The skies are pitched black, darkness has fallen across the land, and the only form of light comes from countless flames; always burning fiercely with no sign of dying down. Amid the blaze lies a figure shrouded in shadows, traversing the fires unfazed, unmoved. In their hand lies a small round figure, otherwise unrecognizable from the sheer dimness of the scene. They move closer to the flames. It’s a man. He is still covered in shadows, but a red light can be seen from his left eye. Before anymore can be perceived, the scene cuts to a city, with the camera panning across the metropolis. The city: Los Angeles, and despite the infinite amount of lights and vehicles in the area, it looks the opposite; dark and barren, almost lifeless.
Blade Runner: Black Out 2022 is an animated short directed by Shinichiro Watanabe, as part of a three-short series detailing key events that take place between the original Blade Runner film, and the 2017 sequel, Blade Runner 2049. Black Out occurs three years after the first film, where the powerful Tyrell Corporation have manufactured and released ‘Series 8’ Replicants (androids), all purpose-built with a natural lifespan. However, the desire for autonomy rises amongst Replicants, leading to the Human Supremacy movement. Their aim: Find and kill these Replicants. Despite being artificial humans, the Replicants are the ones in danger and on the run, especially given that their identities are all registered for the public to find. The short specifically follows two Replicants, Iggy and Trixie, as they attempt to wipe out the registry. What entails is as action-packed and thoughtful as what you would expect from the Blade Runner franchise in a 15-minute short.
The original Blade Runner is considered one of the most influential science-fiction films ever made, delving into the implications of technology on the environment and society through the guise of an action plot on the surface. In Black Out, these implications are prominent here through the sheer imagery alone; the city of Los Angeles coming off more like a corporation than a city of people; it has control over atmosphere, giving this general sense of omnipresence and paranoia whenever the city is shown. This, along with a near complete absence of natural life makes the setting look more like a wasteland despite the obvious advances in technology present. The humans in Los Angeles are also shown to have no sense of care or empathy for Replicants at all, further emphasizing how the Replicants appear more relatable and “human” than our own species. One of the humans working alongside Iggy and Trixie reflects on this, stating how humans are stupid and selfish creatures compared to Replicants.
Identity is another prime theme feature in Black Out in regard to Replicants in general. In one of Iggy’s flashback, Replicants were shown to have been used as pawn soldiers to fight each other on opposing sides, identified through labels on the eye. Iggy intends to destroy this sense of purpose from his own identity by destroying the registry; the one thing that separates him from humans in the public eye. Trixie also wishes to be seen as a human, but in this short, she’s fighting her own little dilemma. She, like Pris from the original, were created purely for entertainment, highlighted here in the first scene Trixie appears in. This is further emphasized as her appearance then is strikingly similar to the doll she carries with her. It is not until later where she ditches the doll to fight alongside Iggy where she asserts herself as more than a lifeless toy. This defining moment could have used more time for better focus and overall progression, but it is a worthwhile attempt with a 15-minute duration. Her short exploration was to me, similar to Motoko Kusanagi from Ghost in the Shell, a franchise inspired by the complex themes, visuals and unconventional plot of the original film.
Perhaps the best part of Black Out is the production side; it looks incredible. Despite being animation, the short carries on the same unique visual style and neo-noir tone from the live-action, whilst also bearing similarities to other cyberpunk anime like Ergo Proxy. The blend of different animation styles works wonderfully here and never feels out of place. The fight scenes here were technically sound matched with incredibly fluid animation. Watanabe’s direction during the action scenes is also stellar, but then again this is the same guy who directed anime the likes of Cowboy Bebop and Terror in Resonance. The short also manages to pay homage to these two shows with some scenes as well. The soundtrack is also noteworthy, being a nice blend of Blade Runner’s eerie melodies and jazz-inspired themes from Bebop. Never stands out but compliments many scenes very well. The ending song, “Almost Human” is a great tune to end the short off with, further adding to the overall aesthetic along with nearly every other technical aspect. It is rare to find a show that able to depict a specific atmosphere and mood that both brings viewers out of their comfort zone, yet keeps them intrigued with what they’re watching, and Black Out is a great example of this.
Blade Runner: Black Out 2022 exceeds expectations for what it is able to do in 15 minutes. There are some issues with the story and pacing, and I would have liked to see more in the way of characters despite adequate background knowledge was given on them, but at the end of the day those complaints should not stop you from watching this. I’m still amazed at how it manages to be so thoughtful and use symbolism reminiscent of the original film. And even if the thematic part of it does not interest you, the action scenes and overall presentation is worth seeing as well. As a fan of the franchise I am satisfied with this entry and look forward to how it relates to Blade Runner 2049.
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