“Domo Arigato, Mr. Roboto”: The Matrix (1999) and the Virtual Asian

Abstract

In HBO’s production documentary on Andy and Larry Wachowski’s spectacularly successful 1999 science fiction film The Matrix, the brothers announce a fondness for Asian popular culture. “We like kung fu movies, we like Japanimation, we like John Woo movies.”² Traces of these influences abound in both the film and its numerous production histories. For example, an astonished Neo (Keanu Reeves) exclaims, “I know kung fu!” when the computer operator Tank (Marcus Chong) downloads a variety of martial arts skills directly into the protagonist’s brain as if it were a hard drive. The Matrix’s apocalyptic theme of computer tyranny matches that of Japanimation, the Wachowski’s term for anime, examples of which include Akira (Katsuhiro Ôtomo, 1988) and Ghost in the Shell (Mamoru Oshii, 1995).³ Stylistically, anime is inspired by manga, Japanese comic books. Accordingly, in the comic book storyboards used to pitch the film to Warner Brothers, the principal illustrator Steve Skroce draws Trinity (Carrie-Ann Moss) as an Asian woman with narrow angular eyes and straight black hair.⁴ The showdown between the hero Neo and the villain Agent Smith (Hugo Weaving) repeats a signature move from John Woo, the acclaimed Hong Kong, and later Hollywood, action director.

It’s something very special: a big, muscular, “effects” movie that’s wildly generous with visual thrills, manages to never quit making sense… and, most important of all, has a good heart.

—William Gibson, The Matrix: The Shooting Script¹