In the 40 years since a low-budget action film from a relatively unknown filmmaker and crew blasted onto film screens, the Terminator has proven to be an incredibly resilient, if not relentless property. James Cameron and Gale Anne Hurd’s creation has spawned five sequels, including the iconic Terminator 2: Judgement Day, the TV series Terminator: The Sarah Connor Chronicles, as well as numerous books and graphic novels, and countless parodies. With all this, one might wonder if there’s any life left in this franchise. But if we’ve learned anything from this science-fiction series, it’s that you can’t keep a good Terminator down.
Set in 1997 Tokyo, the new Netflix series Terminator Zero embraces hand-drawn animation to tell the story of a brilliant scientist named Malcolm Lee (voiced by André Holland) and Kokoro (voiced by Rosario Dawson), the advanced AI system he has created to decide the fate of humanity. Nuclear war is merely hours away. Can Malcolm convince Kokoro to stop Skynet? Meanwhile, a soldier (voiced by Sonoya Mizuno) from the post-apocalyptic year of 2022 has traveled back in time to save the scientist’s children — and maybe the world — from a Terminator (voiced by Timothy Olyphant).
The story itself is compelling, as the scientist tries to justify humanity’s existence and avert a nuclear apocalypse. However, it’s the emotionally engaging and visually stunning animation that makes Terminator Zero a must-see. To learn more about how Terminator Zero was built, Mashable reached out to the series’ showrunner/writer Mattson Tomlin and director Masashi Kudō, who shared insights into the design of their Terminator, the real-world history that informed the series’ hardest-hitting imagery, and why it matters this animation is hand-drawn.
Writer Mattson Tomlin found anime to be freeing.
Credit: Netflix
It just so happened that Mattson Tomlin was just the guy for the job. His feature-length directorial/screenwriting debut, Mother/Android, is a live-action sci-fi thriller about humans fighting to survive after their robotic helpers turn against them. “Ironically, I was walking around town saying, ‘This is not my audition for Terminator,'” he told Mashable in a Zoom interview. “And I got a call on set. ‘Hey, they’re thinking about doing Terminator as a series, and it’s going to be animated. Do you want to meet about that?’ And I said, ‘Absolutely, I do.'”
Given the talent involved, it’s perhaps no surprise the series is visually stunning and narratively engaging. The real revelation is how wrapped up we can get in the perilous fate of characters who are, after all, drawings.
Netflix had already partnered with the Japanese animation studio I/G Productions for the project, as Tomlin explained. “They had all the pieces set up, and they were looking for someone with a fresh take.” He added, “I said, ‘This is what I want to do [in terms of the story], and this is how I want to do it.’ And everyone just said, ‘Yeah, man, sounds good. You should do that.’ It was a remarkably smooth development process.”
Tomlin found the use of anime further freed up the narrative “because you can do anything.” He explained, “When you’re doing something live-action and you write ‘EXT. Night,’ then suddenly this is a night shoot. One hundred or 1,000 or 3,000 people are going to have to turn their clocks around. And [if it’s a scene with rain], you need a rain machine, and the actor needs a wetsuit. [With anime,] all of that just goes away.”
The challenges, Tomlin said, came “around performance and emotion. You take a traditional film like Alfonso Cuarón’s Roma, in which you have a lot of static shots — a lot of it is wide [shots], characters at a distance. And then, when you finally have the face, you are just absolutely compelled by that face.” With animation, Tomlin acknowledged, “It’s a little difficult in terms of performance, because you’re not looking at a real human being.” So, when his writing called for big emotions, Tomlin had to ask himself: “How long can I push this scene with this kind of emotion before I break my own spell?”
Director Masashi Kudō brought Tomlin’s words to vivid life.
Credit: Netflix
That’s where director Masashi Kudō came in. Translating the Terminator to anime was a challenge that the animator embraced. Kudō, best known for his work on the anime series Bleach, found Tomlin’s storytelling was less dialogue-heavy than many Japanese anime scripts.
“[This meant] the human emotions needed to be conveyed through their actions,” Kudō told Mashable via email, “which is a style I appreciate.” He felt the use of hand-drawn “detailed expressions and performances” could drive the story and engage the viewer. A simple image in the first episode — a young girl sitting alone on a couch, her eyes shimmering with unexpected tears — is so compelling that you’ll keep watching just to find out what happened in her mysterious past.
The design work is perhaps most vivid when Kokoro appears to Lee through colorful avatars. The word “Kokoro” roughly means “heart,” but in Buddhism it connotes our spiritual essence, tying together mind, wisdom, feeling, and aspiration. To reflect these inspirations, Kudō said, “[My team] incorporated the look of goddesses or heavenly maidens from Japanese mythology. My aim was to give the viewers the impression of a higher spiritual being that humans are in awe of.”
Through the work, Kudō’s team found that “it was a joy to challenge ourselves by doing something visually interesting, such as making the Kokoro room transform into a fantastical space during the dialogue scenes between Kokoro and Malcolm.”
Another challenge was translating the iconic Terminator into an anime character. In Terminator Zero, he is Japanese in appearance and less muscular than his predecessor Arnold Schwarzenegger, but no less frightening.
Kudō said of his Terminator: “I wanted to create an eerie, unsettling vibe that creeps up on you… For the design, we wanted to go for a reptile-ish image with an expressionless face characterized by its small, widely spaced pupils.”
The nuclear apocalypse of Terminator Zero comes from Japanese experience.
Credit: Netflix
Many of us will never forget how terrifying the images of nuclear war were in Terminator 2: A playground full of children incinerated, while a nuclear blast rolled over Los Angeles, obliterating buildings and freeways, and leaving us breathless. Terminator Zero‘s portrayal is just as visceral and immediate, and just as gravely serious, despite — or perhaps because of — the limitless nature of animation, as well as the story’s setting.
The idea of nuclear war resonates differently in Japan, the only country ever to experience the devastation of nuclear weapons. As an American, Tomlin was determined to make clear to his audience that “nuclear war is not fantasy. It’s the killer cyborgs at the moment that are kind of a fantasy. But, [nuclear war is] real. And it happened. And it happened there… This is a story that takes place in Japan… [So] there was definitely a desire to take it seriously and not have it feel fun or thoughtless.”
Tomlin entrusted Kudō and his animation team “to imbue [the images of nuclear devastation] with that kind of horror because [nuclear war] is still a very vivid concept in Japan, whereas over here in the States, a little bit of it is kind of like it’s an idea.”
Kudō shared via email, “Most Japanese learn about the horror of nuclear weapons from childhood. The Hiroshima Peace Memorial Museum has numerous exhibits and documents vividly documenting the devastation. I believe this shared knowledge within the team helped us create an animated representation with a strong impact.”
Hand-drawn animation brings an essentially human touch to Terminator Zero.
Credit: Netflix
As the Terminator franchise focuses on the fear of humans being overtaken by computer tech, the hand-drawn animation in Terminator Zero underscores the central message about the value of human creativity.
“We definitely wanted it to feel like humans made it,” Tomlin said. “[The animators] are at the top of their game, and I knew they would make it look great. On the writing side, the job was to imbue it with emotion, a real sense of purpose, and stake out why it needs to exist.”
With AI moving from science fiction to our everyday life, Tomlin’s goal is more relevant than ever before.
We live in an era in which the threat of AI launching a nuclear war is not so immediate. Yet, many creators believe that generative AI apps “devalue human art” by producing a cheap imitation without the craft of human hands. Hollywood writers fear they will one day be hired simply to refine AI scripts, for little pay, rather than developing their own ideas. Voice actors fear their performances could be replicated by an AI program, which would then replace their labor and destroy their source of income. Already, AI programs are being trained on visual artist’s copyrighted work “without credit and compensation.” Musicians, as well, have argued that AI’s widespread adoption “threatens the livelihood” of working artists, by replacing their voices and musicianship with a digital simulation. Dazzled by the novelty and power of AI, we now risk casting off and forgetting the wonders that the human imagination can achieve when creators have a chance to develop their own talents and express their emotions.
Is AI good or bad? The answer is more complicated than ‘yes’ or ‘no.’
And so it’s especially thrilling to see how Terminator Zero puts real storytellers and their craft front and center. An emotionally driven narrative along with vivid, hand-drawn animation, enhanced judiciously with digital technology, makes a strong and compelling case for trusting human creators to use their skills and imagination with total freedom. The results can be absolutely stunning, as they are in Terminator Zero, revealing what human imagination and human hands are capable of building.
Terminator Zero premieres on Netflix Aug. 29.
