This is a cinematic sci-fi timeline, and effort to create a rich history of advancing technology and the issues, heroes, and morality tales that lead to a moment rich for player character involvement. That moment might be at the end of this progression, or at any point along the way the GM finds interesting.
This isn’t an effort to actually jam all these differing stories into a single continuity, and I am not claiming RUNAWAY is actually the precursor to RoboCop. I am also aware that some of these do have official crossovers (half of then through Dark Horse comics), and I don’t care if I invalidate those either.
Nor am I trying to fit ever science-fiction movie in existence into a single reality. Just a specific subset I feel have some themes and throughlines in common that make for an interesting potential universe.
This is just a thought experiment, designed to place actual inspirations into slots where a pastiche of each *could* form a logical continuous timeline with just a little tweaking.
Each movie includes the year the movie was released, for clarity. No specific set time is suggested for when these movies should occur, but I assume the timeline runs roughly 200 years from 1970 to 2170. The timeline movies forward with each italicized breakdown of how the listed movies represent the events of that point in the timeline.
The Timeline (1970-2070)
Close Encounters of the Third Kind (1977)
The governments of the world come to accept that alien life is real and travelling the stars, but keep the information from the general public.
Crucial moments in the development of the world are impacted by a very small number of time travelers, resulting in multiple, overlapping alternate timelines, proof of some variant of the many-worlds interpretation of quantum mechanics.
The Fury (1978)
Perhaps as a step in evolution, perhaps as a response to the first cases of time travel and alien contact, verifiable psychic phenomenon begin to sporadically manifest. The governments of the world alternate between exploiting and just killing such talents, but needless to say thigns often go poorly.
Aliens continue to visit Earth in small numbers and without the public learning, but such visits are not always friendly.
As technology advances, the wealthy and powerful begin to realize it can be used to control the lower classes, to focus even more power in the hands of the few.
As society groans under the need to provide for an expanding population and worsening natural resources, autonomous robots become increasingly common in advanced societies. Something they go rouge, and must be put down. Sometimes an increasingly tech-savvy criminal class makes use of them.
Suspect Zero (2004)
The number of individuals with psychic powers grows, and organizations begin to form to deal with them exclusively.
A Clockwork Orange (1971)
Predator II (1990)
The pressure on society begins to lead to the collapse of institutions and social norms. As the middle class ceases to exist, the underclass becomes increasingly violent and hard to control. The tiny sliver of the wealthy and powerful, and their increasingly independent corporations, seek to control the masses through any means. This is a rich environment for a small number of alien visitors to exploit conditions for their own amusement or gain.
Red Lights (2012)
Slowly, the scientific community begins to publicly study psychic powers, though skepticism remains high.
Governments begin to collapse and corporations gain more power. This leads to efforts to have corporate-controlled paramilitary forces, and to use cybernetic technologies to enforce obedience on a soldier-servant class.
Event Horizon (1997)
The strain humanity is putting on Earth is clearly unsustainable. The oligarchs and mega-corporations experiment with ways to spread to other worlds, though their reckless willingness to attempt anything that might succeed leads to horrific failures.
Total Recall (1990)
Thanks to advanced in space travel, humanity begin to move to new worlds, though all still within the solar system.
Conquest of the Planet of the Apes (1972)
The need for cheap labor leads to attempts to uplift other simians. But if we made apes intelligent and independent enough to serve as slave labor, they are intelligent and independent enough to rebel. Such efforts are outlawed.
Solent Green (1973)
The world is in near collapse. The upper classes have literally fantasy worlds to play in with their nearly unlimited wealth, while everyone else fights for scraps and is distracted by death sports. Early cyborg technology begins to advance to primitive androids, though these require fairly regular maintenance and human-augmented control.
(If society does totally collapse, a new timeline forms here, with Damnation Alley, Mad Max, A Boy and His Dog, and so on, eventually reaching Thundarr. Our timeline doesn’t go that route.)
Minority Report (2002)
The existence of psychics is publicly accepted, and they begin to be integrated into the government and corporate efforts to control a growing population that is increasingly dissatisfied and dangerous.
Blade Runner (1982)
The total collapse of human civilization is prevented by creating autonomous androids to serve as the ultimate slave labor force, while humanity begins to truly move to the stars. But only those who are healthy and talented are chosen my megacorporations to be shipped off Earth, and it turns out intelligent and independent android slaves have many of the same issues intelligent and independent ape slaves did.
Silent Running (1972)
Robots begin to be replaced by androids in most tasks, though simpler robot technology is more stable. Though some governments have gone to the stars, it is the corporations who have the money and resources to push the boundary of the final frontier. What they find doesn’t always go well for the corporate employees who find it.
Blade Runner 2049
Back on Earth, things still boil (details left out as spoilers for the movie)
Colonization becomes standard, and most android behavior issues are solved. But as humanity’s sphere of influence spreads, so does its interactions with other alien life.
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I saw Blade Runner 2049 with some friends.
I think it does a wonderful job matching the style and world and storytelling style of Blade runner.
This despite doing some things I normally think of as terrible ideas for sequels. But in this case, they were good calls.
I also think it was full of thematic and philosophical nuggets that are more interesting in conjunction and contrast with the original than they would be alone, but going into detail would be spoilers, so I’m not doing that yet.
In any case, I’d be happy to watch Blade Runner 2079 when it’s released in 2052.
This is a spoiler-free review.
Where I am Coming from: I have read, and enjoyed, the Dark Tower books, but I’m not invested in them, their characters, or the story elements. I have no primal need to see any of it in a specific form, so I can’t be disappointed the way I could be by Lensman or other formative stories of my life. To me the ideas are the best part of the Dark Tower, and I am most interesting in seeing those ideas on the screen, rather than any specific character or event.
My Reaction: I enjoyed this movie very much. I found it to be well written, well acted, and well directed. The ideas I am most interested in from the Dark Tower began to be presented (obviously you can’t fit all the neat ideas from a multi-book series into a single movie), and the movie developed some of its own neat stuff, which I think is important for an adaptation.
It also gave me tons of ideas for stories and game elements, which is also a big bonus for me with a movie. There were a very few Easter Eggs I noticed that I enjoyed.
The Audience’s Reaction: The crowd at the theater I was at seemed to like the movie a lot, and their was applause when it ended. On the one hand I was at a super-cheap 11am Saturday matinee (less than $6 tickets) so people might have lowered the bar, but on the other hand the sound cut out briefly a couple of times at the beginning so a lot of people began the experience annoyed.
Of the people around me, I heard one person who specified they loved the books, and one person who said they’d never read the books, and one person who said they normally hated Stephen King all mentioned they enjoyed it a lot. I didn’t hear anyone have anything negative to say, though obviously the majority of folks didn’t share any opinion at all where I would hear it.
My Entirely Anecdotal and Subjective Verdict: I thought this movie did a great job of a very difficult task, and I hope the plans to related tv series and sequels are carried out. Most of the changes made from the source material seemed to be to have been made for reasonable goals, even if I might have gone a different direction with them.
This is particularly good as a source or inspiration for certain kinds of RPG settings, though I can’t say what without adding a spoiler. If you watch the reviews, it should be clear.
In my binary digit-based rating system, it gets a thumbs up.
Much to my surprise, I ended up celebrating my birthday with a small group of close friends by watching the 1931 Dracula, which I had never seen on the big screen, at a local theater.
I hadn’t really realized how much of that movie is staring contests.
Or how much they lovingly focused on the stupid flappy-bat puppets. I am AWARE of the level of technology available in 1931, but I found myself thinking this looked worse than the same thing would have in person (relevant because Bela Lugosi originated the Dracula role in the stage play the movie is based on), and that it was a bad call to keep focusing on it for stretches of multiple seconds. In short, I strongly felt that even in 1931, they could have done better.
And then, the next part of the evening proved me right.
Because in addition to the Bela Lugosi Dracula, the movie theater was showing as a double-feature the Spanish-language Dracula which was filmed by Universal at the same time, on the same sets, with much the same scripts, but at night. When the English-language crew left at sundown, the Spanish-language crew showed up, and stayed until dawn.
I’ve been aware of the Spanish Dracula movie for years, but have never seen a single scene. Since we’d all just watched (and occasionally laughed at) the English, “classic” version, we agreed we’d give the Spanish version 10-15 minutes to appreciate the experience, then go eat.
Instead, we all sat enrapt for the full, longer running time.
No, it’s not a perfect film. I feel Carlos Villarías (credited as Carlos Villar) smiled way too much, but that might well be a cultural expectation of the time or the audience the film was made for. And while Lugosi has well-illuminated staring scenes, Villarías has the forehead-crinkle- extreme-close-up-cam. And some goofy things from the English language version’s script make it into the Spanish one.
But overall, it’s just a stronger film. Some is the fact it’s lighting is working with the schedule of shooting at night, and some was the director could literally watch the dailies of the English language film and see what did and didn’t work. The longer running time also works better for a bit of backstory (though not TOO much, since it still has an out-of-the-blue “It’s a good thing we killed that vampire, offscreen, without even suggesting we might do so” scene). But it’s also just a better shot, better acted, better directed film.
And the silly, floppy bats are used MUCH better. They are flashed by the screen so fast you don’t have time to notice how stupid they look. Or they create shadows, and we only see that sign they exist. What they DON’T do is hover in screen shot after shot, driving home how undangerous, undramatic they are.
A neat experience I never would have managed back in OK, and that I didn’t plan much in advance. A great birthday outing.
Then, we went to Shari’s and had birthday pie.
Here’s my geek-tinted review of San Andreas. Mild spoilers.
First, this isn’t mostly about the quality of the movie. I like cgi disaster porn, and this was a good example of that genre. It gave me everything I wanted in that regard. If the idea of liking “cgi disaster porn” resonates with you, this movie should be fun. If you want more out of the movie than that, I make no promises.
I’m not saying it’s particularly believable, but at least the giant earthquake movie does focus around a major known faultline, and it doesn’t turn the silly up to 11 by having the east coast fall into the ocean or something.
It DOES have a takeaway I loved.
This is a movie that celebrates things I want to be celebrated by pop culture. The heroes are most often reward for being smart and educated, rather than strong or deadly. Indeed, the heroes never kill anyone. Rescuing people, most often through skill and logic, is the thing that allows the heroes to prove they are brave and heroic.
Scientists are rewarded not for magically fixing things with ray beams, but for running experiments to test theories, understanding the world around them, and using that knowledge to inform people.
No, the science may not be great (though it is better than “mutated neutrinos,” not that such a bar should be hard to clear), but the methods and ideas are recognizably sciencelike. Being at a university is heralded as something positive and awesome.
Also, none of the main female characters are powerless. Without their direct action, everyone else would have died at some point in the movie. Yes, The Rock is the main star, but after him it’s a team effort, and it’s very clear his daughter is the next most crucial protagonist. She gets off to a slow start. But after that her knowledge and decisions making keep people alive (a fact noted by other characters in the movie).
These are trends I approve of.
As a geek who loves largely mindless cgi disaster porn, I give this a d10.