6 mins read

Love, Death & Robots, the review

In recent days it has arrived Netflix the highly anticipated anthology series Love, Death & Robots created by David Fincher And Tim Miller. We are talking about eighteen episodes of varied duration, between 5 and 20 minutes, made up of different animation styles ranging from traditional 2D to photorealistic 3D with computer graphics. Without beating around the bush too much, Love, Death & Robots is exactly everything we were waiting for from a TV series: Fincher and Miller totally break the rules of seriality, creating a product that embraces cinema, video games, comics and series. A vast production which almost always has as its underlying theme the self-destruction of the human race, framed as a fallible, stubborn species, destined to be submissive and so vain that it is unable to follow the simplest rules for survival. In all this there is also the loneliness of man, the sensitivity of the machine and the paradox at the basis of life itself.

There science fiction it is used in this series as the scalpel of a skilled surgeon – and in this case there are two “mad” scientists – who dissects and deconstructs the human being; it makes him less of a machine, turning his fortunes in violent plots where the contrast between life and death becomes even more ferocious. A scenario based on the ferocity of the most primordial feelings and instincts such as hatred and fear, desire, ___ it’s love. There are those who fight for their lives, those for revenge and those for a feeling as pure as it is made rotten by the society that is staged.

An archaic yet modern science fiction, based on metaphor, archetype and symbols that change shape as this series comes to life on our screen. Love, Death & Robots thus becomes the personification of everything we are experiencing when it comes to seeing, listening or playing something.

Everything is told to us through different stories: concise stories, from the most satirical to the most dramatic, from the most ironic to the most shocking. Probably the word that sums up this series, which usesanimation as a format, it’s really shocking. Love, Death & Robots is a series that rewrites the rules of seriality; actually, no, it abrogates them and puts us face to face with a language that can no longer be considered unique and analyzed through the usual canon. A language that is a new form of communication, expression, representation achieved through the union and communion of multiple languages ​​put together. This is because in the world we live in today, constantly bombarded by input generated by different media, it is impossible to be able to reason through one and only language. The world expands, evolves, is encoded in millions of symbols and Love, Death & Robots tries to represent precisely this event through animation.

There will be episodes that you will want to become video games, such as Sonnie’s Advantage, Beyond Eagle, Mechanized Suits and The Secret War; other episodes with narrative and aesthetic beauty worthy of a film, which overflow with empathy, such as Good Hunting or Zima Blue; still others that, as we saw in the most recent Spider-Man: Into the Spider-Verse, multiple animation techniques blend together, such as The Witness; and still others where the political, satirical and social factor are everything, such as Three robots, The dominion of yogurt and Historical alternatives. The formula of Love, Death & Robots is very simple: the short story. That type of story that is easy to watch, for any type of viewer, but which aims not to be easily forgotten. We go back to the past, to the very first two seasons of Black Mirror, where the story completely surprised the viewer, combining the story with a very high and unprecedented typology of language and visual representation.

If you are a lover of Fincher’s cinema and the work done by Miller, both in video games and in cinema, it is easy to understand how the series takes inspiration from the eclectic and provocative genres that influenced the training and approach to storytelling of these two artists, in turn supported by a team of experts in the field of animation from all over the world: professionals and animation studios with unique perspectives of their kind.

Hybrid animation for adults which, in its often brutal nature, knows how to surprise in the refinement and violent effectiveness of its episodes – almost all of them – ready to slip into our bowels to squeeze them, so as to excite us, exalt us, disturb us. Episodes that are often too fast but which can hurt much more than entire seasons without rhyme or reason, leaving a significantly higher degree of satisfaction. A wonderful experiment that brings Netflix and the team that worked on this project onto the podium of revolutionaries. A big, big, middle finger to everything we’ve seen up to this point. We are now in the midst of the Cyberpunk era where animation, science fiction, sensuality and violence come together in a triumph of excellence and suggestion that leaves you breathless and, let us tell you: we hope we are only at the beginning!

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