As we all know, the adaptation of “Three-Body Problem” has always attracted much attention. This time, the drama version of “The Three-Body Problem” immediately became “the most watched sci-fi drama” as soon as it was broadcast in the first year. Douban scored more than 100,000 people, with a score of 8.0, and rose to 8.1 an hour later. The extensive curiosity and discussions it triggered have somewhat marked a striking node in domestic science fiction culture.
On the one hand, the series is praised for “fitting the original”; on the other hand, under the superficial plot structure, the tension of the sci-fi context gradually stretching in daily life, and the emotional world of the protagonists worthy of attention, linger in the story The texture of the film is dyed with the real and humanistic aura outside the core of science fiction, showing the stylized attempt of the series. The many famous scenes in the game part are the wonderful embodiment of the drama version of “bringing science fiction into the real world”, making it like an engine with full stamina, refreshing the current boom in science fiction.
In the sense of a novel, “The Three-Body Problem” tells “an imaginary future history” and describes a possible “past event on the earth”. From text to audio-visual, the drama version of “Three-Body Problem” challenges and explores the same spirit. In one place, it is how to tell the story of “Three-Body Problem” and the stories of the people in it well. From the current point of view, the efforts of the drama series have received preliminary feedback. It can be said that the drama version of “Three-Body Problem” has found its own language.
On the pedigree of domestic science fiction typology, this is a courageous construction. In the final result, science fiction is not a boundary, and the original work is not a “threshold”.
Narrative: unique sci-fi temperament
“It’s like someone erected a big screen in the universe”, the “future reality” symbolized by the Trisolaran civilization crash-landed on the real interface of human existence in an astonishing way. The series captures and shapes this fresh, appealing sci-fi ethos very consciously.
In the original book, when Wang Miao was tortured by the “ghost countdown” and nearly collapsed, he “felt the universe shrinking again… and he was a small ant in the cracks in the floor of this magnificent church”. In the play, the image of ants does not appear in this scene, but as a preceding metaphor, it reappears in Yang Dong’s vision before committing suicide, her tombstone, and Shen Yufei’s perspective of acting on behalf of the “lord”. On the scale of civilization, the sense of insignificance that people are worms, and in the sequence of the “Once Upon a Time on Earth” trilogy, lays a hidden line of a larger pattern.
Wang Miao, the first protagonist of “The Three-Body Problem”
It is also the concretization of the three-body sci-fi atmosphere, which is different from the symbolic treatment of ants. The shooter and farmer hypothesis in the second episode, through two humorous animations, conveys a kind of panic that mistakenly recognizes the accidental laws of the universe as truth . To use a literary expression, “Truth always gathers dust.” Together with beer bottles flying into the sky, cartons sinking into the ground, etc., these visual ingenuities are not the main body of the narrative. What they together constitute is the instinctive tremor of people when human science is impacted.
The main line of the story still revolves around Wang Miao. For him and the audience, the coming of the three-body problem is first of all a distant mythical event, and the appearance of “miracles” begins with the clues in life. Being brought to the combat center by Shi Qiang was an unusual omen. The background of the times, with the TV news broadcast pointing to the eve of the 2007 Beijing Olympic Games, in turn shows that the science fiction myth of the “Three-Body Problem” really happened in the present tense. This is actually quite a rare setting in science fiction works.
From “Ghost Countdown” to “Cosmos Flickering”, Wang Miao allows us to be substituted, and his cognitive and emotional state is destroyed step by step. The novel has only written a chapter of “Big History”, describing Shi Qiang’s spiritual support for Wang Miao. The method of the drama is to add a plot aimed at the “countdown” after the two had a long talk. This moving segment is one of the segments that trigger the most barrage interactions. In addition, Wang Miao’s family life and his physics lectures in his daughter’s class are the highlights of the adaptation of the drama version with humanistic care.
The emphasis on the emotional drama of the characters fills the real tone of the drama version; it also uses a visual way to give the “Three-Body” “Three-Body” a sense of sci-fi to the ground. If contemporary time and space are the ingenious charm of “Three-Body” to science fiction, then the period montage in the series combines the vast space imagination with people of different eras, creating a dramatic sense of shock.
The beginning of the entire narrative, after the screen structure of the solar system-cosmic starry sky-programming tape, began when Ye Wenjie was at the Red Bank Base in 1979, “The fate of human civilization is tied to these slender fingers.” Her past events in the 1960s and 1970s were intentionally scattered in key positions of the main plot line. Under the background of the undercurrent and surging soundtrack, it suggested the overtones synchronized with the actions of the protagonists. A little bit away from the elements of the plot, a point of view similar to this is the sophon perspective that flashes from time to time and “monitors” Wang Miao and others.
Young Ye Wenjie at the Red Bank Base
Some netizens commented that this is a drama that “you don’t want to miss the beginning and the end”. Indeed, the information and details in the play are worth recalling repeatedly, from the extraction of the image of ants to the arrangement of the plot structure, they are all full of intentions. The drama version of “The Three-Body Problem” thus captures the emptiness, mystery, and profundity of Liu Cixin’s novels; and on the basis of respecting the original work, it injects a new dimension into science fiction dramas from the aspects of storytelling, emotions between characters, and audio-visual language. There are a lot of original ideas and flexible adaptation ideas.
Games: Stylization Between Science Fiction and Reality
The plot of Wang Miao entering the game is a stylized chapter with a lot of ink in the series. As a middle ground connecting two civilizations, this is a virtual space.
The opening screen created by CG is both realistic and freehand, magnificent and magnificent, and the game is full of three-dimensional immersion. Following Wang Miao, in front of him is a vast alien star with bare surface like a wasteland. After logging in, he held the quicksand, bouncing around his body movements, and his innocent and simple expression, just like a primitive primitive man. In the real world, Wang Miao’s complex reactions of anxiety, exhaustion and joy are completely replaced by novelty and surprise here.
The three-body world presented in the three-body game
When he met “King Wen of Zhou” and “Followers of King Wen of Zhou” with the ID of “Sea People”, the body posture and movement range of the three showed a kind of gentleness after being influenced by ancient etiquette, which revealed a bit strangely that the three The civilized process of the whole world. And, the situation where they shivered in the severe cold and quickly hid in the scorching heat vaguely outlined the survival aesthetics of “survival is the first need of civilization”.
In their conversations, scientific terms such as sundial, flying star, constant era, chaotic era, and great prophet frequently appeared, indicating that this is a rational-led civilization order. The CG special effects are just between the current “real” and the “virtual” of the three-body world, matching the theme of this game and the characteristics of the three-body world.
The highlight moment of the game is the spectacle that Wang Miao and Zhou Wenwang witnessed after arriving at Chaoge: the pyramid hall and the huge pendulum. They stand impressively on the ancient horizon, simple, childish and solemn. The “movie-level” setting almost illustrates the architectural wisdom of Civilization No. 137. The bronze-green platforms, stairs, golden pilasters, and majestic animal pattern decoration inside the palace are full of meticulous aesthetics.
The “soaking” and “dehydration” links are really the climax of this story unit. A set of ornamental scenes portrays the immersion ceremony in a very interesting way. King zhou’s singing orders, the soldiers who pass the orders (two small soldiers who are squeezed out) , and the slide from the “dry warehouse” to the large pool are highly sublimated The essence of novel description. The same goes for the “dehydration” scene. Whether it is individual or collective, the process of “dehydration” from the overflow of water, the visual effects of smoke to the two-dimensional plane attached to the ground, is so vivid that it seems to be the situation experienced by the Trisolarans.
The Production of “The Three-Body Problem”: How to Tell a Good Story?
After all, science fiction tells stories about people. How characters appear in the imagined future is the starting point of science fiction narratives. The creation of science fiction themes is inseparable from the support of the industry behind it. During the production of “Three-Body Problem”, the main creative team made solid preparations.
First of all, at the actor level, Da Shi is a very brilliant image. Although he has a rough personality, he has a delicate mind, a down-to-earth life, and a bold sense of loyalty. Yu Hewei’s version of Shi Qiang, from being questioned about his appearance to “very good temperament”, can be said to have played this role alive. In the process of watching the drama, many viewers were moved by Shi Qiang’s heartfelt blessing to Wang Miao, and said “The biggest mistake of the Three-body Man is not to raise the priority of Dashi”.
The nano-scientist Wang Miao played by Zhang Luyi, his sallow complexion and sweaty state when his scientific beliefs were crushed, can arouse empathy from the audience. In the three parts of life, science and games, the processing of emotions and states is also credible. Then to the characters such as young Ye Wenjie and old Ye Wenjie, through the shaping of actors, we can penetrate into the hearts of these characters.
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Character Golden Sentence Poster
Secondly, in terms of technical performance, what method is used to present the “Three-Body Problem”-is it animation, real people or fusion? After many discussions, the main creative team finally adopted CG methods. For Tencent Video, this is not only an attempt to express content, but also a brave exploration of the typology of domestic science fiction. The dehydration, immersion, chaotic era, three-day volley, Guzheng action, Sophon Project, etc. in the game “Three-Body” are iconic and famous scenes in Chinese science fiction literature. Proper visualization of these wonders is the highlight of domestic science fiction dramas.
For example, the crew put a lot of thought into the section “Guzheng Action” that reads thrillingly. The cutting of the “Judgment Day” has no models or materials to refer to, nor can it be completed in the way of traditional film art. In the end, the team can only use real steel to make the ship shape, extrude it piece by piece with an extrusion machine, and then assemble it into a ship. Boat. The effect of the film is worth looking forward to.
In addition to the big scenes that broaden the horizon, the use of sci-fi elements in the play is also very meticulously polished. I believe that many netizens have discovered that “Three-Body Problem” is a drama that is keen on “burying Easter eggs”. The extremely fast conversion between microscopic matter and macrocosm in several places, and the polyphonic scene stacking at the end of the film all contain tangible information and cannot be skipped at all.
The main creative team of all sci-fi fans is “shooting sci-fi stories with the spirit of scientific research”. For example, the physical equations, on-site equipment and specific places, there are actually a lot of research and homework behind the scenes to ensure their accuracy; in terms of picture style, the current reality and the tone of the Red Coast Base and game scenes in the 1960s and 1970s , very chronological and imaginative.
In the end, the drama version of “The Three-Body Problem” has taken a rare step forward, both in the innovation of science fiction and in the cultural consumption of the public.
Planning丨Sanlian.CREATIVE
Design typography丨Han Bing
Author丨Adan
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