The most mature ideas of the Arab artist are born in a world with limited capabilities, and are the result of two sieges, one subjective and the other a general siege in all its contexts.
These thoughts emerge terrified from their reality, which cannot go beyond their surroundings, and on the other hand, we witness the feelings of the first-world children who are completely safe, at least while talking about what angers them, in their truest state, beyond their quiet life, but they are terrified of the machine that is the only source of their helplessness from the future, and of Then the result comes in the form of a discourse frightened of its ugly and indelible past, and terrified of its exceptional security without the logic of the non-human unknown.
The last novel by the British writer of Japanese origin, Kazuo Ishiguro (A Nobel Literature), was poetic in its talk about the robot, but it is a terrifying tale as its owner, as well as the animated series “Love, Death and Robots” or (Love Death + Robot) to complete 3 completely black and truly terrifying seasons. -despite its cynicism- of the control of the machine and the near destruction of humans.
And the first episode of the third season, its speech almost coincides with its first episode in the first season, during which we see the heroes “robots” giving a speech meaning “humans thought technology would save them”, and this speech was accompanied by visual variations confirming this horror.
In the series, the "robots" wonder what can be enjoyed in discovering the vast lands, and ignoring the thousands of dumped corpses, and this is explained by their "guide". "It is a defining moment in people's lives when they have been radically separated on the basis of their class," he said.
Amidst the crowding of attempts to control the possibilities, the poor are completely eliminated because they cannot be bet on and their escape tax cannot be paid, while the rich sought to escape far, thinking that this represents safety from the "dangerous machine", while the richest seek to search for an alternative planet. for the earth.
We understand it all in a moment when the disappointment and annihilation of all humankind is revealed by a little robot mocking their boundless stupidity.
We see this artistic discourse in the "post-apocalyptic" time as a discourse that has already failed with the control of the machine and its survival at the expense of humans in separate, continuous short animated television episodes hypothesized based on this imagination.
We find a panoramic camera roaming to monitor the complete human annihilation amid confident and meditative steps that prove how robots and artificial intelligence controlled the world at that time, and what could have been sought to avoid that disaster.
And we do not forget the repeated affirmation throughout each episode, which confirms that human annihilation occurred because of human greed and their quest for more control, which led to counterproductive results for the whole planet in exchange for the survival of the machine that bet on its intelligence only and did not greedly seek control and selfishness, nor did it enter into conflicts among themselves. .
The white man, or the first world person, represents a group that nothing could stop him, and for half a century he was able to reap legitimate and illegitimate gains at the expense of his neighbors and members of his race from countries that were less educated and less capable than him, and he did not find a competitor that could make him feel any kind of intellectual or future impotence.
All episodes begin to build on this perception of negative control losing its soul with more greed to bear the burden of the white man as transcendent to humanity itself.
The British Indian-born poet Rudyard Kipling expressed this meaning in the poem “The White Man’s Burden/Come on, bear the burden of the white man/Send the goodness of your youth/And understand them to the ends of the earth/So that they may fulfill the needs of the captives/That they may bear corpses/For the savage trembling/Your peoples” The new, gloomy, sullen, Half-Demon, Half-Child.
The craftsmen here did not forget to prove the inability of all human senses against the fully described machine, where there are rings in which the eyes collapse, and others in which the ear is incapable, some of which are incapable of weapons and hands holding them, so that no one is safe from humans who use his feet to run, nothing will stand. Before the machine, there is no escape but individual survival and a declaration of disobedience to human selfishness.
And when the men of the ship in one of the episodes choose to survive by sacrificing another town that is eaten by the non-human beast, their fate is death in exchange for the survival of the only man who refuses to do so, and the same fate falls to the officer who wants to release the bound beast to kill his enemies.
We witness the demise of the woman who refuses to sacrifice her cat in exchange for her life, as well as the heroism of the girl who does not want to leave the body of her owner, and these sacrifices seem the only honorable way to escape from the control of the machine and get rid of excessive selfishness.
In the second episode of the third season, we watch one of the seasons' most cohesive, powerful and concise episodes.
5 minutes tells the story of the "zombie" exit to control all countries of the world in continuous scenes of the largest countries separately, this only happens because each country denounces the request for help and strives to survive alone.
The world ends with the beat of epic music by Beethoven, and there is nothing left but to emphasize the elimination of human frivolity and the murderous individualism of the most despicable image of the white man in his latest version.
Will the white man's fears of machine control end?
We can't count on that, but it seems like an unfinished cautionary tale.
This warning is intended to do more to place value on humans who can be categorized in worlds "inferior" to the first, rather than demonstrating the horror of the unknown represented by robots that are not safe from consequences.