Comparison between the film ‘Snowpiercer’ by Bong Joon-ho and novella ‘Emergency Skin’ by N K Jemisin

In the novella “Emergency Skin”, written by N. K. Jemisin, an explorer, hailing from an exoplanet colony, is sent back to Earth on a mission to gather some valuable biological material. The plutocrats in question, mostly those responsible for the slow yet evident walk towards the environmental and socio-political crisis, have abandoned the Earth to live on their own distant planet. The film ‘Snowpiercer’, produced in 2013, portrays a world where a failed climate-change experiment has killed all life except for the survivors who boarded the Snowpiercer (a train that travels around the globe). Within this confined space the system of bourgeoise and the proletariats remains.

In Jemisin’s work, one can already one can note the play on the binary of the capitalists versus the subalterns as Al claims, “There was not enough collective innovation or strength of will between them to solve the problems Tellus faced, and so we did the only merciful thing we could: we left them behind” (Jemisin, 1) so that “so that something of humanity—the best of it—would survive” (Jemisin, 1). It’s already been decided and induced who gets to survive and who needs to be the necessary sacrifice, so to speak. Yet who has decided as to whom should be saved while the other be discarded- but of course those who were in power remain to be in the decisive position.

 "Order is the barrier that holds back the flood of death,” as Mason in ‘Snowpiercer’ claims. She makes use of a shoe as a symbol to represent the population residing in the tail end of the train. While the front car is represented by a hat, the tail car is a shoe. In her speech she demonstrates that one would not wear a shoe on their head- an emphasis on the absurdity of people from the lower classes assaying to be on equal ground with the high class. In the novella, systematically, “the Founders”- send a drudge to the Earth to pick up a fresh supply of a specific kind of cells to bring back to their planet, used for skin and immortality. There is also a shade of panopticons incorporated within both stories as the novella, the tale is written from the point of view of the collective AI embedded in the main character’s brain, as they constantly address and spy on his actions. “We are implanted in your mind and will travel with you everywhere. We are your companion, and your conscience” (Jemisin, 2).  This results in the narrating voice being an intrusive and very biased collective first-person, while in contrast the actual protagonist is addressed in the second person and their point of view is never represented. Adding to this, in the film Curtis’s actions and plans are constantly monitored- later in the film, it is revealed to be the sixth attempt at rebellion. This all is guided along by the puppeteers Wilford and Gilliam to reduce the population within the train (considering the Malthusian theory).

It is somewhat concerning and interesting to note that the notion of us versus them has not been entirely erased despite the current situation that people are faced with. I would call it intriguing in the sense that humans find a way to keep the hierarchy going.

Anthropologist, Rudiak-Gould presents displays an interesting take as he uses climate change as a “metonym” for the concept of Anthropocene. Gould explores how arguments about crisis, and responsibility evidently alter people’s lives in multiple ways. Both in ‘Snow Piercer’ and ‘Emergency Skin’ the elite have managed to keep their higher standing by keeping a strong hold on the workings of the society and individual. Whether it is on another planet or within a train, the “man is the centre” frame of mind has remained steadfast. In the film, Curtis is welcomed by Wilford to be the new leader and in the novella, the protagonist is reminded of the award if he were to complete the mission. “Of course, we will; you’ll have earned it, won’t you? If you complete this mission, you’ll be a hero. Why would we refuse you what you’re due?” (Jemisin, 9). Curtis retorts to Wilfords defense of the violence and “order”, saying that only people in “the best place” have the entitlement and the ignorance to be able to “say to the people in the worst place.”

"Inside the train, kids are taught that if you go outside, you're going to die," director Joon-ho explains. "But outside the train, life is actually returning. It's nature that's eternal, and not the train or the engine, as you see with the polar bear at the end." And to compare, in the end of the novella, the protagonist is set free from the AI, with “No more voice in your head, except your own.” (Jemisin, 33). Without “the enemy shouting in your head” (Jemisin, 33) one can’t start a revolution and bring the change for a different future.