BLAME!
- heavy
- brisk
- intense
- surreal
- bleak
- cold
Heavy, kinetic, measured action / drama, surreal in texture. Nihilistic, mid-stakes, cold, hand-scored across twelve axes of taste.
How every film is hand-scored →In the distant technological future, civilization has reached its ultimate Net-based form. An "infection" in the past caused the automated systems to spiral out of order, resulting in a multi-leveled city structure that replicates itself infinitely in all directions. Now humanity has lost access to the city's controls, and is hunted down and purged by the defense system known as the Safeguard. In a tiny corner of the city, a little enclave known as the Electro-Fishers is facing eventual extinction, trapped between the threat of the Safeguard and dwindling food supplies. A girl named Zuru goes on a journey to find food for her village, only to inadvertently cause doom when an observation tower senses her and summons a Safeguard pack to eliminate the threat. With her companions dead and all escape routes blocked, the only thing that can save her now is the sudden arrival of Killy the Wanderer, on his quest for the Net Terminal Genes, the key to restoring order to the world.
Our read · BLAME! (2017) reads as a heavy, kinetic, surreal action · drama · sci-fi entry — measured in intensity, mid-stakes in scope, cold in temperature, nihilistic in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
More info & search links
The shape of BLAME!
What watching it is actually like.
“You want vast dystopian megacity visuals and relentless machine-human combat.”
Skip it tonight — You want character drama or hate empty cyberpunk corridors.
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Closeness in the twelve-axis space — how the film actually reads, not “people also liked.”
Discussion
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