Doing shots in Chinese – web comic page 33.

Page 33

I knew that this would happen. As I crank away at chapter 2, I get more immersed in this world of Hong Kong 2, the society and the culture. It has begun to affect my aesthetic sense of how this world looks and feels. I’m sure that when all the chapters are collected into a final volume, I will want to go back and make modifications, not unlike a director does when the work print is viewed for the first time. Sometimes you have to bring back the actors and and reshoot some scenes. But this scene is NOT one of them. In fact, page 33 would probably slotted-in as one of my favorites, It was a bit of a trick to pace out the dialog.

The breakdown

Hopefully you have been following each pages as we have progress thus far, and have been zooming in for all the additional detail. At the end of page 32 we were introduced to the Chinese symbol for “cheers.” It’s important to note that because as this panel evolves we have a couple of modes of time transpiring. First there is the dialog, punctuated with “finish”.  Then there is the before-and-after of the bottle of Eau de Vie.

The happy ending of a bottle.
The happy ending of a bottle.

干(乾 Traditional)is used when a couple of homies are having a cup of beer together. It’s more casual and sort of a masculine word, sometimes even a little aggressive. So it is not commonly used if there were ladies present. It literally means “finish (the cup)”.  It’s pronounced like something between “gone” and “garn”. There is really no exact vowel in English like that in Chinese. Plus Chinese, includes a tone-change that English just doesn’t have.

To be completely precise, I should include 干杯(乾杯)This is the literal translation for “cheers.” However, it is most often used in formal settings or with acquaintances, toasting together. It is more polite and less aggressive. Again the first character sounds like something between “gone” and “garn”. The second one reads “bay”. This one sounds pretty much the same. So when pronounced it’s  — Gānbēi! It’s a bit reminiscent of the Japanese “kanpai.”

As with most Asian translations it’s alway a bit hard to decide which way to go but my translator Linxiao Sun, suggested to go with more of the guy | guy translation since it’s a more macho spin for a couple of buds doing shots.

OK, enough of the Chinese lesson. There is a bit of interesting backstory here which flavors the society as a whole. As you read in the very early pages of the story, people can choose to live—forever—if they want. This can be a blessing and a curse as we will delve into a bit more later in the story, since the eternity thing puts a totally different framework on the idea of life, family, career, and even appreciation for being alive at all. This also sheds a bit of light on Techman’s past.

The view, of course is from above, peering into the shielded cage that Techman constructed to keep the surveillance out of his workshop and private meetings private. Hopefully you are not afraid of heights. Cheers!


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Defining cyberpunk and the alignment with Blade Runner.

The debate rages. Well maybe not “rages,” but its still going strong. I saw a rant a few days ago about how someone’s photo that they posted on reddit did not qualify as cyberpunk, because cyberpunk is not a “look.” You can find these rants almost daily by scrolling around. Hmmm. I discussed in a previous post why I believe that The Lightstream Chronicles is more aptly described as cyberpunk or sci-fi noir, than a standard science fiction crime thriller, and I provided some solid back-up for that conclusion. The reddit community defines it as this:

TL;DR: A genre of science fiction set in a lawless subculture of an oppressive society dominated by computer technology. Some would say it’s the world we live in today (but remember; it’s easy to get caught up in the romantic idea that our cyberpunk aesthetic is becoming a reality and forget that its a dystopic fate).

So, the group admits that there is, indeed a cyberpunk aesthetic, but it also sounds like that in, and of itself, is insufficient to satisfy—it needs the whole mélange to go with it. I have been reading a fascinating recap of the making of Blade Runner, in a book that is now out of print, entitled (interestingly enough) Future Noir: The Making of Blade Runner, by Paul Sammon. The author goes through almost every frame of the movie and provides comprehensive details on every aspect of the film from inception to its current cult status. Sammon (325) describes the films tie to the cyberpunk genre this way as a “a clearcut product of the 1980s”

“Cyberpunk also utilized many of the same narrative devices as Blade Runner; cyberpunk fiction was typically set in a sprawling megalopolis of the near, dark, and decadent future, pitted hard-edged, street-level outlaws against omniscient (and corrupt) corporations, and viewed emerging hypertechnologies with equal portions of fascination and distrust. And despite its air of superficial diffidence, cyberpunk—also very much like Blade Runner—was, at heart, essentially moral art, deeply concerned with all the flaws, compromises, and ethical choices that will always haunt humanity no matter how exotic or futuristic the background against which human dramas are played out.” 1

Yeah, baby. That’s what I call cyberpunk, and The Lightstream Chronicles is all about that. Hence, I am less of a stickler about whether or not the cyberpunk aesthetic contains the whole mélange. I think there is a cyberpunk aesthetic and it is indeed all around us. You can see what I’m talking about on my tumblr site.

Blade Runner-sm
Out-of-print, but you can still find it. If you are a movie geek this is must reading.

Sammon also wisely quotes Bruce Sterling from his introduction to his Mirrorshades anthology.

“Cyberpunk is known for its telling use of detail, its carefully constructed intricacy, its willingness to carry extrapolation into the fabric of daily life. It favors ‘crammed’ prose: rapid, dizzying bursts of novel information, sensory overload that submerges the reader in the literary equivalent of the hard-rock ‘wall of sound’ (Sammon 325).”

If you follow that line of thinking you can also see why design fiction clearly emerges as an offspring of the overall genre. Personally, I think design fiction is at its best when it is playing on the edge of dystopia; mainly because society lives precariously close to that edge everyday and the emerging “hypertechnologies” that Sammon alludes to only take us closer to falling over that edge.

1. Sammon, Paul. Future Noir: The Making of Blade Runner. 1st ed. New York: Harper, 1996. 325. Print.

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Even cyberpunks can appreciate a little brandy.

Page 32

Last week we learned about headjacking. Nasty business. Today, its about brandy — much more agreeable topic.

This week we settle in as Techman produces the mysterious treat that he has asked Sean to stick around for. It turns out to be a bottle of 150 year old pear brandy. What’s unusual, (besides the age which means it was bottled in 2009) is that most 22nd century libations are replicated from molecular blueprints. If you want a bottle of 100 year old cabernet from the south of France, er, French New Asia – and you have the New Asia yuán, it is instantly dispensed from a beverage replicator. Purists claim that it’s just not the same as the real thing, so this bottle is pretty special. I chose a real brand here, Subarashii Kudamono which is real Asian Pear brandy that you can find in some states in the U.S. The fruit is grown here in the U.S. The name means “wonderful fruit,” and the pears are awesome. I designed the brand identity for this product, worked on the website and the packaging.

Real stuff. Click to enlarge.
Real stuff. Click to enlarge.

Panel 2

Sean, though he is 18 is a wee naive when it comes to partying so he’s a concerned that he might get drunk. Techman puts him at ease by reminding him that with the right sequence of  “taps” via his luminous implants, he can adjust his body chemistry to mitigate the buzz. (But why would he want to do that??)

Panel 3

There’s a free Chinese lesson in panel 3 as the duo toasts the equivalent of cheers, in the city’s native tongue.


Zoom opportunity:

Check out my cordial glasses that I designed a few years back but could never find anyone to produce them. More here.

Cheers. Or should I say 干?

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Mysterious gizmo in T-Man’s cyberpunk workshop

Page 31

Sean and his pal are securely sequestered in Techman’s copper-enclosed cyberpunk workshop free from the ubiquitous surveillance of the New Asia government and HK2 Police. There’s no need for five pocket jeans in 2159, because Sean can tuck his mysterious liquid circuit into the self-healing fabric of his bodysuit.

In panel 3, Techman invites Sean to stick around for a treat of some sort but Sean is a little concerned that he might get caught in Downtown after curfew. The air taxis and magshuttles stop running at 2300 hours and no one in Downtown is allowed on the street. Most of the synth brothels, bars, and V-parlors will let you stay the night—for a fee—but doors close promptly and usually automatically at the appointed time. You can also find a few pod hotels, but I wouldn’t recommend them.

Sentinel Synths and Enforcer Drones are the only ones you will find on the street after hours—except, of course, outlaws and ne’er do wells that prey those who have missed the shuttle and can’t duck into a parlor or pod hotel for the night. Things don’t bode well for those hapless souls.


Synth Sentinels: nasty but stupid. Hi res available here.
Synth Sentinels: nasty but stupid. Hi res available here.

The criminal element in the cyberpunk world of Downtown Hong Kong 2, is robust, but the after hours street criminals are in another league entirely. These consist of roving gangs of synths who were twisted by local gang-lords to rape and/or torture their victims while recording everything from the victim’s perspective; a process called head-jacking. A small device is clamped to the back of the neck directly over the victim’s chipset and the memories of the incident—complete with all five senses—are recorded. The experience is then sold on the black market. Depending on the quality of the device and trauma level, if the victim survives the crime, headjacking can result in partial or total memory erasure, and in some cases, death.

Headjacking is a capital offense.

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Inside Techman’s cyberpunk workshop. Comments on The Lightstream Chronicles web comic.

 Page 30

Thanks. You’ve made it to page 30. Now that we are inside Techman’s workshop you’ll probably find some interesting things to look at. Since one of T-Man’s income sources is antique 21st century electronics, this was my opportunity to douse the scene with lots of props, from phones, to cameras, Macintosh computers, headphones, copy machines and more. Yes, that is a 17″ MacBook Pro, (already an antique). I have also thrown in some 22nd century technology as well. Hopefully, you are downloading images from the web comic page and you have used the zoom tool to it’s full capacity on page 29 because there’s lots to look at there as well.

We also get the opportunity to see why Sean made the trip to DownTown in the first place. The “implant” and “thumb chiller” were interesting projects to work on.

Of course it's a liquid circuit.
Of course it’s a liquid circuit.

The tiny anodized chiller can be opened telepathically and the data is in liquid form, so it has to stay cool until it is implanted. At this point, the significance of this liquid circuit is unknown. If you zoom-in on the final panel, you’ll see a scrolling hologram that serves as the serial number for the little guy.


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