![]() ![]() However, irrespective of whether an episode is completely sci-fi or not, we cannot help but point out the notable presence of at the least a scientifically driven world. Through a dream-like depiction of a ghostly waterbed in the midst of a desert, the episode ends in tragedy. If Coleridge’s words, “ willing suspension of disbelief” to let the fantastic takeover, holds any truth, it is in Fish Night from the first season. The engine becomes equivalent to warmth and deserving of embrace while the tall grass field of unknown evil. Tall Grass from the second season, for instance, is of a popular folklore nature, although without the absence of a Midas-touch of technology altogether. Many of the episodes are also renditions of stories that bring the supernatural and the traditionally fantastic into play. ![]() A willing suspension of disbelief… A still from Fish Night Meanwhile, when humans are only aiming to make better slaves of technology, only the “machine-awareness” is awaited in this period of double-edged advancement to reverse the dichotomy of humans and machines. Glimpses of their lesser-developed ancestors scattered around who had once been slaves to humans further satirizes this dichotomy. …their design… …and their origin, in Three Robots In another episode of similar nature, Life Hutch, from the same season, depicts a conflict between a human and a robot. The malfunctioning was so immense that there was no way other than the destruction of the hostile machine, for the question was of either the machines’ life or the human’s. The very first episode of the second season, called Automated Customer Service, depicts, for instance, a home-cleaning “Vaccubot” turning against its owner. Horror, wherever emergent, is mostly due to human creation i.e. Such postmodern horror is characteristic of most of these episodes, from both seasons. A still from Three Robots The horror! The horror! With its dimension of ease, machines also come with ranges of complexity, resulting in horror for one of one’s own creation. The horror element, then, mostly arises from this idea of machines, turned on its head. We find the descriptions of machines in humankind going back as early as to the invention of wheels. Machines -akin to humans created for the service of Gods in Sumerian mythology- came into existence to ease human lives. ![]() Most of the stories in the series narrate a near-prophetic conflict of humans and technology, not impossible shortly. If we were to generally summarize the series as a whole, we would notice that elements of horror recur frequently. However, such an assumption nullifies by the time one reaches the end. The initial impression one could get upon viewing it was that it lacked the intensity, characteristic of the first season. This one ranged to only eight episodes in total. The following year saw the airing of another season of Love, Death + Robots. Each episode showcased highly the imaginative quality of these stories. Undoubtedly, these stories were as fascinating as they could get, ranging to different premises. They largely dealt with the science-fiction genre but were not restricted to it. These stand-alone episodes were animated adaptations of short stories. The first season aired with eighteen episodes in total. Love, Death + Robots is a Netflix TV series that saw its debut in 2019.
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