The drama version of "The Three-Body Problem", like "The Wandering Earth 2", can go out with Chinese values

The drama version of "The Three-Body Problem" opens high and goes higher.

When it premiered, it matched the original and was praised; In the middle section, the rhythm is slow, and the spit is heard one after another; At the end, ten episodes of Fengshen poured in praise.

The two-dimensional development of protons in the three-body world, the implementation of the guzheng plan, and Shi Qiang's "bugs have never been truly defeated" are all amazing.

The drama version shot the original work, and in some aspects surpassed the original work, which also helped "The Three-Body Problem" to rise from the previous 8.1 to the current 8.3, and it is estimated that the score will rise.

But one thing must be admitted, the drama version of "The Three-Body Problem" is indeed unfriendly to non-original parties.

The slow pace and protracted plot in the early stage will make the non-original party sleepy, which is the result of following the original book and the reason why the director is not very good at telling stories.

The novel itself began to attract people in the later stage, and the early stage was to lay all kinds of foreshadowing, just for the addiction when the final reveal, for the guzheng action, two-dimensional unfolding, and bug theory.

According to this setting, the drama version takes care of the vast majority of book fans.

But the TV series is a mass entertainment after all, the director still considered other audiences, the drama version of "The Three-Body Problem" has two original characters, an adapted character, which are Mu Xing, Xu Bingbing and Chen Xue.

Xu Bingbing only exists as an auxiliary, and the timing of his appearance is just to do some leftover things, which does not have much impact on the plot, so it does not affect the perception, but Mu Xing's increase is a big failure.

The director added Mu Xing to understand ETO through her and let the non-original party have a further understanding of the story of "The Three-Body Problem", but doing so is self-defeating and makes the plot bloated.

Part of Shi Qiang's plot was moved to her, which not only did not make Mu Xing likable, but also weakened Shi Qiang's ability, causing Da Shi to become a marginal person when investigating the suicide of a physicist.

In the end, it all relied on Mu Xing's theft to solve the case, if not for Shi Qiang's possession of a pistol to hit a nuclear bomb in the last 10 episodes, the bug has never really been defeated by these two highlight moments, I am afraid that he really became a complete tool man.

Compared with Mu Xing, the director's adaptation of the nuclear bomb girl is extremely successful.

In the original work, Ye Wenjie's sister Ye Wenxue died of madness during the turmoil period, and there are no descendants, and this line ends here.

The same is true of the nuclear bomb girl, as Ye Wenjie's bodyguard, she only showed her skills when she killed Pan Han and ETO and was attacked by Shi Qiang's men and horses, and when she covered Ye Wenjie's retreat.

But Da Liu didn't have much to describe her, just a fleeting small role, not even a name.

In the play, the director let Ye Wenxue have a daughter Chen Xue, and also grafted it onto the body of the nuclear bomb girl, this change is simply a genius move, and the role is more three-dimensional and sympathetic.

Why would Chen Xue desperately protect Ye Wenjie?

One is because her mother not only sold her college spot, but also abandoned her, leaving her desperate for humanity.

Second, because Ye Wenjie, as her only relative in the world, gave her the warmth she deserved, and also brought her to join the ETO and eliminate human tyranny together.

In this way, the motives of the nuclear bomb girl have reasonable logic, which not only explains the nature of the ETO organization, but also gives the humble little characters in the book the effect of driving the story forward.

In addition to Chen Xue, the adaptation of Wang Miao in the drama version of "The Three-Body Problem", as well as the casting of young and old Ye Wenjie, are all divine strokes.

Wang Miao in the novel is a proper tool man, under the guidance of Shi Qiang, do what a tool man should do, talk to Ye Wenjie, undercover ETO and so on.

But in the play, Wang Miao has a sense of self, is no longer a tool of someone, and the relationship with Dashi has changed from a subsidiary to a gradually evolving comrade-in-arms and brother.

As far as the chapter of the Guzheng Project is concerned, the drama version of Wang Miao is much higher than the animated version of Wang Miao.

In the play, Shi Qiang first went to find Wang Miao and recreated the scene when the two met for the first time, so that their friendship from hatred to appreciation was echoed.

Then put forward the idea of the guzheng project at the meeting, and then let Wang Miao use his nano knowledge to perfect the plan, and finally Wang Miao, as the main implementer, experienced some moral shackles and inner struggles, and finally made the guzheng project successful.

Such a Wang Miao can press Wang Miao, who is greedy and afraid of death, timid and cowardly in the "Three-Body Problem" animation to the ground and rub, which is the difference between having read the novel and understanding the characters and not reading the novel, all based on self-righteousness.

As for Ye Wenjie's actors Wang Ziwen and Chen Jin, they cannot be said to be exactly the same as the images in the book, they can only be said to be exactly the same.

Wang Ziwen in the forest farm and the Red Bank period performed Ye Wenjie's forbearance, anger, despair and stubbornness, betrayed mankind, killed Lei Zhicheng, and was forced to kill Yang Weining, the kind of determination and grief were also vividly interpreted.

By the time Ye Wenjie reached the elderly, her hatred of human beings had diminished a lot, and she was more calm after seeing many big scenes.

Ye Wenjie in this period should be kind and kind and calm at the same time, obviously Chen Jin has grasped the essence of the character, seemingly slow and methodical, but in fact orderly.

When she said the words "This is the sunset of mankind", the young and old Ye Wenjie were superimposed together, the shock was indescribable, and the bug theory of the great history was quiet, making the end of "The Three-Body Problem" a pun.

The drama version of "The Three-Body Problem" together with "The Wandering Earth 2" gives hope for the future of Chinese film and television, and also allows Chinese values and soft culture to go out.

On IMDb, The Three-Body Problem has a rating of 7.9, and from episode 12 onwards, each episode has a single episode rating of more than 9, and episodes 25-30 are even close to 9.8, 9.9 and 9.7 out of perfect.

Such results make the Netflix version of "The Three-Body Problem" no longer expected, after all, Liu Cixin's "Three-Body Problem" can only be filmed Chinese the essence of it, not political correctness.

The reason why I dare to boast about such a Haikou is because of the reality in "The Three-Body Problem".

This reality reflects not the United States on the other side of the ocean, but the homeland of China, expressing the social and spiritual values that Chinese pursues.

Just as Hollywood's saving the world is always about individual heroism or abandoning one's home to find a new place to live, Chinese's saving the world is collectivism and home-country feelings.

For example, when encountering a prehistoric flood, the differences between Eastern and Western cultures are manifested, the West is to build Noah's Ark to avoid disasters, and the East is Dayu to control water and control floods.

Such values run through The Three-Body Problem.

When the three-body deterrence is coming, everyone blindly superstitious about technological development, focusing all their forces on scientific and technological innovation, believing that technology cannot keep up, and the apocalyptic battle with the three-body system will be lost.

If it is a Hollywood sci-fi film, when it encounters this kind of crisis, it is basically saved by technological explosion or love, "Star Wars" and "Avengers" are in this category.

However, in "The Three-Body Problem", Liu Cixin proposed "defeatism" through the mouth of Zhang Beihai, and while developing technology, we must also pay attention to the power of faith and the construction of ideological work.

At first, Chinese could use millet plus rifles to drive away the Japanese invaders who were several times stronger than us.

And on the Korean battlefield, with a handful of fried noodles and a handful of snow, he defeated American soldiers armed to the teeth, relying on this idea and strength of "defending the country".

This is the collectivism and home-country feelings that every Chinese goes deep into the marrow, and this kind of value will be very awkward to shoot in Hollywood, but it can be subtly introduced to the world as China's soft culture.

This is also the main reason why many people juxtapose "The Three-Body Problem" with world famous books, Liu Cixin knows the values of Chinese too well, and knows how to make this value acceptable at home and abroad, and the world needs "The Three-Body Problem".