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楼主: wanglaow

《流浪地球》刷回感

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发表于 前天 10:12 来自手机 | 显示全部楼层
文艺复兴、科技爆炸后,人类已经没有低技术生存的可能了~~~
 楼主| 发表于 前天 11:04 | 显示全部楼层
IMDB 上现在的影片外链有了7个了,比前天多了4个。。。

其中一个是:

https://tldrmoviereviews.com/201 ... %E5%9C%B0%E7%90%83/

TL;DR –  At its core is an interesting idea, however, it is populated by the most unlikable characters in cinema at the moment  

Score – 1.5 out of 5 stars

也就是刚刚及格。  影评人主要是认为影片在叙事性和人物塑造上是失败的。(顺便也指出了语音和英文字幕之间明显的不匹配),因此不予推荐。
I am a fan of Science Fiction. I love exploring the future and what it could be, I love interesting ideas and concepts, and I love the idea of exploring the universe. Today’s movie The Wandering Earth out of China does all of that and more. However as I walked out of the cinema I was not elated, instead, frankly, I was disappointed in how someone could squander such a good idea.

In the end, do we recommend The Wandering Earth? Unfortunately no. While it does have a very interesting concept behind it, a concept does not make a film. You need to populate the film with characters that you actually care if they live or die. Unfortunately, this is a film that is all concept and not a lot of execution.                          

。。。。。。。。
换句话说, 影评人,认为,电影背后的概念是很好的,但是影片制作方,糟蹋了这个好概念。

所以,作为监制的大刘是不是有失职和昧着良心当影片水军的嫌疑?

^_^。。。。。。。。。。。。。。
 楼主| 发表于 前天 11:30 | 显示全部楼层
这是verge上的影评:

https://www.theverge.com/2019/2/ ... iu-gravity-the-core


China’s blockbuster The Wandering Earth is rich, gorgeous, and goofy
60 comments
The country’s first big-budget science fiction epic is often familiar, but it does spectacle on an impressive scale
By Tasha Robinson Feb 9, 2019, 3:50pm EST
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Photo: AMC Theaters

We’re living through a fascinating era of rapid change for the blockbuster movie model. America producers, eager to get their $200 million movies into the lucrative Chinese market, are increasingly looking for Chinese production partners, shooting in Chinese locations, and adding China-friendly characters and plotlines to American movies, even including extra scenes just for the Chinese cuts of films. But simultaneously, China and other countries are moving toward the blockbuster model themselves, creating homegrown films that don’t need to involve American partners at all.

And just as American films attempt to find paydays in foreign markets, foreign blockbusters are coming to America. The Wandering Earth, described as China’s first big-budget science fiction thriller, quietly made it onto screens at AMC theaters in North America this weekend, and it shows a new side of Chinese filmmaking — one focused toward futuristic spectacles rather than China’s traditionally grand, massive historical epics. At the same time, The Wandering Earth feels like a throwback to a few familiar eras of American filmmaking. While the film’s cast, setting, and tone are all Chinese, longtime science fiction fans are going to see a lot on the screen that reminds them of other movies, for better or worse.

The film, based on a short story by Three-Body Problem author Cixin Liu, lays out a crisis of unprecedented proportions: the sun has become unstable, and within a hundred years, it will expand to consume Earth. Within 300, the entire solar system will be gone. Earth’s governments rally and unite to face the problem, and come up with a novel solution: they speckle the planet with 10,000 gigantic jets, and blast it out of its orbit and off on a hundred-generation journey to a new home 4.2 light-years away. The idea is to use Jupiter’s gravitational well to pick up speed for the trip, but a malfunction of the Earth Engine system leaves the planet caught in Jupiter’s gravity, and gradually being pulled toward destruction. A frantic group of workers have to scramble to reactivate the jets and correct the Earth’s course.

The action takes place in two arenas simultaneously. On the Earth’s frigid surface, self-proclaimed genius Liu Qi (Qu Chuxiao) and his younger adopted sister Han Duoduo (Zhao Jinmai) get roped into the rescue efforts after they run away from home. Han is just curious to see the planet’s surface — most of humanity now lives in crowded underground cities, and the surface is for workers only — but Liu Qi is nursing a deeper grudge against his astronaut father Liu Peiqiang (longtime martial-arts movie star Wu Jing) and grandfather (Ng Man-tat, whom Western audiences might recognize from Stephen Chow’s Shaolin Soccer). When Liu Qi was a child, his father moved to a newly-built international space station, designed to move ahead of Earth as a guide and pathfinder. Now an adult, Liu Qi feels his father abandoned him, and wants to strike out independently.

Meanwhile, on the space station, Liu Peiqiang is ironically a day away from completing his 17-year tour of duty and returning to Earth and his family when the crisis hits. The station’s artificial intelligence, MOSS, insists on putting the station’s personnel in hibernation to save energy, but Liu Peiqiang realizes the computer has a secret agenda, and he and a Russian cosmonaut set out to defy it.

The entire space plot may feel suspiciously familiar to American audiences, who have a strong emotional touchstone when it comes to a calm-voiced computer in space telling a desperate astronaut that it can’t obey his orders, even when human lives are on the line, because it has orders of its own. MOSS even looks something like the HAL 9000 from 2001: A Space Odyssey: it’s represented as a red light on a gimbled panel, like a single unblinking, judgmental red eye. But a good deal of Liu Peiqiang’s space adventure also plays out like a sequence from Alfonso Cuarón’s 2013 Oscar-winner Gravity, with dizzying sequences of astronauts trying to navigate clouds of debris and find handholds on a treacherous moving station while tumbling through space.

Meanwhile, the Earthside half of the mission resembles nothing so much as the 2003 nonsense-thriller The Core, about a team trying to drill their way to the center of the Earth to set the planet’s core spinning again. Liu Qi and Han pick up a few distinctive allies along the way, including biracial Chinese-Australian gadabout Tim (viral video star Mike Sui), but mostly, the characters are drawn as blandly and broadly as in any American action movie, and a fair number of them get killed along the journey without ever having developed enough personality for audiences to feel the loss.

Pretty much any flaw The Wandering Earth can claim — flashy action scenes without much substance, a marked bent toward sticky sentimentality, an insistently pushy score that demands emotional response from the audience at every given moment — are familiar flaws from past blockbusters. Where the film really stands out, though, is in its eye for grandiose spectacle. Director Frant Gwo gives the film a surprising stateliness, especially in the scenes of the mobile Earth wandering the cosmos, wreathed in tiny blue jets that leave eerie space-contrails behind. His attention to detail is marvelous — in scenes where characters stand on Earth’s surface, contemplating Jupiter’s malicious beauty, the swirling colors of the Great Red Spot are clearly visible in reflections in their suit helmets.

No matter how familiar the plot beats feel, that level of attention not just to functional special effects, but to outright beauty, makes The Wandering Earth memorable. Not every CGI sequence is aesthetically impeccable — sequences like a vehicle chase through a frozen Shanghai sometimes look brittle and false. But everything having to do with Jupiter, Earth as seen from space, and the space station subplot is visually sumptuous. This is frequently a gorgeously rendered film, with an emphasis on intimidating space vistas that will look tremendous on IMAX screens.

And while the constant attempts to flee the destructive power of changing weather have their own echoes in past films, from The Day After Tomorrow to 2012, Gwo mostly keeps the action tight and propulsive. The Wandering Earth is frequently breathless, though the action occasionally gets a little muddled in editing. At times, particularly on the surface scenes where everyone is wearing identical pressure suits, it can be easy to lose track of which character is where. It’s often easy to feel that Gwo cares more about the collective rescue project than about any individual character — potentially a value that will work better for Chinese audiences than American viewers, who are looking for a single standout hero to root for.

But the film’s biggest strengths are in its quieter moments, where Gwo takes the time to contemplate Jupiter’s gravity well slowly deepening its pull on Earth’s atmosphere, or Liu Qi staring up, awestruck, at the gas giant dwarfing his home. In those chilly sequences, the film calls back to an older tradition of slower science fiction, in epic-scale classics like 1951’s When Worlds Collide or 1956’s Forbidden Planet. The interludes are brief, but they’re a welcome respite from chase sequences and destruction.

The Wandering Earth gets pretty goofy at times, with jokes about Tim’s heritage, or Liu Qi’s inexperienced driving and overwhelming arrogance, or with high-speed banter over an impossibly long technical manual that no one has time to digest in the middle of an emergency. At times, the humor is even a little dry, as when MOSS responds to Liu Peiqiang’s repeated rebellions with a passive-aggressive “Will all violators stop contact immediately with Earth?” But Gwo finds time for majesty as well, and makes a point of considering the problem on a global scale, rather than just focusing on the few desperate strivers who’ve tied the Earth’s potential destruction into their own personal issues.

Much like the Russian space blockbuster Salyut-7 was a fascinating look into the cultural differences between American films and their Russian equivalents, The Wandering Earth feels like a telling illustration of the similarities and differences between Chinese and American values. Gwo’s film is full of images and moments that will be familiar to American audiences, and it has an equally familiar preoccupation with the importance of family connections, and the nobility of sacrifice. But it also puts a strong focus on global collective action, on the need for international cooperation, and for the will of the group over the will of the individual.

None of these things will be inherently alien to American viewers, who may experience The Wandering Earth as a best-of mash-up of past science fiction films, just with less-familiar faces in the lead roles. But as China gets into the action-blockbuster business, it’ll continue to be fascinating to see how the country brings its own distinctive voices and talents into a global market. The Wandering Earth feels like the same kind of projects American filmmakers are making — accessible, thrill-focused, and at least somewhat generic, in an attempt to go down easy with any audience. But there’s enough specific personality in it to point to a future of more nationally inflected blockbusters. Once every country is making would-be international crossovers, the strongest appeal may come from the most distinctive, personal visions with the most to say about the cultures they come from.
 楼主| 发表于 前天 11:55 | 显示全部楼层
影评人  Tasha Robinson  对影片的总体分析和评价,跟其它影评人并无太大不同,毕竟 流浪地球是一部 优缺点都很明显的影片。


后面有读者评论,还有 影评人  Tasha Robinson  跟读者的互动。

有意思的是,很大的篇幅是在讨论 台词到底是 翻译成语音配音 还是 使用 字幕显示。 我想这对中国观众而言早已是个不成问题的问题了。

另外,还讨论了 影片中,当 MOSS 向全球宣布,地球将坠入木星的时候,一个救援队员一边向木星射击,一边大喊, ”去你妈的木星“  英文字幕翻译为 ” "Screw you, damn Jupiter!"  (奇怪的是中文字幕是, ”去你的木星“ 不知道是失误还是故意的。  ^_^。。。。)

不知道请的字幕组是哪个,反正,看来以后如果要海外发行的话, 翻译问题还需要大大重视。

^_^。。。。。。。。。。。。。。
 楼主| 发表于 前天 12:14 | 显示全部楼层
FilmEra: 看名字应该是个专业的电影网站。。。

https://thefilmera.com/2019/02/10/the-wandering-earth-review/

‘The Wandering Earth’ Review
Jayson McNulty·February 10, 2019

Imagine for a moment: You’re Roland Emmerich, and you’ve just wrapped production on 2012. But it’s not enough. It’s never enough. You toss and turn all night. More. You wake up far too early, stumble into the washroom, slam on the light switch, collapse over the sink, and stare long and deep into your own reflection. More. An utterance issues forth from the darkest recess of your soul, the vocalization of a primal, creative urge, a voice that is always punishing, never satiated: “More,” you mutter under your breath.

You’re Roland Emmerich, and the world is not enough.

That’s the restless, wayward energy Frant Gwo brings to The Wandering Earth, billed as China’s first sci-fi blockbuster. The film plays like the sequel to 2012 that nobody asked for but a lot of people (including yours truly) maybe secretly (perversely?) hoped to see. China has been chasing Hollywood standards and success for quite some time now (while Hollywood, incidentally, has been chasing China’s rapidly growing and movie-hungry middle class). Released alongside a large slate of Chinese productions vying for box office dollars during the busy Chinese New Year season, The Wandering Earth is the best movie Roland Emmerich never made. Director Frant Gwo doesn’t so much channel Emmerich as he does reverse-engineer the doomsday maestro’s entire career, dunking on his filmography and rendering him obsolete.

You’re Roland Emmerich, and your entire existence is now redundant.
Qu Chuxiao stars as the lead protagonist, Liu Qi, in The Wandering Earth.

Based on a short story by Liu Cixin (whose Remembrance of Earth’s Past trilogy was also making its way to the big screen before hitting production setbacks and delays), The Wandering Earth is set in a far distant future and finds humanity scrambling to save its planet from the inevitable, now imminent, threat of the Sun, as it expands into a Red Giant poised to consume Earth. The governments of Earth unite their resources and build giant rockets to push the planet out of the way, moving it to a neighboring star. No, I did not just make that up. And here’s the kicker: All of this happens in the first five minutes. The film only gets more outrageous from there. The main thrust of the narrative is that Earth needs to use Jupiter’s gravity to slingshot out of the solar system, and just wait until you see what happens in the third act. The Wandering Earth is Troll Physics: The Movie, and it’s every bit as awful and amazing, terrible and terrific, as you could imagine. I paid to see this in IMAX 3D and I simultaneously regret everything and nothing.
Chen Zhiang (Ng Man-tat) looks after Han Duoduo (Zhao Jinmai) in The Wandering Earth.

The film’s cast will be largely unrecognizable to Western audiences. Only two might stand out: Wu Jing, whose role has shades of Matthew McConaughey in Interstellar, leaving the planet on a mission to save humanity, and leaving his son and daughter behind; and Ng Man-tat, who plays the grandfather looking after Wu Jing’s kids back on Earth. Wu Jing had a brief role in The Mummy: Tomb of the Dragon Emperor and has appeared in numerous modern Hong Kong classics, such as Wilson Yip’s SPL. Ng Man-tat, meanwhile, appeared opposite Stephen Chow in many of his films, including Shaolin Soccer. He’s also an accomplished dramatic actor, and those skills come into play here. However, the script is thoroughly lacking, giving the cast little to work with. Wu Jing actually fares better than most, a martial arts star who doesn’t throw a single punch or kick but spends most of the film isolated on a space station, doing everything he can with the trite, melodramatic dialogue handed to him. Ng Man-tat, meanwhile, stumbles alongside his co-stars back on Earth, struggling to scrape together memorable characters or performances.

For the purposes of spectacle, the performances are perhaps serviceable. The biggest problem is slapdash pacing. At times, the film can muster some genuine thrills; but the film more often resembles last year’s Robin Hood debacle, with its poor sense of rhythm and hackwork scene construction. The film also attempts to substitute character development with baldly manipulative, melodramatic flashbacks. It’s cheap and clumsy. On a micro level, the screenplay is poorly written; but on a macro level, on the overall audaciousness of the film’s rollercoaster storytelling, Frant Gwo is able to deliver something surprisingly enthralling. The film has an endearing spirit, depicting humanity clawing its way back from one setback after another; The Wandering Earth routinely brings its characters close to success and then gleefully rips it away again, making them work harder and harder to ensure their own survival. Some of the images conjured up of people setting aside their differences, working together, risking life and limb, and taking gigantic leaps of faith, can be genuinely rousing. It might all be incredibly stupid, but respect where it’s due because this movie works damn hard to entertain.
Wu Jing, as Liu Peiqiang, leads an international cast aboard a space station in The Wandering Earth.

The Wandering Earth is the sort of film I hesitate to call good, but also want to recommend regardless. Like any number of Roland Emmerich films, it might not be a good movie, but it’s a whole hell of a lot of movie, and the film’s third act is truly a sight to behold. The film careens through numerous influences, blatantly aping 2001: A Space Odyssey in one of its subplots, combining that with the opening sequence of Gravity at one point, offering shades of Interstellar (as mentioned above) and Sunshine at various points, and feeling largely reminiscent of films like The Core. I have not read Liu Cixin’s short story, so I have no idea how much of the tone is being faithfully adapted, or if—like the many movie influences just name-dropped—it blows the whole thing to pieces, running roughshod over everything in its wanton pursuit of big screen spectacle. It would be easy to say it lacks a specific or consistent aesthetic identity (because that’s largely true), but that’s also sort of the point. Frant Gwo doesn’t try to steal from the best and make it his own; he murders all of it in front of our eyes, screaming, “Are you not entertained!?”

I spent most of the running time laughing my ass off, so… sure?
 楼主| 发表于 前天 12:21 | 显示全部楼层
影评人   Jayson McNulty 给出了 两星半的评价。(满分五星)

他主要跟 2012 做了对比, 认为,流浪地球一出, 2012(和其它的同类型影片)就可以靠边站了。

The Wandering Earth is the best movie Roland Emmerich never made.
You’re Roland Emmerich, and your entire existence is now redundant.

当然,对于流浪地球的同样明显的优缺点,作者
I paid to see this in IMAX 3D and I simultaneously regret everything and nothing.

他的最终结论还是推荐。(应该是吧。。。^_^。。。。)
The Wandering Earth is the sort of film I hesitate to call good, but also want to recommend regardless. Like any number of Roland Emmerich films, it might not be a good movie, but it’s a whole hell of a lot of movie。

发表于 前天 13:36 | 显示全部楼层
本帖最后由 hellman 于 2019-2-17 13:51 编辑

优缺点都很明显的电影,会成为话题热点,有助于影片的商业营销。虽然这片子应该没什么衍生品,否则,至少在国内,会是一个十亿级的市场规模!比如,装载车的模型,拼装行星发动机模型,电子游戏。不过郭导可以在五年后再出导演剪辑版,赚二道茬!
发表于 前天 13:41 | 显示全部楼层
ddk1 发表于 2019-2-17 10:12
文艺复兴、科技爆炸后,人类已经没有低技术生存的可能了~~~

有的。生产力的进步,加速度会越来越大,可能会大到多数地球人难于理解的程度,那就是会发生另一个危机。人们会逐渐反科学,反智化。
发表于 前天 13:44 | 显示全部楼层
也许虚拟学习系统,可以帮助白丁进化到鸿儒。今天,人们以一生拿到一个文凭为荣。明天,每两年要拿一个文凭或者认证,持续下去,可能也不稀奇。
 楼主| 发表于 前天 20:11 | 显示全部楼层
hellman 发表于 2019-2-17 13:36
优缺点都很明显的电影,会成为话题热点,有助于影片的商业营销。虽然这片子应该没什么衍生品,否则,至少在 ...

淘宝已经众筹 行星转向发动机  装载车 了。

^_^。。。。。。。。。。。。

点评

我只搜到ar模型了。价格也不便宜。  发表于 昨天 17:59
发表于 前天 21:33 | 显示全部楼层
hellman 发表于 2019-2-17 13:36
优缺点都很明显的电影,会成为话题热点,有助于影片的商业营销。虽然这片子应该没什么衍生品,否则,至少在 ...

我还等着那个导演剪辑版出来再看呢,要五年之后才推出吗?五年之后,还会记得它吗?
最好今年就推出,热度应该还在。

点评

人们会审美疲劳。  发表于 昨天 18:00
发表于 前天 23:02 | 显示全部楼层
ddk1 发表于 2019-2-16 21:10
由于“历史是被任意打扮的小姑娘”,又因为“一切历史都是当代史”这样的现实,俺不相信现有任何主流对人 ...

不纠结于细节的话,人类社会文明冲突的发展轨迹清晰可见,大航海和工业革命带来殖民时代,也同时缩小了各大洲的科技差异,解放运动的方心未艾,冷战的兴起及瓦解,直到现在的多元文化及多级世界的到来。
目前人类走出太阳系遥遥无期,类比的话,人类在宇宙中的科技水平,面对浩瀚的太空,现在连基本的造船术都没有,更别说地理大发现了。
发表于 昨天 10:49 | 显示全部楼层
本帖最后由 bluearrow 于 2019-2-18 10:52 编辑
ddk1 发表于 2019-2-15 23:09
说维德会保全人类,为什么不看看三体人都做了什么?

三体人在得知威慑实施后,没有对人类进行一丝一毫 ...


三体人遵循了宇宙的黑暗规则-----利用技术上的领先准备主动进攻占领地球取代人类成为主人,这是比报复更为残酷的行动,三体对地球的打击并不是因为维德或者其他地球人做了什么,而是这始终是他们的原始目标,或者可以说三体人整体就是维德。
三体人没有报复人类不是因为人类的感情,而是罗辑的反击可能性,理智分析的结果风险太高。他没有与人类断绝联系,也是因为与地球过往的联系使得一但地球受到黑暗打击,三体人也难逃厄运。帮助地球就是帮自已,是有利于三体的理智行为,没有丝毫的所谓爱和感情在里面,三体人对地球自始自终没有爱,没有恨,如果一定要说有的话,也只有一点点的对罗辑的尊敬。
程心这个点是三体人在对地球了解后顺势的布局,是对地球所谓滥爱的最大讽刺。如果不是星舰巧合地发现了高维的秘密,他们的计划就成功了。
人类的傲慢在于自以为爱和情感是高尚的超越一切,不知道宇宙不同文明的交往就是打击和消灭对方(即使在罗辑用黑暗森林理论教育之后,人类也没有理解所以对罗辑没有丝毫敬意,反之三体人倒是对罗辑很尊重),与仇恨或者爱没有任何关系.   
有没有维德这样的人或者有没有程心这样的人, 都不会改变三休占领地球灭亡人类的决心(因为这个行动存在于宇宙生存的法则本身),对维德的害怕不是怕维德反攻三体(按宇宙法则有没有维德只要人类有了这个能力打击三体都是必然的)而是维德使得三体打击地球的行动难以实行
章北海因为一点点善良犹豫了一下下就成为了牺牲对象,但他对美女舰长说:没关系,都一样——在人类得以进化后不仅没有了爱连恨都没有了
三体作者一遍遍在讲一个道理  宇宙的法则   没有爱  没有恨 只有打击和死亡     黑暗森林 死神永生
发表于 昨天 12:38 来自手机 | 显示全部楼层
hellman 发表于 2019-2-17 13:41
有的。生产力的进步,加速度会越来越大,可能会大到多数地球人难于理解的程度,那就是会发生另一个危机。 ...

从烧死布鲁诺开始,反科学、反智运动就一直得到相当一部分大众和政治势力的支持,这种势力直到今天也没放弃过。由于人权、平权的观念深入包括反智者的思想,思想自由的力量不可避免地与科学精神共同摧毁一切阻碍势力。

点评

普通人可能不会想的太多,主要是眼前的利益导向。  发表于 昨天 18:03
发表于 昨天 12:45 来自手机 | 显示全部楼层
easymake 发表于 2019-2-17 23:02
不纠结于细节的话,人类社会文明冲突的发展轨迹清晰可见,大航海和工业革命带来殖民时代,也同时缩小了各 ...

如果宇宙的全息性原理是真理的话,即地球上的物理原理也同时在遥远宇宙边缘起作用,则人类未来科学发展的程度难以估量。可能一万年后也走不出太阳系,可能一千年后走遍宇宙,也可能一百年后人类不存在。。。
发表于 昨天 14:03 来自手机 | 显示全部楼层
bluearrow 发表于 2019-2-18 10:49
三体人遵循了宇宙的黑暗规则-----利用技术上的领先准备主动进攻占领地球取代人类成为主人,这是比报复 ...

首先,“执剑人”制度的出现是三体世界与太阳系毁灭的根源。
在罗辑以原始手段对三体形成威慑后,曾有一段两个世界和平。人类对这种和平的理解是,三体世界没有抓住突击人类的机会。这难道不是对以理性著称三体文明的蔑视,和人类文明的傲慢?
在傲慢的同时,创造出了不负责任的“执剑人”制度,掩饰自身的虚弱。
三体突袭的失败也是因为对人类总体虚弱的蔑视,他们也傲慢了。没有想到,已成笼中鸟的星舰人类,能快速理解高维空间并实施反击,也失去了相当时间和平发展的机会。
突袭失败没有打垮三体人,他们快速总结了自身失败的原因,重新以谦卑地态度面对宇宙,以学习者的身份,为云天明和程心准备了个“小宇宙”,并配备了智子。因为“爱”这个概念,是三体文明严重缺乏的,这种貌似无意义的感情、感性,打败了他们两次(第一次是有心的罗辑,第二次是无心的程心),他们不想再次失败。其实在抵抗军时期,罗揖能活下来并成为抵抗军精神领袖,恐怕也是三体有意为之。

人类本有机会借助三体科技和星舰人类的开拓,实现更大规模的逃亡,缺乏对自身反思,使人类失去了最好机会。

《三体》I结尾处讲到虫子,《三体》II开篇就是蚂蚁、蜘蛛与罗缉、叶文洁;《三体》II结尾处说到三体监听员与罗揖夫妇谈到“爱”,《三体》III则讲的是“来自星星的爱”。。。

爱,是否是人类开拓未来的希望,俺不清楚,“爱与希望”是《三体》三部曲的主题,是俺的观点。

如果大刘能自身突破,写出超越《三体》或把其主题严密化、逻辑化的作品,俺相信,他可能达到培根、黑格尔等,历史上耳熟能详的思想家高度。
发表于 昨天 15:18 | 显示全部楼层
马甲 发表于 2019-2-15 17:13
没看过原著就别乱喷。原著的科技比现在高几个档次。最低限度是千年后的世界。用苏联技术风格就是失败。你 ...

你这喷也要看原著吧??文科艺术压缩到最低限度这是原著表述的内容,这书都不看就开喷,谁给你的勇气?梁阿姨?
发表于 昨天 16:03 | 显示全部楼层
ddk1 发表于 2019-2-18 14:03
首先,“执剑人”制度的出现是三体世界与太阳系毁灭的根源。
在罗辑以原始手段对三体形成威慑后,曾有一 ...

罗辑的原始手段,不就是执剑人制度的一种形式吗?三体帮地球建立了引力波的系统,是因为罗辑的原始系统稳定性太差,怕走火,与蔑视傲慢无关吧!执剑人制度是地球和三体人共同建立的!地球科技落后于三体,这个地球是承认的,没有掩饰的需要吧!

三体的主题  就是   黑暗森林  和  死亡永生,这有什么疑问!至于说爱代表了希望,真没看出来!

充满爱的程心,大刘是把她安排的挺惨的,全球人因她的决定而死,偏偏不让她死还要眼看着太阳系的灭亡!云天明费尽心思与她相见却咫尺天涯!进到留给她的小宇宙却又重面对未知的未来!按三体的结构思想走向,宇宙应该会因她的哪点小心思最后没法重启的!

我认为三体的主题其实是很消极沉重的,这是我对小说的是理解!

但是,这并不等于我认同大刘的观点!

什么小说最让人难以忘怀?悲剧的结局!

只是一部小说而已

我读过大刘的所有小说,有他几乎所有的正版实体书。但是即使如此,对他也没有你这么高的评价,三体只是一部不错的小说而已,构思新颖,读来引人入胜,把中国科幻小说创作提高到世界级!但与自成思想流派的水平还是有相当相当大的差距的。  从思想性的角度来说, “安德的游戏 ”都要比这个高。对了,要说爱与希望,要说种族思想层次的提升,这部小说可比三体高大上多了,也更能符合你加在三体上的善恶观!
发表于 昨天 17:13 来自手机 | 显示全部楼层
bluearrow 发表于 2019-2-18 16:03
罗辑的原始手段,不就是执剑人制度的一种形式吗?三体帮地球建立了引力波的系统,是因为罗辑的原始系统稳 ...

《三体》从某种意义上说,是大刘二十多年写作的总结与升华,俺认为是诺奖级别的作品。说他有机会成为思想家,是他再次突破自己以后才能达到的成就,而不是现在。

“黑暗森林”理论,以现有物理理论和逻辑推演,很好解决了费米悖论,是一个可能的宇宙学研究方向,这是大刘独自完成的,具有很高的科学、学术价值。

同时也要看到,“宇宙资源总量不变”这个基本公理,是可能存在瑕疵甚至错误的。如果这个公理有问题,则整个“黑暗森林”理论都不可靠。

回到小说中,包括三体在内的很多文明,都在遵循并实践着“黑暗森林”理论,同时也有例外一一一已经掌握超级理论、技术,差不多达到“神级文明”水平的“归零者”,以可能的志愿者方式进行全宇宙的广播和重启,他们是否成功,小说没有给出答案。

三体文明在与罗缉对决前,一直禀持、实施“黑暗森林”理论(在与叶文洁通话前,他们也有向宇宙广播,是不是象有些行动迟缓的捕食动物那样,有意以假象欺骗猎物,未知),当他们发现弱小的人类文明能以战略能力获得某些优势后,三体诚心实意地向人类学习,以至人类都无法分辨三体人以人类为主角的作品。这才是对人类最危险的!而与谁当“执剑人”毫无关系。。。

程心的个人生活,的确非常凄惨。在整个人类文明都无法把握自己命运时,她坚守了人类文明的最后底线,即使“归零者”的广播是个谎言(有这种可能的),也义无返顾地投入自己的理想中。

所以,她是一个悲情英雄。

。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。
这样的故事设定,可能与大刘自己所说的,受俄国文学影响较深有关。
发表于 昨天 17:14 来自手机 | 显示全部楼层
bluearrow 发表于 2019-2-18 16:03
罗辑的原始手段,不就是执剑人制度的一种形式吗?三体帮地球建立了引力波的系统,是因为罗辑的原始系统稳 ...

《三体》从某种意义上说,是大刘二十多年写作的总结与升华,俺认为是诺奖级别的作品。说他有机会成为思想家,是他再次突破自己以后才能达到的成就,而不是现在。

“黑暗森林”理论,以现有物理理论和逻辑推演,很好解决了费米悖论,是一个可能的宇宙学研究方向,这是大刘独自完成的,具有很高的科学、学术价值。

同时也要看到,“宇宙资源总量不变”这个基本公理,是可能存在瑕疵甚至错误的。如果这个公理有问题,则整个“黑暗森林”理论都不可靠。

回到小说中,包括三体在内的很多文明,都在遵循并实践着“黑暗森林”理论,同时也有例外一一一已经掌握超级理论、技术,差不多达到“神级文明”水平的“归零者”,以可能的志愿者方式进行全宇宙的广播和重启,他们是否成功,小说没有给出答案。

三体文明在与罗缉对决前,一直禀持、实施“黑暗森林”理论(在与叶文洁通话前,他们也有向宇宙广播,是不是象有些行动迟缓的捕食动物那样,有意以假象欺骗猎物,未知),当他们发现弱小的人类文明能以战略能力获得某些优势后,三体诚心实意地向人类学习,以至人类都无法分辨三体人以人类为主角的作品。这才是对人类最危险的!而与谁当“执剑人”毫无关系。。。

程心的个人生活,的确非常凄惨。在整个人类文明都无法把握自己命运时,她坚守了人类文明的最后底线,即使“归零者”的广播是个谎言(有这种可能的),也义无返顾地投入自己的理想中。

所以,她是一个悲情英雄。

。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。
这样的故事设定,可能与大刘自己所说的,受俄国文学影响较深有关。
发表于 昨天 17:14 来自手机 | 显示全部楼层
bluearrow 发表于 2019-2-18 16:03
罗辑的原始手段,不就是执剑人制度的一种形式吗?三体帮地球建立了引力波的系统,是因为罗辑的原始系统稳 ...

《三体》从某种意义上说,是大刘二十多年写作的总结与升华,俺认为是诺奖级别的作品。说他有机会成为思想家,是他再次突破自己以后才能达到的成就,而不是现在。

“黑暗森林”理论,以现有物理理论和逻辑推演,很好解决了费米悖论,是一个可能的宇宙学研究方向,这是大刘独自完成的,具有很高的科学、学术价值。

同时也要看到,“宇宙资源总量不变”这个基本公理,是可能存在瑕疵甚至错误的。如果这个公理有问题,则整个“黑暗森林”理论都不可靠。

回到小说中,包括三体在内的很多文明,都在遵循并实践着“黑暗森林”理论,同时也有例外一一一已经掌握超级理论、技术,差不多达到“神级文明”水平的“归零者”,以可能的志愿者方式进行全宇宙的广播和重启,他们是否成功,小说没有给出答案。

三体文明在与罗缉对决前,一直禀持、实施“黑暗森林”理论(在与叶文洁通话前,他们也有向宇宙广播,是不是象有些行动迟缓的捕食动物那样,有意以假象欺骗猎物,未知),当他们发现弱小的人类文明能以战略能力获得某些优势后,三体诚心实意地向人类学习,以至人类都无法分辨三体人以人类为主角的作品。这才是对人类最危险的!而与谁当“执剑人”毫无关系。。。

程心的个人生活,的确非常凄惨。在整个人类文明都无法把握自己命运时,她坚守了人类文明的最后底线,即使“归零者”的广播是个谎言(有这种可能的),也义无返顾地投入自己的理想中。

所以,她是一个悲情英雄。

。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。
这样的故事设定,可能与大刘自己所说的,受俄国文学影响较深有关。
发表于 昨天 17:16 来自手机 | 显示全部楼层
ddk1 发表于 2019-2-18 17:14
《三体》从某种意义上说,是大刘二十多年写作的总结与升华,俺认为是诺奖级别的作品。说他有机会成为思想 ...

怎么又连击了?
发表于 昨天 18:07 | 显示全部楼层
原著里并没有涉及三体文明的能量代谢方式。
发表于 昨天 23:54 | 显示全部楼层
poli 发表于 2019-2-15 14:49
在全地球倒计时逃命的时代,你跟我说未来的建筑车辆风格不够精致简洁。。。看过原著吗?那个世界观里人类 ...

狂热民族主义、爱国主义使人愚昧。小说中人类在逃命过程中是“学校教育都集中在理工科上,艺术和哲学之类的教育已压缩到最少,人类没有这份闲心了”,没有说人类之前也是这样。人类在逃命之前样样都很繁荣的。中国再发展50年,肯定不是苏联技术风格。逃命过程没心思搞新技术风格,继承原来的风格总可以吧,你难道认为人类逃命了就胡来?

论坛中就你喷我没有看过原著吧。承认自己喷错很困难吗?我是先看电影,后看小说,再看剧情,在我眼中是烂片。
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