implicit art

art and ecology, fiction and geek stuff, culture and philosophy, parenting and life, etc

implicit art
25 May 2003 by nathaniel

reloaded (not very good, but waiting for sequel)

So I went to see The Matrix: Reloaded yesterday, being the geek I am, and I thoroughly
enjoyed it.
Needless to say, the graphics were "out of this world" and the continuations
and contradictions of what we were led to believe after the first movie
are what made it interesting. I do, however, have some complaints:
First, the way it worked: monologue, fight, monologue, fight. Fight, fight, monologue.
What I loved about the first movie is how we "discovered" The Matrix:
its rules, and which could be bent or broken, by being shown them in well written/active
scenes. This movie just tells us a history that would have been
far more compelling in other ways. I want to know more about the Keymaker, Merovingian,
the Architect, the Oracle, etc, but in their actions rather than speeches about
them…
Along those lines, what happened to a lot of the things that we learned in the
first movie? "When you see an Agent, RUN – unless you are The One."
Why, then, is it not such a big deal that both Morpheus and Trinity decide to
fight some? And how in the hell do they manage to win / get away (this goes more
for Morpheus, since Neo saved Trinity)?
And Neo, although he should not "just fly away," should have, and use,
a lot more power than we see in this film. If Agents and The Twins are still governed
by Rules, and Neo is not, why can’t he do everything they can and more? Make himself
intangible, jump into bodies, copy himself, etc…
Future predictions:
How many of the exiles really want to help? Or how many are just programmed to
do things? Or how many are double agents? Who gets to live on (did the Keymaker
help the other Ones?) or be deleted or killed?
More importantly:
Is Agent Smith a new kind of anomaly? He becomes more "human"
(choices and breaking of rules) each time he encounters Neo. I believe he is the
Gollum of the story, in a lot of ways – he has a "part to play – for good
or evil – yet." Both he and Neo’s love of Trinity are the major
differences in this storyline (as opposed to the previous Ones).
Another:
The Oracle seems to have picked up on something beyond love and choices, too:
FAITH. This is what drives Morpheus. This is what makes Neo able to be a superhero
(by simply believing that he can). "You’ve made a believer out of me,"
is the last thing she says to Neo before they part. Perhaps it is Faith in humanity
(or the human-ness of choices and love), in non-systemic existence, who
knows? But we’re going to see this Faith played out, big time, in the next film.

RSS feed
Email list
Amazon
Facebook
Facebook
Twitter
Visit Us
LinkedIn
Google+
Google+
Academia.edu
YouTube
YouTube
Instagram
Flickr
Wikipedia
Posted in pop culture. RSS 2.0 feed.
« faciality
politics of imagination »

Categories

Tags

aesthetics alice wilds art artist feature avant-garde books briefiew coding comics concern culture digital studio drawing ecology engineering fantasy fiction goods for me google ilona andrews jon horvath kate daniels milwaukee mo gawdat nathaniel stern paduak philosophy public property reading review sean slemon self-enjoyment Steve Martin syllabus sharing teaching technology TED TEDx trees urban fantasy web-comics webcomics whitehead world after us writing

nathaniel’s books

Interactive Art and Embodiment book cover
Interactive Art and Embodiment: the implicit body as performance

from Amazon.com

Buy Interactive Art for $30 directly from the publisher

Ecological Aesthetics book cover
Ecological Aesthetics: artful tactics for humans, nature, and politics

from Amazon.com

All content © 2026 by implicit art. Base WordPress Theme by Graph Paper Press