Future worlds made in Germany were left unattended during the Cold War reception of science fiction (sf). Then, beginning in the 1980s, the Metropolis look was in our faces in films, music videos, and the redesign of Disneyland's Tomorrowland. That Blade Runner, Ridley Scott's adaptation of Philip K. Dick's Do Androids Dream of Electric Sheep?, belonged to the avant-garde of this blast from the past should come as no surprise. Dick's collected work inherited the metabolization of "Germany" in sf, from the establishment of "German" sf — as the transformation of the wound of gravity and grave into the wonder or miracle of take-off — to "Germany" as the problem and object of integration in the post-war future worlds of sf.¹ His 1964 novel The Simulacra identifies Germany and Mars as destinations, and the United States as the better half of the USEA, but we never really leave California. Typically, Dick's future worlds, even when transposed to Mars, operate under the signifier appeal of "California". If there is a bicoastal dialectic whereby symptoms of Nazi German provenance wash up onto the Coast, then Dick brings it to its crisis point with the prospect of Germany's post-war integration into the West so close to home. In Do Androids Dream of Electric Sheep? and Ubik (published 1968 and "69, respectively), the difficulty of this integration is carried forward as the ongoing social problem of psychopathy, in which the failure to empathize and mourn tests the limits of tolerance.