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Tracklist: 1. Blind Romance 4. Seinen Himitsu Club 5. Their spoken tongue has free word order and many levels of centre-embedded clauses. This all amounts as evidence that the aliens can put very complex ideas into short sentences which partly explains how they can be so far ahead of humanity in technological achievement. Louise Banks deciphering the alien language. Obviously, we are not designed to understand the language of an alien race whose brains — or whatever governs their consciousness — have developed in an entirely different environment to that under which life on Earth has proliferated.
Arrival poses that we may only ever achieve a unified theory of physics after fundamental restructuring takes place in our grey matter so that we may simultaneously look at things from at least two angles, like how a quantum computer runs dual processes because the bits of information used exist in superposition; where a bit in a conventional computer is either at position 1 or 0, a quantum bit is both.
Our brains are constrained to the former, a binary system. We can work on a calculation or write a sentence, but not both in parallel. The Heptapod written language consists of fluid symbols that reflect fully formed sentences with neither beginning nor end.
To write these symbols using a kind of antigravity ink gas — or liquid that floats when exposed to their atmosphere — they need to know the entire thought. Where it starts and concludes, and how much space it will occupy. Like writing a sentence on the page using two hands from left and right, before meeting in the middle. The world on show in this film does not understand the visitors with ease, and resultantly it fears them immediately. As time stretches on with only nuggets of progress made at twelve landing sites around the globe, tensions increase to a frenzy amongst the human populace.
Riots break out, nations stop sharing information, and political radio DJs call for a show of force. Just the mere presence of an unknown outsider breeds bedlam and hysteria. The crazed reactions of the people while the aliens wait benignly is a damning indictment of our short attention span, instant gratification culture. Are we even capable of executing the long-term thinking necessary for saving the planet? Many suspect the aliens are turning us against each other, although they arrived in mile-high, monolithic Kubrick-ian ships, as if aiming instead to usher humanity into a new and exciting epoch.
Despite travelling untold trillions of miles to reach us the ships refrain from properly landing, preferring to leave around thirty feet of space between them and our soil.
It is degrading to think of cinematography as the beautiful singles and sweeping landscape panoramas, when its use for the construction of a scene is far more paramount, if far less noticeable. The breathtaking shot seldom goes unmissed even by a neophyte filmgoer. But what came before, what comes after it?
And how does that influence what is sandwiched in between? Young shoots what should be a genre flick with deep intimacy, where Louise remains in focus as the outside world is often obscured, sucking us into her mission and absorption in alien tongues. We are exclusively exposed to muted, cold colours outside of the scenes between Louise and her daughter, which meld a void of loneliness with the warmth of hope just beyond frame.
The gift is their language because — as we learn through flash back scenes to Dr. Louise ultimately writes a book about the alien language because she understands it so completely, thereby sharing the gift with the world. There are many such words in Dutch and other languages that have no direct translations, which partly proves the notion that our language defines and limits how we can think. It cries out for its audience to recognise that knowledge is preferable to ignorance; better to face the hard truth than find solace in a reassuring fable.
By this point the daughter, Hannah, has not yet been conceived, although her arrival as a newborn opens the movie. And she chooses to live it anyway, exhibiting supreme hopefulness in the face of lingering sadness and despair. Their pilgrimage to Earth is a last-ditch plea for humanity to play its role in a non-zero sum game, where they will help us insofar as we might return the favour. Louise Banks fumbles in the abyss for answers. I now defer to J. Capable of both inflicting injury, and remedying it.
Magic fascinates us because it is a way for humanity to wrangle back control over lives governed by an indifferent universe. We are forced to question the inherent power of mystery and unquantifiable truth.
That due to the intrinsically limited scope of the human mind, seeing might not always be enough to believe. Our world, with its maelstrom of varying political, social, religious, and economic institutions — as well as language barriers — is not equipped for a re-evaluation as humbling to human existence as the sudden revelation that we are indeed sharing this universe with a species far more advanced than ourselves.
Nonetheless, there is great evidence to conclude that we are — if not alone — the most advanced intelligent species in the Milky Way. Humans stand alone as stewards of both the planet, and most likely our home galaxy as well. We may not be the first intelligent species to have flourished, but are almost certainly the current guardians of that honour.
We owe it to ourselves, and the wider cosmos, to put aside our petty differences, to avoid what drives us apart and instead focus on what brings us into harmony. All it takes is people willing to listen, free of the desire to retaliate. You are the only person on the planet.
The closest human soul is hundreds of millions of miles away and hurtling further every second. Anyone who might be able to help thinks you are dead, and it would take years for them to enact a rescue plan, regardless. This planet is inhospitable; there is no life, what little atmosphere remains would kill you in seconds, and temperatures plummet below degrees at night.
You have no way to communicate, and obviously, no way to leave. Then again, I am not Mark Watney, astronaut-botanist extraordinaire with a self-belief to rival Usain Bolt in an egg-and-spoon race. He is the star of The Martian , a man left for dead on Mars after a scientific research mission turns sour. His fellow astronauts aboard their ship, the Hermes , are not told until much later that he is alive, and thus Watney is forced to put his intellect to the test, or face certain death.
The movie, just like the book which I legitimately could not put down , presents a series of problems that have to be solved. How do I grow food in soil unfit for crops [finds answer]; how do I make water from rocket fuel and air [finds answer]; most importantly, how do I survive only being able to listen to disco for two years?
The answers to these questions are grounded in real science, at it is the sense of discovery in every moment that gives the film its spark. It is enthralling. In fact, this might be the first action sci-fi film where no one dies. Watney, played by Maaaatt Damon, is infinitely likeable without overstaying his welcome.
Money is no object. The movie takes place over three locations. The stakes are immeasurably high. On Mars, Watney could literally die at any second if the Hab pressure gives out as it inevitably does , and he begins to show signs of the heavy toll taken in his bid for survival.
However, it is the weight of the earthbound effort — and insistence — to dedicate untold fortunes in order to save one man that is made all the more powerful by the fact that such an undertaking would happen in reality. Instances of global sacrifice towards a single cause are littered throughout history; look at how the world responded to the earthquake that devastated Haiti.
Mark Watney is saved in a triumph of human guile and ingenuity, exemplified by one man in the most hostile situation imaginable, and in the thousands of minds back on Earth sacrificing months of their lives to ensure his struggle is not in vain. When Mark finally manages to board the Hermes , roughly days after being left behind, he becomes living proof of what we are capable of. A US Presidential candidate — campaigning to become leader of the most powerful nation on the planet — simply has to avoid stating a belief in something like the theory of evolution to even have a chance at victory.
You do not need to be trapped on Mars for a life guided by reason to be fruitful. The Martian makes science sexy, relatable, and fascinating; it is films like this that one hopes can change the widespread perception of science being incompatible with everyday life. Besides panoramas of the gorgeously desolate Martian landscape, the only reused shot is of sprouting plants. The first comes after Mark has worked out how to grow potatoes inside his basecamp, showing a tiny, dew-covered stalk protruding from the arid soil.
Mark lovingly caresses it with an outstretched finger, a sign that hope remains. The second use comes in the penultimate scene, with Mark now safe on Earth some years after being rescued; Mark sits on a bench in a University campus park, realising that a similarly miniscule leaf sits between his feet, surrounded by pebbles.
A single region of hope amongst the rubble and ruin, a meagre potential for new life amongst the trees. Everything matters, and yet anything can be forgotten. Amidst the optimism of unparalleled cooperation between minds to save one man, this image acts as a reminder that life goes on no matter what.
Humans are more than capable of working together to achieve wonders, the space race of the s proves this. But on the flip side is what we truly allowed to happen in Haiti; devastated by an earthquake five years ago, the initial surge of international support did little to curb the problems, and Haiti remains in disarray to this day. Our own lives are the extent of our concerns, and few truly care about others.
The Martian is the ideal in this respect, the potential of our compassion as opposed to the reality. We are the pebbles, we are the arid soil. We disregard the potential — what humanity might achieve — because it seems an impossible goal requiring too much sacrifice.
Ours is an age where we have abandoned the maxim of adventure as if it has no value. Adverse to John F. It has its ups and downs. For these reasons you can read The Martian as propaganda the kind I completely agree with. The reality is that on its current course NASA will be putting the first humans on Mars in the late s. In The Martian the third mission to Mars is taking place in , and they have spacefaring vehicles far more advanced than what will actually be used.
This film is what Interstellar wanted to be. It is closer to home and still far-reaching, emotionally poignant without being manipulative, and a manifesto for change with goals we are more than capable of reaching. Ridley Scott has made his best movie in years, combining his best filmmaking traits: the hyper-realised world of alien landscapes a la Blade Runner and Alien , alongside the moment-to-moment joy of watching intelligent, funny characterisation unfold on screen, epitomised in Thelma and Louise.
While I have focused on the science aspect, I cannot imagine anyone not liking The Martian because above all else, it is a joyful love letter to our immense capabilities as individuals and as a whole.
Think Apollo 13 on steroids. What we do know is that no one wants to make an educated guess. The world of The Martian is the ideal that can certainly be our salvation. Our perception of time is boring, and we think of it as little more than a routine around which to plan our lives.
And yet everything we do is based on time. How long will it take? Could I spend my day doing something more worthwhile? Do I really want to spend my lifetime with this person whom I love? From this foundation stems many moral quandaries when those aboard the spaceship have their perceptions of time essentially obliterated, also blowing apart all notions they have of what it means to be alive.
They have to deal with their intellectual duty to the mission conflicting with their intensely emotional responses to the trials they face, and have to overcome the logistics of science versus faith. What happens when these scientists, who crave certainty and facts, have to begin to try and quantify abstract notions such as love, which fly in the face of all logic and reason?
Interstellar explores this soulfully, exposing the beating heart of our humanity which often goes amiss, yet always connects every one of us across unfathomable distances of separation. In practical terms this allows the craft to generate its own simulation of gravity using centripetal force. In metaphoric terms, however, its twelve pods oscillating around the centre distinctly resemble a clock. It is a constant reminder of what little time the crew have to save the human race, due to the laws of relativity.
Not only that, but it is rugged in appearance, cobbled together over many years using spare parts. There is severe instability during spaceflight, and the ship is not even capable of re-entry into an atmosphere.
Interstellar is an old-fashioned voyage tale for the modern age, where escalating fears of climate change and unsustainable population growth permeate everything and still go relatively unnoticed. You wonder if we may soon have to face the same impossible choices. Before he leaves, Cooper hands his daughter a watch. It is a symbol of his love for her, and the circularity of time that is essential to the story.
Both forces are the only things that can instantaneously permeate the vast distances of space, the film argues. Nolan has a profound respect for the image on screen, not only the dialogue. The emblematic resonance of some shots of the watch, natural forces, dust patterns, and on and on and on is beautifully poignant, and another standout feature of Interstellar.
The implication of the poem is that the father chooses to give in anyway. However, in contrast, Interstellar optimistically proposes that in even the most catastrophic of scenarios, if the light is slowly dying in one place, a reasonable substitute may be found — and as long as the people we love are there, what real complaints can we have. But there is no rage here, just a can-do attitude punctuated by cold science.
Whether that will be enough to help us is another question. For a moment now I am going to segue from typical review parameters, in part, in an attempt to provide a condensed taste of the ideology that flows through this film, as well as bring my piece to a close worthy of my adoration for this remarkable movie. Mankind has had the compulsion to explore ever since it left the cave. That nomadic instinct took us to every corner of our planet, across oceans, and through the skies.
But this tiny journey is incomprehensible in relation to the rest of the Universe, even our own galaxy. The expanse of the unknown stretches far, far beyond the depths of our comprehension. We deserve to do better than just footsteps on the Moon. You never reach the sky I'm your killer I'm your sinner Deep in your heart this night We kill! Black demons in the sky I'm your sinner I'm your killer Your soul be mine tonight Before my resurrection Oceans of blood I drink for you Dark lords scream from the darkness Last fight for me and you In darkness demon shadows fly For your extinction In blood they're bathing like insane Your last damnation 4.
With no further use for the Mini-Cons, he murdered several of them and tried to capture Skyfall and Landquake , whom he had plans for; Revelations Part 5 The Coming Storm: Part 1 by eliminating the Thirteen , Unicron knew he could put Primus in a vulnerable position and thus best him.
Unicron's profile in Club magazine 10 However, before Unicron could achieve victory, Primus was reawakened, and the dark god fled as Cybertron transformed into its robot mode. Revelations Part 6.
In an alternate universe , after being left for dead by the Decepticon warlord Megazarak , Optimus Prime 's corpse was cloned by Unicron to create Nemesis Prime. Nemesis Prime spent his entire early existence being tortured by Unicron so that he could be molded into the perfectly loyal herald.
Through the tortured clone, Unicron was able to create the Dead Matrix , a weapon capable of slaying his hated opposite, Primus. Nemesis Prime's profile Balancing Act, Part 2. Unicron granted Treadshot new power, which Treadshot planned to use to kill Ultra Magnus and Over-Run once and for all. Ultra Magnus vs. Treadshot toy bio. In Spacewarp 's home reality , Ulchtar sacrificed himself against Unicron.
At some point, Spacewarp sneaked in and out of Unicron's docking bay, a feat she considered miraculous to have pulled off.
Unicron was later pulled into the Unicron Singularity. This character article is a stub and is missing information on their fictional appearances. You can help Transformers Wiki by expanding it. At some point, the Transcendent Technomorphs of Nexus Withered Hope.
Rhinox explained within the Primax These events, as well as an earlier, undefined event related to Megatron , resulted in the creation of yet another splinter timeline, Primax This universe overwrote the universe home to said dimensional travelers. In the distant past, the planet Earth formed around the inert body of Unicron. On Cybertron , Unicron was known as the planet's ancient enemy.
A book that would eventually come to be held in the Trinity Library spoke of Unicron being the core of Earth. Somehow the Cybertronian sorceress Quintessa had discovered Unicron's resting point and hit on a plan to restore Cybertron by draining the life from Unicron to revive the planet, sending both Megatron and a brainwashed Optimus Prime to Earth to reclaim the device she needed to complete her plan. In preparation, Quintessa moved Cybertron into Earth's solar system, its presence causing Unicron's six horns to sprout on the Earth as he reacted to the presence of his old enemy.
Growing at a rate of three meters a day, the horns were a sign of a great scientific curiosity and mass panic across the globe. Sir Edmund Burton and Cogman recognized the horns for what they were and took them as a sign of the apocalypse. Enough of Unicron's life force had been sent to Cybertron however that it had healed most of its damage to the point that the Autobots felt they were able to return to their homeworld.
In the aftermath, several human scientists were examining one of Unicron's horns only to be approached by Quintessa in a human guise.
She warned them against touching the horn lest they incur Unicron's wrath but offered them a way to kill the Chaos Bringer. The Last Knight. Starscream encountered Unicron 12's Star Screams in an event where Unicron attempted to devour Cybertron. Both Barricade and Ironhide were also aware of Unicron's existence.
His sheer might scared them. In an alternate timeline where Megatron won the battle of Mission City, Stockade and his Decepticon chums attempted to rebirth Cybertron by sending out a summons that would attract any entity related to the lost AllSpark , and then drawing that entity into Cybertron once it arrived.
As that entity announced itself to be "Unicron the Anti-Life! Return to Cybertron: Part 2. Unicron moved swiftly, transforming Cybertron into a scarier looking physical form and causing the planet's surface to becoming hostile to the Transformers on it. Stockade's attempts at communication were met with contempt and a strange attack. Return to Cybertron: Part 3. The downed Autobots regrouped with Stockade's Decepticons and worked to take away the Nucleon that was powering Unicron's physical form.
They succeeded in this by causing it to blow up and catch fire, which caused Unicron to draw on more Nucleon to recover, which fueled the fire and so on until the source ran out. Unicron disappeared, though whether he was dead or just gone is ambiguous. Return to Cybertron: Part 4. Either way, the changes Unicron had made to Cybertron remained. The teleportation equipment he'd created was used by the Autobots to finally end the war.
Revolution Part Three. Multiversal singularities did not exist in the Malgus Cluster. In the Uniend Cluster, Unicron was the ultimate enemy of Primus , until his defeat at the hands of the Thirteen.
Floating in the cosmos, structure began to form around Unicron, until he evolved into the planet Earth.
Special Chapter. Legendary super rockers the Knights of Unicron named themselves in honor of this demonic entity. Knights of Unicron. Vector Prime considered it distasteful that the Knights of Unicron would name themselves after something that was very much not a joking matter. Vector Prime noted that the non-Singularity Unicron of Primax In many universal streams, the local iteration of Primacron built his universe's version of Unicron, one that was typically not part of the singularity.
Vector Prime was unsure if the number of universes destroyed by Unicron was a quantifiable number as once Unicron consumed a universe, little remained to prove that it ever existed. However, some destroyed universes, such as Primax While on an inter-dimensional mission to Primax High Noon. After the Autobots defeated the Decepticons on Earth and had secured the majority of the Mini-Cons there, Unicron made his appearance above Cybertron, intent on destroying the planet.
Optimus Prime's team of Autobots and the Mini-Cons returned home via a warp gate to see the Chaos Bringer unleash a wave of destruction upon the great cities of their planet. The Autobots flew into Unicron's maw and blasted their way into his energy core, damaging it enough to send Unicron spiralling out of control and destroying him. In his attempts to stop Scorponok and the other Terrorcons from retrieving Megatron, held deep within Unicron himself, the Chaos Bringer dispatched many units acting as his automated defenses.
Among these were Pods, weak individually but strong in numbers; Tentacle Pods, more advanced versions of the previous units possessing ranged attacks; slow moving but strong Tendril units; heavily armored Spiderbot units; and immobile but powerful Shocktowers.
A final unit, The Cortex, held Megatron captive. Once The Cortex was destroyed, Megatron was released and Unicron was defeated. Transformers Energon: Battle for Megatron. One of Unicron's horns was visible sticking out of the ground within one of Earth's cities. Transformers: Forged to Fight. Vector Prime noted that most Quadwal universes were not in danger of being consumed by Unicron as most Quadwal Unicrons were small and made of plastic.
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