| Appleseed and the Evolution
of Military Affairs
†
October 2008
In the traditions of science fiction
anime the film Appleseed (Aramaki, 2004) is a statement
about the power of technology, its positive influences, and the
consequences of its potential abuse. These ideas span from the development
of bioroid clones for a utopian society, to the consequences of
atomic energy, as shown by the film’s establishing scene of
a world devastated by nuclear power.
As an institution the military is no
exception to these consequences of technology, and is often the
facilitator of much scientific development, of which the rest of
a given society benefits or otherwise suffers.
As the genre dictates, weapon systems
feature prominently in Appleseed and are therefore worthy
of analysis in relation to related cinematic themes. It will be
shown that they serve a far greater purpose than simple aesthetics
alone.
With the evolution of technology comes
a making of history and its primary role as an instrument in politics.
While differing cultures and ideologies clash, these technologies
are central and must be examined in regards their role to achieve
those ideals.
Appleseed has the theme of
utopia at its core but also reminds us, as Richie comments of Japanese
cinema’s capacity to display:
“a unique view of the human
dilemma, and has interpreted this predicament with honesty and
insight.” (1971: xiii)
The site of struggle without resolution
will show a need for further evolution and through escalation, there
is an increased potential for conflict.
In merging future possibilities with
the familiar of the contemporary, Shirow’s original work depicted
in Appleseed presents a technological platform from which
to cross over from the factual world into that of fiction, making
the content more plausible to a growing technically savvy audience.
In this way, the distance between science fact and science fiction
recedes.
Modern television and Internet broadcasts
have permitted audience familiarity with technical concepts like
night vision, computerised targeting and weapons systems. In Appleseed
the accurate detailing of such technologies creates credibility
with the viewer. Furthermore, providing a genuine connection with
existing technology and brands provides industries with inspiration
for real world development. A classic example is the “communicator”
in Star Trek and the advent of the mobile phone.
With weaponry and its development inevitably
comes the question of its utalisation in society. Appleseed
provides a point of contemplation in regards the two paths this
can take – one being gunboat diplomacy which Kegley defines
as: “a show of military force, historically naval force, to
intimidate an adversary” (2007: 477), the other being escalation
of arms through proliferation. Opposing sides of a technologically
advanced culture, it is presumed, are aware that simply attempting
numerical superiority will only need to wars of attrition. The answer
is often found in gaining a technological edge over one’s
adversary.
The artwork of manga, which inspired
the film, is suggestive of technological evolution. This kind of
evolution functions both thematically and as a continuing plot device
for Appleseed. For example, the mini-gun on the cover of
the second volume depicts an archaic revolver type receiver with
a classic exposed hammer, which is redundant due to modern day mini-guns
being electrically powered. No manual operation is required.
While a purely aesthetic appeal can
be argued, it also raises the question of our having not progressed
far as a race, despite the technology involved. The revolver is
also highly recognisable.
Miller details the V-22 Osprey “tilt-rotor”
aircraft from Bell-Boeing, the real world aircraft inspiring Shirow’s
own Appleseed (2002: 418-21) aircraft. It provides the
convenience of vertical take off and landing of a helicopter, while
“tilting” the engines permits economic and fast flight
of a fixed wing aircraft. This comes as a result of evolution of
pre-existing fixed wing and rotary wing technology, primarily driven
by military application.
Other examples demonstrate the evolution
of technology through new applications or adaptations. For example,
a connection can be made between the real world power loader manufactured
by Caterpillar, being improvised by Ripley in Aliens (Cameron,
1986) as a weapon.
In adding armour, weapons and a computer
suite the landmate of Appleseed can be envisioned. Combine a SWAT
team of the contemporary world with such technology and the audience
can easily contemplate the ideas visually depicted in the E-SWAT
presented to them.
While there is a desire to achieve a functional perfection in the
design and in the application of a given piece of technology, such
as a rifle, or an aircraft, the central theme of Appleseed
is gaining societal utopia. Technology is a tool called upon to
achieve this goal.
The utopian world of Olympus is one
that forms a co-existence between humankind after a nuclear holocaust,
and synthetic human clones known as bioroids. Their in-built suppression
of emotions that lead to war permits peaceful living.
“The Tyrell Corporation invents
replicants in order to have a more pliable labour force” (Ryan
& Kellner 1990: 63) in regards Blade Runner (Scott,
1991 Director’s Cut) The bioroid technology in Appleseed
essentially plays out the same role.
When rogue elements of the human controlled
military destroys a major bioroid facility the Elders decide to
reintroduce bioroid reproductive capabilities, which requires the
deceased Doctor Gilliam’s hidden Appleseed program. This in
essence makes them more human. It is proclaimed the bioroid technology
is introduced to “create a shining paradise for us all”.
These would therefore reinstate the notion of perfection in society.
Of Aliens and Blade Runner,
Byers comments of “their insistence on the dehumanisation
necessary for human survival in a world dominated by mega-corporations.”
(1990: 45) Likewise, Appleseed presents these themes and
suggests that in the striving for perfection there is a great cost,
and that cost is often our humanity. The very choice we have to,
for example, wage war, feel emotions that lead to conflict, are
in fact the essence of our humanity.
Blade Runner “deconstructs
the oppositions – human/technology, reason/feeling, culture/nature”.
(Ryan & Kellner 1990: 63) There is inevitably disruption in
trying to strike the balance. This is confirmed with competition
for authority, such as there is between the Prime Minister Athena
, herself a bioroid, and the human rebel general in Appleseed.
The quandary presented is – technology
enabling the desired utopia is also the key to maintaining an ongoing
struggle. This is physically manifest in a military coup. While
technology can strengthen a political outlook, wherever humans dwell
subterfuge will also potentially undo allegiance.
Additionally, as combat shows with
Deunan, advanced artificial intelligence is no match for human ingenuity.
This only adds to the potential for violence if humans themselves
have not had that aspect of their being suppressed.
Kelts recalls the shoreline scene in
the film where Deunan embraces the cyborg Briareos (2006: 218).
While technology permits life to continue, it also slowly eradicates
what it is to be human in the heroine’s lover.
Wherever there is human sentiment
involved ego is sure to rise to the surface. Appleseed presents
this most particularly in the mecha technician Yoshi. It also draws
attention to the need for humans to maintain the machinery and provide
optimum performance. In an argument with Briareos Deunan retorts,
“stop answering me like a damn machine”. Anger leads
the heroine to kick the locker door. Perhaps the best statement
on the failure of technology is that Deunan’s father died
of an illness before the war. Technology was unable to save him.
Resulting tension, both external and
internal, between humanity and technology, and of life and death,
produce a string of events interweaving common tropes.
“The relationship between man
and his surroundings is a continual theme of the Japanese film.”
(Richie 1971: xii) This includes the struggle mankind has with the
environment they have created, between the utopia envisioned and
the less than perfect reality on the road to obtaining it.
Technologically based institutions
create the potential for an abuse of power. Where there is free
will there is the potential for dispute. The technology simply allows
for force behind a given argument. This has its basis in human capacity
for free will, as opposed AI programmed functionality.
Struggle is often isolated or explained
as the utalising of ineffective technology or ineffective use of
advanced technology (mechanical power), and a need quality intelligence
and clever tactics (human traits).
Lessig discusses the contemporary issues
of a “balance” between control versus freedom in regards
technology, and the resulting “tension affects the incentives
for innovation” (2001: 176-77) In Appleseed, this
is demonstrated by life in Olympus in the attempt to maintain society
order to the benefit of the greater good.
Anime “reflects many of the same
concerns found in contemporary American science fiction, such as
the recurrent focus on robotics, artificial intelligence, and the
consequences of the unchecked development of these technologies.
(Telotte 2001: 113) Here, Telotte’s comments refer to the
need to counter potential rivals, whether they are commercial or
military in nature.
When either of these two aforementioned
balances are lost a potential for conflict exists. Out of the perceived
necessity for struggle comes the potential for conflict and therefore
the disruption of the status quo.
“The bulk of science fiction
cinema has been produced since the dropping of the atomic bomb,
which demonstrated the massively destructive capacity of some
scientific developments.” (King & Krzywinska 2000:
17)
The film begins with what is considered
the greatest threat of our time – nuclear devastation.
In Appleseed, as with the
human fear of the bioroids, and technology’s general capacity
to enable violence there is the notion that autonomous technology
is dangerous.
“Computer networks or machines
threaten the extinction or slavery of the human species in the
worlds envisioned by The Terminator (1984) and The Matrix.”
(King & Krzywinska 2000: 16)
Yet there is also the potential, through
viruses, for technology to undo technology. As our lives become
more and more reliant on technology, it can have an existentially
negative affect on our lives.
The science fiction film presents a
number of threats to humanity. The Terminator (Cameron,
1984) presents the machine as threat, while Aliens uses
the biological, and in Blade Runner, it is the cost of
a capitalist system. In Appleseed it is a rogue human element
that challenges the utopia world of Olympus. Technology plays a
role in all of these films, as a core to conflict and resolution
across the collective theme.
“The monster created by
the bomb requires the bomb to kill the monster. This is the circuitous
logic of the arms race.” (Noriega 1987: 67)
In the same way this concept is central
to the monster film of 1954 Japan, the bioroid is central to the
utopia of Olympus in Appleseed, yet rogue human elements
appear to disrupt the status quo. The technology of peace is the
incitement for war.
Through a vicious circle in the application
of technology Appleseed presents a pragmatic view of a
utopian world. Without conflict resolution there is a self-perpetuating
vicious circle of violence. This film makes a clear statement that
perfection is impossible, and will always be questioned. It reminds
us that, no matter how powerful technology becomes, it cannot change
fate, or take us back in time.
Like many films worthy of contemplation,
Appleseed offers up many questions but does not presume
to answer them. It simply reminds us that technology is central
to human destiny and it our responsible to decide how it is utalised.
It takes a multifaceted role in the development, suspension and
defining of human evolution, as much as humanity takes those roles
in technology’s evolution.
By Leon T. Harrison for FILM 233, Victoria
University, Wellington
Bibliography
Byers, T. (1990) Alien Zone: Cultural
Theory and Contemporary Science Fiction Cinema ‘Commodity
Futures’ Kuhn, A. (ed.) New York & London: Verso pp. 39-52
Kegley, C. (2007) World Politics:
Trends and Transformation (11th Ed.) California: Thomson Wadsworth
Kelts, R. (2006) Japanamerica:
How Japan Pop Culture has Invaded the U.S. New York: Palgrave
MacMillan
King, G. & Krzywinska, T. (2000)
Science Fiction Cinema: From Outerspace to Cyberspace London:
Wallflower Press
Lessig, L. (2001) The Future of
Ideas: The Fate of the Commons in a Connected World New York
& Toronto: Random House Inc.
Miller, D. (2002) The Illustrated
Directory of Special Forces London: Salamander Books Ltd.
Richie, D. (1971) Japanese Cinema London:
Martin Secker & Warburg Ltd.
Ryan, M. & Kellner, D. (1990) Alien
Zone: Cultural Theory and Contemporary Science Fiction Cinema
‘Technophobia’ Kuhn, A. (ed.) New York & London:
Verso pp. 58-65
Telotte, J. (2001) Science Fiction
Film: Genres in American Cinema Cambridge: Cambridge University
Press
Films
Aramaki, S. Appleseed (2004)
Geneon
Cameron, J. Aliens (1986)
Twentieth Century Fox
Cameron, J. The Terminator
(1984) Orion Pictures
Top ^ |
