View source for "Bushidō" and Neopostmodernism

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{{Shard
|title = "Bushidō" and Neopostmodernism
|additional = It is a media article about the ''[[Bushidō]]'' film series.
|transcript=
The "Bushidō" franchise is a litmus test of our time. This groundbreaking film series puts on full display the entire spectrum of [[New United States|America]]n society, masterfully pointing out the greatest problems of the neomodern era. "[[Bushidō|Live Fast, Die Never]]" was, in its own way, a generational manifesto on the affirmation of live. The use of vivid colors, shaky cinematography, ubiquitous blood effects and pervasive brain splatter testifies to the extraordinary self-awareness of the director, who once revealed in an interview how he "fucking loves it when hot chicks dissect the shit out of the bad guys." Perhaps no other concept more aptly describes the underlying societal ethos when "Bushidō 3" was released.

Especially worthy of note is the repetition in subsequent installments of the implant-bomb motif, through the prism of which the protagonist reinterprets reality. One example of this convention's flawless implementation appears in the latest film in the series, "[[Bushidō X: Fade to Black]]." The scene in which the powerful [[Gorira]] disembodies the arm of Jake - as played by the transcendent [[Tim Kelly]] - demonstrates in brilliant form the duality of the human condition. On the one hand, Jake loses his cybernetic arm - a symbol of both his tragic past and the ongoing techno-ontological conflict within his psyche. On the other hand, it is precisely due to this dismemberment that Gorira is blown to bloody bits by a sensational explosion sequence. And the final disintegration of the antagonist's body into a bloodspray of gore, how should this be interpreted? It is a metaphorical cry of deeply rooted despair, a manifestation of the personal transgression. This fragmentation of body could likewise be interpreted as a fragmentation of the individual mind, thus provoking the question: Whose mind? Indeed, had everything the viewer seen of Jake's struggle been, in fact, a personified, embodied fear? Had he not been been{{sic}} embroiled in epic battle with a vile monster but rather only with himself? Could the entirety of Jake's narrative been only a manifestation of some [[Cyberpsychosis|cyberpsychotic]] dream-state?

Among all the depth and nuance that has defined this franchise since its inception, only one thing is truly certain - "Bushidō" has forever changed the world of cinema.
|location = *Can be found on the second floor of [[Lizzie's Bar]]. (Only available after the Prologue)
*Can be found on [[Judy Álvarez|Judy]]'s desk in her [[Judy's Apartment|apartment]].
*Can be found in the [[Red Queen's Race]].
*Can be found inside the garage of the [[Bus Depot]] in [[Wellsprings]], [[Heywood (2077)|Heywood]].
*Can be found in one room inside the [[Arasaka Industrial Park]], in [[Arroyo]], [[Santo Domingo]].
|seealso = 
}}
==Trivia==
*Neo-postmodernism is an avant-garde branch of art theory described most thoroughly in Tillman Otto Wagner's 2011 essay "[https://www.grin.com/document/182722 Neo-Postmodernism: A Cultural-Anthropological Analysis]".

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[[ru:«Бусидо» и неопостмодернизм]]
[[fr:« Bushidō » et le Néopostmodernisme]]
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