Robot Anime Sad
Subscribe to the ANN Newsletter • Wake up every Sunday to a curated list of ANN's most interesting posts of the week. read more
Science fiction boasts a rich history of making audiences ponder how different people's lives would be in a future of new technologies. The more profound sci-fi stories don't only imagine how cool or even convenient it would be if certain technologies existed; they also speculate on how these technologies could shape our understanding of ourselves and the world around us. Take robot artificial intelligence (AI), which, for simplicity's sake, I'll be referring to as just robots. Wouldn't it be super convenient if robots did more of our work for us? Couldn't it be dangerous to rely too heavily on robots? Questions such as these, which concern the role of robots in humanity's future, are a staple of the sci-fi genre. The answers arrived at vary: some stories paint post-labor and post-scarcity worlds built around robots; others warn about robots not only replacing our work, but humans altogether.
Is a prime example of how not all robot sci-fi is about the horror-tinged extent to which robots would and should replace us. Sure, the show does touch on those Terminator concerns, but in lieu of how alienatingly mismatched robots are to humans, Vivy is, through a life and a song, a different tale of a journey of robots becoming more human, and what these journeys of robots communicate about humanity.
Robot, Sad, Think, Tires, Art, Hd Phone Wallpaper
Robots are an increasingly essential part of people's lives in the futuristic world of Vivy. In a making of sequence reminiscent of the opening scene of the Ghost in the Shell film, one robot, labeled straightforwardly as Diva, is lauded as the first autonomous construct of its kind. Diva's creators, clad in sterile-white lab coats, task it to make humans happy with its singing. Unlike more straightforward tasks that don't require subjective parsing to achieve success, music is an art that's hard to get right through strict measurements and procedures. Despite its not-exactly-human design, Diva's head creator is curious as to how it will connect to human audiences with its seemingly impossible geas: sing from the heart. The singing robot is assigned to an amusement park, but it initially fails to draw many people to its concerts.
Hope springs through in the one human girl whom Diva makes a fan, though that accomplishment seems to be based less on the quality of its performances and more it helped her out when she got lost once. The girl, Momoka, remarks that while Diva's singing is really beautiful, other parts of its performances come off as stiff, stilted, robotic. She's also not so happy with calling it by its perfunctory label. Rather, she opts instead to call it by the same name of a human girl from one of her favorite picture book stories: Vivy. Momoka tells Vivy that it, or rather, she, should study human beings more closely to understand their emotions and improve her performances.
Not long after, an AI named Matsumoto crashes into Vivy's life, claiming to be from the even farther future and asserting that Vivy is humanity's only hope. Apparently, in a hundred years, the robots, more advanced and numerous, would go Terminator and kill all humans. His white labcoat stained mortally red, Matsumoto's creator sends it back into the past to work with Vivy, convinced she is the Conner to stopping the coming robot apocalypse.
The Top 10 Saddest Mecha Anime Of All Time, Ranked
Initially, Vivy is not convinced of the claim, neither trusting Matsumoto about being from the future nor believing that stopping the apocalypse has anything to do with her. Thus, Matsumoto frames its call to action as an extension of her purpose: no one's going to be happy about her singing if they're all dead, right?
The kinds of deep questions sci-fi tends to pose about robots tie the genre to different branches of philosophy, most prominently ethics and existentialism. Existentialism is Vivy's primary concern. Existentialism explores the issue of individual purpose, addressing at the basic level queries like Why do we exist? and Why should we continue to? Life might get rough at times, and if living requires suffering and hardship, what should we as individuals endure life for? These questions are especially relevant for people living through harsh times like the post-apocalypse. The state of panic and distraught at the inability to provide satisfactory answers to these questions is an existential crisis.
Sci-fi likes to lob existential questions at robots because of a handy feature of their nature that makes them suitable to these penetrating inquiries: unlike human beings whose individual purposes are subjects of debate, robots often come with preexisting external ones. Simpler robots might find error and malfunction if they end up contradicting their purpose or recognizing its impossibility, and that expectation birthed the trope of humans tricking robots into short-circuiting with a logical paradox. For more complex robots, however, the impossibility and/or contradiction of their built-in purposes might produce something more adjacent to a human meltdown. When robots are programmed with autonomous functions – regardless of whether those functions' original intentions were meant to be purely practical – they become susceptible to existential crises much like human beings. NieR:Automata and
The 17 Most Depressing Anime Endings That Left You Dead Inside
Vivy also throws its titular robot MC into an existential crisis in a setting that, while not quite a post-apocalypse yet, will become one in the future if she and Matsumoto don't do anything about it. Her actions to prevent the apocalypse lead to a contradiction of her given purpose, and she is beside herself when she realizes it.
After proving it's from the future by recalling an event from the previous timeline – and then using that information to save a life – Matsumoto finally convinces Vivy of the truth and compels her to help willingly. Thus, while heading off red flags, Vivy begins her hundred-year journey. She meets various figures, both human and robot, who leave deep impressions on her.
The first arc involves a politician advocating for robot rights, and terrorists attempting to assassinate him for it. At this arc's heart is the question of whether robots are persons enough to deserve the same treatment as human beings. Both sci-fi and philosophy have ruminated on the possibility that there may be beings somewhere in the universe, now or sometime in the future, with intellects and agencies not dissimilar to humans. The current criteria for human rights narrowly imply that the reasoning and moralizing capacities that justify equal protections belong only to humanity, so philosophy offers a broader term that also can encompass aliens and robots: personhood. That said, can a robot ever be considered enough of a person to deserve the same humane regard as a human?
The 10 Saddest Anime To Watch Right Now
The pro-robot rights politician initially doesn't believe it himself. He advocates for his stated cause insofar as it earns him the support of influential robotics companies who stand to make a killing. But after witnessing Vivy right after preventing his killing, declaring with every fiber of her being and swearing on her robot pride that she will not stand being dismissed for trying to save people so they can listen to her sing and be happy, the politician believes he's seen enough humanity or personhood in robots to push earnestly for his robot rights bill. With these initial events, Vivy begins really stretching the bounds of her purpose from just singing, though it is suggested that her ability to draw concert crowds has significantly improved because of that. A fire has been lit in Vivy that makes her attitude towards her given purpose move beyond simply robotic.
The second arc involves a pair of lifekeeper robot twins and the same anti-robot terrorist group. This arc, plus subsequent others, provide more examples of personhood among robots outside of Vivy. The twins Estella and Elizabeth are sister bots who were separated shortly after their creation and lived drastically different lives. A well-maintained and cared for Estella takes it upon herself to manage a space hotel left behind by her no longer living owner, while an abandoned, half-scrapped Elizabeth attaches herself to a terrorist who decides she could be useful.
Like Vivy, the twins stretch the bounds of their given purposes. Estella decides by herself to continue carrying out her owner's dream of showing humans the wonders of space, even after her owner passed away without any clear will. Elizabeth, on the other hand, decides to continue serving her terrorist master even as he plans to sacrifice her for his cause, hijacking and crashing the hotel into the Earth, destroying herself while dooming robot kind to human hostility. Elizabeth's actions prove her capacity for very human emotions: she shows love when she later disobeys her master's wishes to go down with the hotel too, urging the other terrorists to take him and leave her to face Vivy; resentment when she faces her sister Estella, who seemed to have a grand time being employed and wanted while she was discarded and neglected until her current master rediscovered and repurposed her. Both twins are robot lifekeepers whose current lives challenge the parameters of their
Sad Kids In Giant Robots Anime Alignment Chart! Sorry If It's Hard To Read :(
Vivy also throws its titular robot MC into an existential crisis in a setting that, while not quite a post-apocalypse yet, will become one in the future if she and Matsumoto don't do anything about it. Her actions to prevent the apocalypse lead to a contradiction of her given purpose, and she is beside herself when she realizes it.
After proving it's from the future by recalling an event from the previous timeline – and then using that information to save a life – Matsumoto finally convinces Vivy of the truth and compels her to help willingly. Thus, while heading off red flags, Vivy begins her hundred-year journey. She meets various figures, both human and robot, who leave deep impressions on her.
The first arc involves a politician advocating for robot rights, and terrorists attempting to assassinate him for it. At this arc's heart is the question of whether robots are persons enough to deserve the same treatment as human beings. Both sci-fi and philosophy have ruminated on the possibility that there may be beings somewhere in the universe, now or sometime in the future, with intellects and agencies not dissimilar to humans. The current criteria for human rights narrowly imply that the reasoning and moralizing capacities that justify equal protections belong only to humanity, so philosophy offers a broader term that also can encompass aliens and robots: personhood. That said, can a robot ever be considered enough of a person to deserve the same humane regard as a human?
The 10 Saddest Anime To Watch Right Now
The pro-robot rights politician initially doesn't believe it himself. He advocates for his stated cause insofar as it earns him the support of influential robotics companies who stand to make a killing. But after witnessing Vivy right after preventing his killing, declaring with every fiber of her being and swearing on her robot pride that she will not stand being dismissed for trying to save people so they can listen to her sing and be happy, the politician believes he's seen enough humanity or personhood in robots to push earnestly for his robot rights bill. With these initial events, Vivy begins really stretching the bounds of her purpose from just singing, though it is suggested that her ability to draw concert crowds has significantly improved because of that. A fire has been lit in Vivy that makes her attitude towards her given purpose move beyond simply robotic.
The second arc involves a pair of lifekeeper robot twins and the same anti-robot terrorist group. This arc, plus subsequent others, provide more examples of personhood among robots outside of Vivy. The twins Estella and Elizabeth are sister bots who were separated shortly after their creation and lived drastically different lives. A well-maintained and cared for Estella takes it upon herself to manage a space hotel left behind by her no longer living owner, while an abandoned, half-scrapped Elizabeth attaches herself to a terrorist who decides she could be useful.
Like Vivy, the twins stretch the bounds of their given purposes. Estella decides by herself to continue carrying out her owner's dream of showing humans the wonders of space, even after her owner passed away without any clear will. Elizabeth, on the other hand, decides to continue serving her terrorist master even as he plans to sacrifice her for his cause, hijacking and crashing the hotel into the Earth, destroying herself while dooming robot kind to human hostility. Elizabeth's actions prove her capacity for very human emotions: she shows love when she later disobeys her master's wishes to go down with the hotel too, urging the other terrorists to take him and leave her to face Vivy; resentment when she faces her sister Estella, who seemed to have a grand time being employed and wanted while she was discarded and neglected until her current master rediscovered and repurposed her. Both twins are robot lifekeepers whose current lives challenge the parameters of their
Posting Komentar untuk "Robot Anime Sad"