At least two of Russian film director Andrei Tarkovsky's films have contributed significantly to the fabric of science fiction films and video games.


Sakuya, the first of the humanoid Coralians to be sent by the Scub Coral to communicate with humans

Solaris Edit

Main article: Wikipedia:Solaris (1972 film)

Eureka Seven Edit

See Setting of Eureka Seven

A being of global size, capable of unearthly feats, of alien motive, driven to contact humans but doomed to conflict with them. The being is compelled to send a series of humanoid simulacrum to make contact with a humanity that can never fully commune with its consciousness. Eureka Seven's main plot, which remains below the surface for most of the series, is a direct correlation to the story "Solaris" by Stanislaw Lem. Solaris' second adaptation was produced by Tarkovsky as a 1972 film.

The being: Solaris, a planet of polymorphous biomass which sculpts itself into new shapes as though these movements were thoughts across the surface of a giant brain. Even the brain motif is continued with Eureka Seven's Scub Coral (brain coral). The Scub Coral, however, is much more unpredictable, with its sudden tremors and tremendously fast growth.

The use of the name The Zone is of course a reference to the area cordoned off by the military in Tarkovsky's other famous film, Stalker

Stalker Edit

Main article: Wikipedia:Stalker (1979 film)

Stalker (video game series) Edit

See Wikipedia:Stalker:Shadow of Chernobyl

It was not deemed necessary to provide a science-fiction premise for The Zone in Roadside Picnic; Boris and Arkady Strugatsky's intention, when they wrote the short story that would become Stalker, was that the force that lay within the Zone was literally beyond human comprehension, and so an origin for it was simply out of the question. However, the writers of the video game Stalker:Shadow of Chernobyl and its sequels Clear Sky and Call of Pripyat provide such a convincing and revealing look at a heavily militarized forbidden zone that the sacrifice is not in vain.

As must be considered inevitable for a first-person shooter, even one with roleplaying game interaction, there is an increase in government and mercenary military activity, and those Stalkers who came seeking enlightenment or magical gift are instead seeking power exclusively, in the form of shards that grant the unearthly powers of the Zone.

Animatrix Edit

Beyond bedeviled dog Animatrix

Shadows ooze up the body of a dog in the weird zone where The Matrix' laws of have broken down. Probably the most sinister image (but also the one that most forcefully tells the story of the Matrix glitch's unearthly power) in an enchanting tale in which contentment, musing and disenchantment replace the usual forced emotion of most drama

See Wikipedia:Animatrix

Beyond, the short animation in the Animatrix compilation by Wikipedia:Kōji Morimoto, uses Stalker's concept of an area where the usual laws of physics do not apply, or are warped. As with the Stalker video game series, the source of this disturbance is overt rather than unstated. Where the video game chose its premise, the Animatrix entry works within the framework of the The Matrix series. The disturbance is played to inspire the awe of magic, and the events in the short are related to the questions of novelty and mundanity raised by the original Matrix series.

External links Edit

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