Is it time to talk about preposterously unrealistic punching? Because there’s an awful lot of it in Altered Carbon, a show that seems to revel in fight set pieces to the point of tedium. In each of these fight scenes, it appears to me that every single punch and body blow would be enough to kill, or render unconscious, the punchee, and break several metacarpals in the puncher.
This Netflix show has been trumpeted as a possible multi-year juggernaut ratings winner, Game of Thrones style, not that Netflix ever talk about viewing figures. If they make another series, and another, I guess we’ll know. It’s been well-reviewed: by Tim Goodman of The Hollywood Reporter, for example, and it’s one of a string of high profile genre shows that seem to be taking the TV world by storm. We’ve moved on from Cops and Docs and Lawyers to time travellers, space pirates, and cyberpunks.
I should be pleased. And I am, to an extent. Travelers is a great little show, full of human warmth and twisty plot lines; Star Trek Disco is a fairly triumphant return for Trek, give or take the last two episodes of the season; and Stranger Things is interdimensional MK Ultra-tastic fun. On the other hand, The Expanse, while glossy, is beset by plot pacing issues and dreadful dialogue; and the returning X-Files is mostly pathetic and confused.
So what of Altered Carbon? The premise is straight out of 90s cyberpunk: people are more or less immortal, if they can afford to keep growing new bodies, and their memories and personality are stored in “stacks”, solid state drives essentially, that live in a strangely vulnerable position in the back of their heads. The series is based on a 2002 novel by Richard Morgan, which I haven’t knowingly read, but the premise is familiar enough to someone who’s been reading SF for as many decades as I have.
It’s a dystopian, Blade Runner-alike world, and the series production design is a straight rip-off of Ridley Scott’s 1982 classic film. Furthermore, the jargon bandied about by the characters is similar enough to sound familiar: stacks and sleeves vs. replicants and skinjobs. But whereas the extreme fights in Blade Runner were a result of the replicants’ exceptional strength, the bodies fighting in Altered Carbon are supposed to be human (though one of them gets a bionic arm).
Anyway, super-soldier Takeshi Kovacs is woken from a 200-year hibernation by a rich immortal in order to investigate the murder of one of his
skinjobs sleeves. Turns out, he’s been dropped into a cop’s body, and this cop’s partner Kristin Ortega wants him back. There’s your set up, and there are other interesting elements: a hotel run by an AI that thinks it’s Edgar Allen Poe; interrogations taking place in virtual space; naked clone fights like something out of an 18-rated Matrix movie.
But the parts are greater than the sum, and I did not ever warm to this show. For a start, I find it hard to understand who benefits from this dystopia. I mean, it’s a horrible fucking world, and the rich people live in the sky above the weather and all, but they don’t really seem to be enjoying themselves. Yes, a minor point, but the main thing I couldn’t get past was all the fighting. It seemed as if there were about three set pieces per episode, and though lots of minor assailants get their stacks blown out, and our main characters seem to get horribly beaten up on a regular basis, their powers of recovery are so remarkable that it seems they can bounce back from anything without any ill effects in a day or so.
Sure, it’s ridiculous to get uptight about unrealistic recovery times in a show about people who live in floating houses with their personalities stored in hard drives, but it just felt like there was nothing at stake.
So, my request to Netflix is as follows: if you want a Game of Thrones style fantasy drama to hook and enthrall people, consider throwing some money at some Tim Powers properties. Something about romantic poets beset by vampires, perhaps?
One response to “Altered Carbon”
Maybe I’ll take a peek at this when I’ve finished revisiting Fargo S2, with its extra-terrestrial moments.