Westworld simply wrapped up its second season on HBO, and even after 20 episodes, followers of the present like science fiction editor John Joseph Adams are nonetheless no nearer to understanding how the present’s weapons are in a position to kill robots however not people.
“The creators must have some idea how these guns work,” Adams says in Episode 316 of the Geek’s Information to the Galaxy podcast. “Could someone tell us? I want to know what they think, how they work. Because it doesn’t make any sense to me.”
Season 2 features a passing reference to “sim bullets,” which makes Geek’s Information to the Galaxy host David Barr Kirtley assume that there have to be one thing particular concerning the bullets themselves.
“Maybe all the bullets have little incendiary things in them that cause them to self-destruct if they’re flying in the direction of a guest,” he says. “But in one scene they just hold the gun right against someone’s chest, and I don’t see how the bullet’s not going to kill you from that range, even if it is sort of programmed to self-destruct.”
Author Sara Lynn Michener wonders if possibly it’s the weapons which can be particular fairly than the bullets. “You can have a gun that has paintball bullets in it, and you can have a gun that has real bullets in it,” she says, “and the gun determines, ‘All right, who am I aiming at?’, and decides which bullet to release based on that.”
However science fiction creator Anthony Ha says that even when there’s an evidence for a way the weapons work, he nonetheless doesn’t perceive how people are saved protected from different weapons akin to arrows and axes.
“It definitely drives me crazy,” he says. “Do they have safeties on the swords here too? What is going on with this?”
Take heed to the whole interview with John Joseph Adams, Sara Lynn Michener, and Anthony Ha in Episode 316 of Geek’s Information to the Galaxy (above). And take a look at some highlights from the dialogue under.
Anthony Ha on confusion:
“There are basically two main timelines, but what that overlooks is that there are also flashbacks and—we learn later—flash forwards within those timelines too, so it’s not the same as just tracking these two parallel paths. And I think that also ties to the point about some of the plots kind of spinning their wheels, particularly the timeline that’s further advanced and taking place after this flood. There really was not a lot of plot there, so I didn’t understand why—from both a narrative economy and clarity perspective—they didn’t just treat it as a frame story that you see in the first and last episodes. But the fact that you would flash back to that every episode or two and just have Bernard standing there looking disoriented, kind of furrowing his brow and everyone being like, ‘Why don’t you remember anything?’ It did kind of get old after a while, while also, I think, contributing to the confusion.”
Sara Lynn Michener on Westworld’s wealthy characters:
“There are these [wealthy] characters, who are, obviously, kind of awful people, and they went in deciding that they wanted to have this done to them. And then they realized that as soon as they give up the right to their bodies—because they want to participate in this, because they want to reap the rewards—they’re in this hell. Because they’re no longer in charge. They have signed over their intellectual property—literally—to the corporation. … And now they have been reduced to being slaves themselves in these realities that they bought and paid for, not realizing what they had actually signed up for, not realizing the implications. So I liked that, I liked all the moralizing of, ‘You made your bed and now you have to lie in it.’”
Sara Lynn Michener on faith:
“The difference in perspective between me and Dave might be because I was raised religious. Because being raised religious means you are raised in a very specific kind of bubble, where everything that you are told about the nature of reality turns out not to be true. Imagine being raised as a child believing in Santa, but your whole life is about Santa—not just Christmas. And so I feel like I am much more attracted to science fiction that just wants to go full-on metaphysical and talk about how we define these realities and how we decide what’s real, and I’m less interested in the specific details that make it feel real to me. I’m more interested in, ‘Why do the guests feel like it’s real? Why do the hosts feel like it’s real?’”
John Joseph Adams on scores:
“The factor that depresses me is that [Westworld] shall be seen as this standard-bearer for science fiction, as all huge makes an attempt to inform science fiction tales are typically, so when one fails, or doesn’t carry out as much as expectations, it’s an excuse for different producers or networks to not pursue science fiction exhibits. … When a present like this doesn’t do as effectively, it’s extra proof that, ‘Oh no, we shouldn’t put extra money right into a brainy science fiction present, as a result of folks received’t watch it.’ Particularly with the struggles that The Expanse has had. So I believe it’s dangerous information basically for individuals who need brainy science fiction that this hasn’t executed higher, sadly.”