodes.

The Love-Hate Relationship: Aeon-Flux and Trevor have a complete love-hate relationship. Even when they are bent on killing one-another, there is always sexual tension, which while often consummated, never leaves the two characters. Every episode gives us yet another chance to explore their relationship in a completely bizarre way. Trevor is definitely Aeon’s Kryptonite. More often than not, his presence alone is enough to make her botch her mission. However, this doesn’t stop Aeon from ruining most, if not all of Trevor’s take over the world plots.

The Visuals and Cinematography: Aeon Flux gives a number of different looks as the show progresses. Perhaps my favorite are the perspective shots such as the one above. We also get lots of wide angle shots, strange close-ups, gradients, and a number of truly surrealistic sets. Unlike most cyberpunk, Aeon Flux doesn’t really adhere to a single dominating color scheme – but to the extent it does, the blues are more highlighted than the rest. Usually, each episode will have a unique theme that dictates the color choices – often they will take a color palette (oranges, greens, etc.) and detail it out in interesting ways. Some episodes are truly surreal in nature, while others are straight neo-noir. The overall goal is always to innovatively create a far-out intense atmosphere wrapped up in a tightly paced, no-nonsense near-future espionage show. More often than not it succeeds.

The Violence: Much to MTV’s initial chagrin, Aeon Flux is NOT a kids show. This is an adult cartoon in every way possible, including the intense violence. While the shorts are more violent than the half-hour episodes, Aeon Flux is consistently violent. There are leg amputations, deaths by gunshot, poison, insects, creatures, aliens, viruses, et cetera (often to Aeon herself!). Blood and gore are often just a scene or two away. All of this serves to strengthen the near-future but otherworldly atmosphere of Aeon Flux.

The Gadgets: Aeon-Flux is filled with gadgets of all flavors. Most common are body modifications and “biopunk” elements (just learned that word  ). Body modifications include external spinal cord implants, leg jumping implants, conversions of limbs, eye implants, and various compartmentalized bodily storage areas. Genetic engineering is a huge theme in Aeon Flux, far more than the cyber-aspects. We also see repeated instances of cybernetically modified insects who’s function is to inflict a virus of some kind into a target population (Now we know where DARPA got the idea from!). Needles are also a recurring them, and show up everywhere from guns, to security implements, to, um, the operating table.

The Bottom Line: Aeon Flux is one of the really creative shows to come out of United States Television. This show validates the purpose of cable TV – we get to see talented folks like Peter Chung let lose their creative energies to produce something truly unique. And while I normally don’t spend too much time talking about the DVD features, I must on Aeon-Flux – the DVD set is flat-out terrific. I almost put it up there with Errol Flynn’s Robin Hood and The Kino edition of Metropolis as one of my favorite DVD productions of a long-lost show. The commentaries, featurettes, and extras are all terrific on the Aeon Flux DVD. If I had any qualms about whether to give Aeon Flux 8 or 9 stars, the incredible quality of the DVD set answers it for me.

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Overview: Now, surely there must have been some kind of mistake. This is Cyberpunk Review, right? OK. Since when stories of little green men do qualify as such? Surely the mere fact that agent Scully had an implant in her neck does not count for an awful lot.

All true. This particular episode, however, is different. Look at the credits. William Gibson. Ring any bells?

More Than Meets the Eye: It all starts with a rather innocuous shootout at a diner in a drab neighbourhood. Piece of cake, eh? Well, not exactly, as it turns out that one of the victims is in fact a top IT expert and programmer whose death might have been anything less than a coincidence. Soon afterwards Mulder and Scully happen upon a rather charming lady going by the nick-name of Invisigoth, who turns out to be much more than just a leather-clad Trinity wannabe…

The threat, it is revealed, comes from a fugitive AI she and her companions helped to spawn. This synthetic entity seems to have little regard for human life, plus it possesses some rather eccentric habits, such as playing with leftover Star Wars military orbital lasers and residing in abandoned… camping trailers. Needless to say it has to be stopped, although it may yet turn out Invisigoth pursues a different agenda altogether…

Out There: Even if the credits said “Jay Leno” or “Kermit the Frog” rather than Gibson, there still would be a good case to make for the overall cyberpunk feel of this standalone episode. In terms of themes, it is all there- the pursuit of the AI takes place both in our very own “desert of the real” and through the net; agent Mulder even gets to become a multiple amputee courtesy of the malicious program’s VR simulation. More interestingly, the episode deals with the transfer of consciousness- translating a human psyche into digital data in pursuit of a peculiar kind of disembodied immortality. It is at that point one may begin to realise that one of the foremost attractions of the concept of sentient cyberspace entities is that cyberspace begins, to the mind of many, resemble a manufactured heaven of sort, a synthetic paradise for the unbelievers, allowing those of little religious zeal to dream of achieving transcendence. This move to another plane of existence, an ersatz afterlife- may not be explored at lengths here, yet gives a good cause for reflection. Apart from the sentient computer theme there is of course our sweet little Trinity impersonator (prettier than the real deal? I might be getting controversial here…) who also happens to drive a car (1960s Imperial, to be exact) very similar to the black Lincoln in the first Matrix.

Convinced? And then you realise that this episode actually comes from 1998, which is a year BEFORE tha Matrix… So, who’s the copycat, eh Trinity? Guess I should be expecting a lawsuit for these allegations any time now…

The Visuals: While not trying to rival Blade Runner, the visuals are decent for the budget. Being that this is an X-files episode, we shouldn’t expect anything too fancy - the series rarely relies on fancy visuals to generate their mood, or to depict story elements. One of the distinct traits of the X-Files is that they can often make ordinary places or events appear menacing and sinister when placed in the given context - this applies to Kill Switch.

I assure you that, having seen this episode, the next time you’ll see a decaying camping trailer you’re gonna think twice before approaching it. In a way this depiction of cyberpunk is more realistic - inconspicuous locations concealing the drama of furtive technological experiments and computer crime is very much what one’s bound to encounter today. The most important bit - the flow of data - is hidden from the eye. The episode does treat us to some juicy cyberpunk visual elements, including gloomy improvised computer labs, and chaotic nests of cables and wires lit by the dim glow of terminal screens - but nothing too extravagant (aside for a few explosions).

Confirm File Delete: Overall the episode represents a truly interesting foray of the famous franchise into the realms of cyberpunk, courtesy of Mr. Gibson himself. As with many other episodes, the strength of Kill Switch lies in its inherently believable narration, a mixture of the ordinary and the imaginary that made the series famous. The acting is decent- Invisigoth oozes character- and the action tightly coiled into a mere 45 minutes of film. Yet because of the unspectacular nature of the whole thing few will probably have seen and noticed it, even if this is as close as we can get into having a Gibson story made into a feature film, after his Alien3 script got binned long ago. It may not be cyberpunk canon in any way, but do watch it- I swear that after those 45 minutes you’re likely to be craving for more. Which you just might get, as there is another Gibson-written X-File which I will investigate soon…