The Matrix, a self-reflective progeny no less alert than Lucas' first Star Wars, was culled from equal parts THX-1138 and Tron. Both films (Tron and THX) shared unique cybernetic ratios of digital journeys far before the dominance of the PC and are brilliantly contrasted in chroma styles, hues, dialogue nuances and physicality versus 'virtual' or software avatar'd beings. What they shared was more crucial, both failed to make their budgets back, both posed anonymous guards with long poles, both involved escaping speeding bikes, and pivotally, both films lack a coherent and sustained crescendo. Flynn merely did what Neo does, he jumps without fear, but with little build-up to get an audience to root. Tron is the almost-masterpiece, and is perhaps the most informed animated film of the 80's. Lisberger and company take the Disney tower hostage for a late summer in 1982 and alter the rules by cutting away before morphs and tweens finish, pretending as if these glistening lights in transition are normal everyday happenings, subtley they advanced the craft of the virtually exotic.  Now forced to eat its own children (The Matrixes) made at other studios (Warner Bros), Disney has crafted the Tron reboot as a 'legacy' film with falsely iconic hacker Flynn and child now dealing with a more complex INNER. The strains of adding credibility shows in Legacy's design choices, what was hallucinatory as digital is now solid, credible. As a film forced to compete somewhat with its spawn, Legacy now has to make note of The Matrix's possibilities, and since the rules in Tron:Legacy cannot change: it's much easier to suggest them visually (note the furniture overlapping). Tron's Bally-Midway arcade game outgrossed the film 10:1.

below, taking it too literally, too early: tron: LEG-acy

The nearer edge of the subjective cuts across and includes part of our present time, viz. the moment of inception, but most of our present belongs in the Hopi scheme to the objective realm and so is indistinguishable from our past. There is also a verb form, the INCEPTIVE which refers to this EDGE of emergent manifestation in the reverse way-as belonging to the objective, at the edge at which objectivity is obtained; this is used to indicate beginning/starting, and in most cases there is no difference apparent in the translation from the similar use of the expective. But, at certain crucial points, significant and fundamental differences appear. The inceptive, referring to the objective and the result side, and not like the expective to the subjective and causal side, implies the ending of the work of causation in the same breath that it states the beginning of manifestation.
- BENJAMIN LEE WHORF AN AMERICAN INDIAN MODEL OF THE UNIVERSE

http://theinternetisterrible.com/tag/awake-nightmare/