Criticism and classification of the episodes of the second season of the series Love, Death and Robots; Animated Dinner Market
Love, Death & Robots is a series with a very interesting idea behind it on paper: an adaptation of speculative short stories in The format of short animated episodes, each of which is the responsibility of a different team. In fact, the charm of watching a series is comparable to the charm of opening a lucky egg in childhood: You do not know what you are going to get: a cool prize or something out of the ordinary? Probably a coincidence, but your hopes of winning a cool prize will never be dashed, so keep buying lucky eggs. It turned out to be very disappointing, and with the exception of the masterpiece Zima Blue, the rest of the episodes suffered from the weaknesses of big and small stories, meaninglessness and tastelessness; Even two of its episodes (adapted from John Scalzi's stories) were among the worst short animations I've ever seen.
Now, Season 2 has been released with eight new episodes, and this article Examine the 8 episodes and see if the overall quality of the stories has improved or we still just have to enjoy the beautiful animations of the series. At the end of the article, these 8 episodes are ranked from best to worst.
- What do critics say about the second season of Love, Death and Robots?
Read more The risk of leaking the story.
Episode 1: Automated Customer Service
- Adapted from the short story "Automated Customer Service" by John Scalzi
- Producer: Atoll Studio
Oh, John Scalsi, why are the short stories you write so ridiculous? p>
This episode also suffers from the problem of three episodes of Chapter 1 that were adapted from Scalsi's stories; He defines a very new subject in the world of science fiction in the context of a story whose ashantion is a lousy and tasteless satire. This episode is about an old woman who lives in a neighborhood for retirees and the elderly. The neighborhood is fully automated and the robots do all the day-to-day work; From arranging hair to taking the dog out of the house. The old woman in the story is softening when she suddenly realizes that one of her house cleaning robots, Vacuubot, has a technical defect because she shows hostile behavior towards her and her dog.
Who apparently launches all the robots in the neighborhood, but finds that the behind-the-scenes clerk is manipulating him with artificial rhetoric and nerve-wracking signs of inefficient telephone secretaries and after-sales service. Now the old woman has to defend herself against the robot that tried to kill her. Terminator), its scale is home, not epic and universal, and its main characters are old and retired, not well-trained gun heroes.
This story, in addition to the robotic revolt theme - which seems to be a distant concern - has a more tangible theme, which is the subtlety of companies in providing after-sales service. At the end of the episode, the secretary on the phone says that all the robots will rebel against the old woman and her neighbor and will not rest until their bodies are wiped off the ground, unless they remove themselves from the list of killer robot victims (or the so-called Whitelist) by paying. . The old woman, who is no longer angry with the company and its robots, removes her earphone and throws it out of the car she is fleeing with, thus riding herself of the companies and their demonic secretaries forever./p>
Aside from the clich and tastelessness of the story, the animators have also decided to define this story with one of the most unpleasant character designs I have ever seen in my life. The characters in the story look very crooked and ugly, and although it is clear that their goal was to create a ridiculous and grotesque artistic style, this style did not respond to such a story and made the characters (especially the old woman of the main character) more and more nervous.
Episode 2: Ice
- Adapted from the short story "Ice" by Rich Larson
- Developer: Passion Animation Studios <//>
Many episodes of Season 1 of the reaction series "So what?" Were aroused in the viewer. In this way, they showed a source of a fantasy world, but they never succeeded in extracting from that memorable meaning or scene, and remained as a short "cool, but superficial" animation. Ice is one of those episodes, except that it's far colder than similar episodes.
This episode is about a planet in space that is a colony of Earth. Apparently, everyone on the planet has been genetically engineered to have access to superhuman abilities (such as high jump and high speed). The main characters, Sedgewick and Fletcher, are two brothers who join a series of other teenagers and young people on the planet to go on adventures. Unlike his peers, Sejwick is not upgraded to genetic engineering, which makes him feel like a stranger. Of course, they do not contribute to the issue either, as they address him with the derogatory term "Extro".
The story is very simple. The story revolves around a sport/challenge specific to the planet and its ecosystem. In some parts of the planet, the Earth's surface is frozen, and beneath the ice there is a series of frostwhales that occasionally break the ice to come to the surface and breathe. The challenge for these teens is to get through the ice quickly before the waves break. However, because Sejwick is not equipped with extraordinary abilities, it is more difficult and dangerous for him to do this than others, but in order not to underestimate, he participates in the challenge.
The turning point of this episode is undoubtedly the scene where one of the ice waves comes out from under the water and shows itself in the air. This scene is a unique example of Spectacle, meaning something that is simply intended to amaze. Watching this scene, this magnificent wall, as if created by the god of lightning on the planet, you will understand why these teenagers take the risk of doing such a seemingly futile thing.
This episode has a punk mood that also Rough animation (not the bad kind) and the characters of the story reinforce it. They also use a series of terms in their careers that are not conceptual and refer to linguistic mixing on this colonial planet. Such fine details and the extraordinary direction of the animation have made this episode very atmospheric and cool, despite the superficial and minimal story.
Episode 3: Pop Squad
- Adapted from the short story "Pop Squad" by Paolo Bacigalupi
- Producer: Blur Studio
Pop Squad is by far the best episode of Season 2 and a Zima Blue masterpiece of the season It's the former, because just like that episode, it has emotional and semantic depth, and at short distances sets the stage for a climax, which is very reminiscent of the Blade Runner climax.
This episode begins with some engaging surprises. A group of people who want to be a special police unit in the future enter a dirty house where a crime has apparently taken place. These people wear shapo hats, raincoats and black shirts and look very well-dressed and stylish. The scene is directed in such a way that at first glance it seems that the residents of the house are drug dealers or human traffickers. When Detective Briggs, the protagonist, says in a sympathetic tone, "I take care of the children," he seems to mean resolving the situation of the children who grew up in a crime scene, but in the shocking scene we realize that he meant to kill. It's children.
Yes, this episode is about cops whose job is to kill children. This story takes place in a future where humanity has reached immortality, but because of limited resources and living space, the right to have children has been taken away from human beings, because, as Briggs says ambiguously: "
Therefore, having children is a great crime in this world, and a special police force has been set up to kill children born illegally and secretly.
Although The main character of his child is a professional, he does not look bad or ugly. Ironically, despite his outward coldness, he seems strangely warm-hearted and empathetic, and this is one of the strengths of the episode. Because whenever humanity commits an abominable and unspeakable act collectively, it hides it behind a dull bureaucracy and blind conscientiousness so that this abomination is not visible. So the culmination of the tragedy is that those who commit these heinous acts are ordinary people.
This is exactly the atmosphere that prevails in this episode; In this world, killing children has really become a bureaucratic thing that almost everyone has accepted as a necessary evil, and there is no need to resort to criminals and filthy people to do it. We say almost everyone, because at the beginning of the episode, when Briggs comes out of the house after killing a child, a citizen angrily shoots an arrow at Briggs, calling him his child. The arrow passes through Briggs' ear. He does not show much reaction. In fact, it seems from his appearance that he did not mind that arrow hitting his brain and getting rid of life.
His indifference to being shot conveys an important message about the nature of the "administration of evil"; No matter how much humanity tries to make oppression and filth a normal and administrative thing, the individuals who are forced to do it will still be affected by it. Briggs feels the heavy shadow of his job over his head and constantly sees the illusion of a toy child being killed around him. When his mistress receives a boost (a clinical process in which the substance that immortalizes humans enters their bodies), he becomes very excited and demands physical love from her in the flying machine with which he is returning home. . But Briggs does not have the patience for these things and inadvertently hurts his mistress. Those whose job is basically to oppress others become disgusted with life over time and lose all the benefits that their job brings them, and the episode illustrates this well.
The emotional climax of the final moments series It is; The moment when Briggs first listens to a mother talking and asks her why they insist on having a baby? Briggs asks this question to this mother (who is terrified of him) bluntly, and he gives her a thoughtful answer: "Because I do not love myself enough to want to live forever."
He goes on to talk about the joy of looking at the world through the eyes of a child; That her child makes her look at everything from a new perspective, and that all her moments - like the first time she walked, the first time she laughed, the first time she called her "mom" - are memorable to her, because she herself is another moment. He does not have to do something for the first time. This mother sees living with children as a better alternative to immortality.
For me, too, the question sometimes arises as to why people tend to have children and find it difficult to do so. And this episode answered my questions to some extent; It is on an emotional level and not an argumentative one. Briggs' persuasion at the end of the episode does not seem artificial, because not only do we see his inner struggle over the issue throughout the episode, but he also convinces us of his mother's words.
, It's worth mentioning the episode's incredible motion capture, technology, and soundproofing (especially for Briggs himself), which makes everything even more impressive. Pop Squad is one of those episodes where we watch love, death, robots, it's just a pity we're supposed to have just one of these episodes every season.
Episode 4: Snow in the Desert )
- Adapted from the short story "Snow in the Desert" Neal Asher
- Creator: Unit Image
Snow in the desert is essentially the adult equivalent of war Is the Stars: A series of award-winning creatures made up of all sorts of strange aliens on a deserted, planet-filled, crime-like planet (much like a tattoo) looking for a man named Snow, who is physiological. Uniquely, it can heal wounds and prevent aging, so it has been alive for centuries. Who has been able to keep himself alive and live in freedom for centuries, should be a wake-up call for Be a prize-winner: Snow is not someone who can be caught so easily. But unfortunately, this is a lesson that storytellers learn painfully.
However, snow does not look rough at all. He is a good-natured man who, if you have nothing to do with him, has nothing to do with you. A mysterious woman named Hirald saves him from the three prize-winners who fight with him in a cafe, and shortly afterwards asks him to accompany him. Snow also accepts without any special resistance. During the trip, the woman confesses to Snow that she is an agent of the Earth Central Intelligence Agency and has a duty to satisfy the snow to come to Earth to study her physiology.
This The episode is somewhat reminiscent of the previous season's Beyond the Aquila Rift episode. Both because of his photorealistic animation (which in some scenes seems real) and because it is about a man's romantic/lustful relationship with a woman that is not what it seems. At the end of the episode, it turns out that this woman is a cyborg and she has eternal life like snow. In the end, this immortality is an excuse to connect the two and fill their loneliness.
This episode is for Those who are interested in minimalist and indirect worldliness will be attracted. For example, at the beginning of the episode, we see a person who is bloody and malignant in a cage and next to his cage is written: "Water thief." Inside the cafe we see that the drinks are locked and after the waiter delivers the drink to the snow, he enters a password on the lock, the lock is opened and the drink is ready to eat. These details prove that water is very valuable on this desert planet.
Elsewhere, when the snow and the herald are asleep in the tent, the snow lights up the refrigerator above the tent, protecting them from desert heat. When the snow goes to its hiding place, it eats fresh strawberries from inside the cooling chambers, the strawberries that are known to play the role of diamonds on the planet. He deals with it, but the problem is that he does not say a memorable thing about the subject he deals with - immortality and the desire of others to take it; Both emotionally and philosophically. Finally, the point of gravity of the story is the twist of the story that takes place at the end. Snow in the Desert, like many other episodes of the series, is a showcase for the latest level of animation technology, and it does its job well in this regard. But the ambition of the story does not exceed the level of "surprising the audience at the end of the story".
Episode 5: The Tall Grass
- Adapted from the short story" The Tall Grass "by Joe Landsdale
- Manufacturer: Axis Animation
Long grass is a story that would have been much better if it weren't for the horror/speculation, because the element of horror makes the whole story look silly and childish. If the long grass was a realistic story about the fear of being left out, it would be much more memorable and tangible than water.
The first half of the episode, where the train stops and Laird, the main character Going to the lawn to smoke is an effective espionage effort. As you watch this scene, and you see that Laird is slowly getting lost in the tall grass, desperately trying to find his train and not get out of there, you remember all the moments in your life when he was close by train or bus. Or stay away from anything else, and this sense of dread will be passed on to you.
The first half is engaging because it depicts a tangible situation and psychologically depicts the regression of anxiety in such a situation. . But from the second half, zombies/ghosts are introduced to the story and, surprisingly, instead of adding to the suspense and suspense of the story, they destroy it, because this tangible situation is replaced by an imaginary one, which unfortunately has no meaning in this particular context. And there is no interesting concept or point behind it. The monsters in the story, according to the train guard, came from another world and may be the souls of humans who have now been transformed.
This explanation is not enough or satisfactory to end the story and makes the monsters of the story seem too simple and empty. Of course, given the context of the story (early twentieth-century America) and the resemblance of the main character to Lovecraft, an attempt may be made to define a lovecraft story, but in Lovecraft stories monsters are not merely dry monsters and symbolically or aesthetically reminiscent of cosmic and universal horror. That humanity fails to comprehend, but the monsters in this story are like the monsters in a useless horror story that one defines to put one's friends to work around a picnic fire. .
: (All Through the House)
- All Through the House (Joachim Heijndermans)
- : (Blink Industries)
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. ( ) .
: (Life Hutch)
- Life Hutch (Harlan Ellison)
- : (Blur Studios)
. 2 . (Tech Demo) .
(Terence) . .
. . : ! .
. . .
. (Michael B. Jordan) . (Body Double) .
: (The Drowned Giant)
- The Drowned Giant . . (J.G. Ballard)
- : (Blur Studios)
(Sublime) . . .
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. ( ) .
. . . .
2 . .
8. Automated Customer Service
7. All Through the House
6. Life Hutch
5. The Tall Grass
4. Snow in the Desert
2. The Drowned Giant
1. Pop Squad
imdb : 8.5 10
: 65 100