The long-awaited drama version of "The Three-Body Problem" is finally here!
The first four episodes were amazingly popular, instantly dominating the list, and received rave reviews.
Netizens were very satisfied with the texture of the first four episodes, and excitedly shouted "Soak!" Soak! Soak! The real Heng era is coming", a short sentence of novel memes, between the lines is the joy of Tencent's drama version of "The Three-Body Problem".
Careful magnifying glass netizens have become deeply interested in the "excessive content of practitioners" in the cast.
have said that they are very much looking forward to seeing Hou Hongliang as Confucius and other content in the future;
What I personally want to see is that Jiangnan's cameo Fuxi is thrown into the ding (haha sorry ~ manual dog head).
There are also "lack of virtue" (crossed out) netizens who began to break the dimensional wall and play terriers~
A classic picture of Mr. Lin Yongjian in the past sketch and a "I am your wall-breaker" emoji make people laugh out of the painting every minute (there is no meaning to say that Mr. Lin Yongjian's performance is bad).
First, respect the original: the shape of the adaptation is similar to the god
The praise for the first four episodes of the "Three-Body Problem" drama version seems to be faithful to the original.
No magic change, no random play, no random drama, seemingly easy but difficult to execute.
Plays and novels are completely different carriers, and there is no such thing as copying.
Putting the dialogue in the novel into the play intact is called respecting the original?
What the "Three-Body Problem" TV series does is obviously more than that.
Retaining the original dialogue content can only be called a thin one-sided shape, or a simple shriveled follow-up.
The more advanced and penetrating "respect for the original" while retaining the essence of the novel and adapting to the film and television carrier is obviously to have both physical and divine likeness.
There are famous scenes in the novel, the original dialogue is both a relationship between human characters, but after changing the water and soil for the carrier and changing the way, it has a higher specification of "god-likeness".
Concentrate the essence of character relationships, and the drama transplantation is vivid and vivid.
In the novel, Wang Miao first saw the big history, and the impression was very bad.
Hearing about his disliked professional past, he disliked his slightly rough execution and resented his intrusion into his own life.
In just a few scenes in the play, the above look and feel is completely preserved.
When the two first met, Wang Miao was invited to the meeting, and Dashi himself made a bad remark and pretended to be very innocent and complained that "scientists have such a bad temper"?
You see, in a few words, the main line of the story is pushed forward, and the progress bar is forward;
The character relationship is a bit "happy and wronged", and the drama conflict has been;
The character is very distinct, and the character shaping is there;
Da Shi this muttered, and a little occasional light comedy painting style ~
Similarly, Da Shi's sentence of "if it's my car, you will drag it" to Wang Miao is also quite cute.
A short joke and complaint, from the perspective of the inheritance and change of painting style, is in the serious and somber tension, switching a wisp of joyful and funny content, the rhythm of the play is loose and tight, tense and relaxed, closed and released.
From the perspective of the subtle transformation of the relationship between the characters, there is more and more "show talent meets soldier" with a mouth that cannot explain the texture.
From the perspective of foreshadowing, it is more important to lay the story line of the cause and effect of the two working together in the face of the shocking crisis in the later period.
Second, the highlights of hardcore dramas: the loose and relaxed change of rhythm
In "The Three-Body Problem", Wang Miao can see the numbers, from the countdown on the camera to "the whole universe will flash for you", which is known to the reader of the novel.
In known situations, how to maintain freshness and substitution?
The first point may be the intuitive immersion experience.
In some shots, the picture presents a subjective intuitive feeling from Wang Miao's first perspective.
Following Wang Miao's line of sight, there is always a constantly changing countdown in the center of the picture.
The wife's face is, the dashboard of the car, the middle of the road, everywhere all the time, gilded and changing, it's terrible.
Like a shadow, like a nightmare, like a "turkey scientist" intuitively externalized.
The invasion of audiovisual language is very impactful.
In some shots when chasing the drama, I was violently dragged into Wang Miao's own body feeling: Ah help!
The second point, perhaps, is the loose and relaxed change in rhythm.
Wang Miao took the camera and got nervous, and verified "whether it was the camera's problem or my problem" one by one by changing the camera by his wife and children.
In the process, the wife went from nervous to "hi what he's worried about", to thinking that he was worried about it and relaxing, and again to worrying about his illness, nervousness and suggesting intervention, and the emotional turn was reasonable.
A normal reaction that conforms to normal people is a normal pattern that contrasts with the abnormal state (Wang Miao), and has a more real and broad sense of background déjà vu.
The second is similar to the spectator perspective, and some reactions also coincide with the audience's wonder "why is he like that".
The third is in the dimension of dramatic turning and changing, her sometimes relaxed and sometimes nervous, sometimes understanding and sometimes confused, and Wang Miao, who is in an extremely tense state, form a very clear control group.
At first, his wife was frightened by Wang Miao's nagging attitude.
Then, finding Wang Miao, a nerd, entangled in "how did this light source come from", thinking that he was making a fuss about some unimportant details or theoretical issues, she suddenly dispelled her doubts and went to work on her housework.
In the middle of cooking, she was called to take pictures, and the focus was not on the photos, but on "Oh, I still have the food on my hands."
The contrast between everyday life on the one hand and extremely strange extreme countdown numbers on the other is also sharp.
Later, his wife finally discovered that Wang Miao did have a problem, but she understood it from a pathological point of view, and she could never really experience Wang Miao's boundless fear of being placed in the shadow of the "turkey scientist" because of the ubiquitous countdown.
Even if he is a loved one who lives with him on a daily basis, even if he is well-educated and engaged in medicine, even if he cares and is considerate of his husband, Wang Miao's wife cannot help him deal with this painful ordeal, or even experience the pain of his countdown hell.
There is no word of loneliness, no word of fear, but hidden under the outline of "home" content, Wang Miao is in the bustling and lively people's house, but seems to be strangled by loneliness, all of them gushing out.
Third, the past: thousands of contrasts that are not intentional but bring their own strength
In the fourth episode of "The Three-Body Problem", Wang Miao visited Ye Wenjie's house, and the content of the original work is still highly restored.
The retired old professor with the warmth of the children, the human fireworks talking in the neighborhood, the objects in Yang Dong's room to restore the childhood memories of Northeast China, etc., are all online.
On one side is the peaceful and beautiful picture scroll of this ordinary alley, and on the other side is the past of the Red Bank that constantly flashes.
At the end of several episodes, Ye Wenjie from different periods appeared.
Although the young version of Ye Wenjie's story has not really unfolded yet (the same structure as the novel's interlude flashback).
But the sporadic frames and effects are already amazing.
Every time it appears, it has the power of emotional radiation.
Regarding the elderly version of Ye Wenjie, the highlights are even more dense and profound.
The most intuitive sense of suspense is Dashi's suspicion of her: her daughter who was raised committed suicide, why is she still so calm as a mother?
The most striking contrast is her daily appearance of a gentle retired old professor, which is obviously more dry in the eyes at the end of the first episode.
"The Three-Body Problem" is so well-known and the number of book fans is so large, for many audiences, everything is known.
But the "Three-Body Problem" version still managed to create a sense of suspense in the face of the fait accompli that "the answer is clear" under known circumstances.
(As we've talked about many times before, suspense and suspense are very different.) ）
For viewers who haven't read the novel, the sense of suspense may be even stronger.
For fans who know the content, there are thousands of hidden contrasts and rich emotions.
Deep forests in the snow, desolate years, lonely journeys, tormenting moods.
A small button, a piece of the past.
All have the roaring power of landslides and ground cracks.
Looking forward to the follow-up.