The third season of “Love, Death and Robots” is the best season of the series so far

The release of "Love, Death & Robots" is one of the best happenings of the last few years for the writers of fictional short stories. , Science fiction, horror) has fallen. During the three seasons of the series, many short stories have been adapted into beautiful, high-level animations, and the authors of these stories and their works have received attention that would not have been possible in any other context.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

The release of "Love, Death & Robots" is one of the best happenings of the last few years for the writers of fictional short stories. , Science fiction, horror) has fallen. During the three seasons of the series, many short stories have been adapted into beautiful, high-level animations, and the authors of these stories and their works have received attention that would not have been possible in any other context.

Of course, if you are a fan Literature Be speculative, you may find the choice of many stories at best questionable. Because you say to yourself that all these wonderful stories have been published in this field; Why did the creators of Love, Death, and Robots decide to spend so much money and effort adapting such a mediocre or even bad story? The word "bad" can be used (and this part is still John Scalzi's masterpiece!). However, the selection of adapted stories still has room for improvement. Undoubtedly, choosing the story is the biggest problem of love, death and robots. But there is another problem with the series (which, unlike the problem of choosing a story, does not have a clear solution) and that is that because of the shortness of these episodes, many of them have raw ideas, like a demo of a video game, not experiments. Full. This problem is more pronounced in stories that aim to worldize and define the story with a detailed plot.

The reason I say this problem has no clear solution is that the nature of the series is generally based on defining short stories and minimalist worldliness. Is. This means that this problem cannot be viewed as a weakness of the series. Basically, this is one of the big challenges that anyone who writes a speculative short story has to deal with: you have to make the audience care about the characters, the background of the story and the imaginary ideas behind it, in an atmosphere that is a fraction of a novel. , Be influenced by the end of the story and learn from it a memorable moral and philosophical lesson that he has never heard dozens of times before. There are very few short stories that can do all this at once, and certainly no one has such high expectations of a short story, but the problem is that any short story that does not appear at this level is doomed to be forgotten and ineffective. Unfortunately, many episodes of the series suffer the same fate. Watching them is a fun moment, but your reaction is ultimately the infamous word Meh.

  • Critique of the second season of Love, Death, and Robots; Anime Dinner Market
  • Top 10 episodes of Netflix "Love, Death and Robots" animation

We will go to a separate review of each episode to determine what the third season of the series is for the audience. Has:

Read more There is a risk of leaking the story.

Part One: Three robots: Strategies Exit (Three Robots: Exit Strategies)

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story Three Robots: Exit Strategies By John Scalzi
  • Developer: Blow Studio

Apparently John Scalzi has a big party among those who run the series. He has had a strong presence in the series since season 1, and his stories have always been one of the weakest stories in every season of the series. Three Robots: Exit Strategies is no exception, with John Scalsi still appearing powerful to show us how to "not" tell a story.

Three Robots: Exit Strategies A sequel to episode three The robot is in the first season of the series, in which three robots, with different personalities and appearances, roam the post-apocalyptic land and humorously examine the reasons for human extinction.

In this episode, like the previous episode, three robots This is done in the largest possible way, so that sometimes Scalsi seems to have taken some of the robots' dialogues directly from one of the Twitter strings about global warming and the harms of capitalism. Basically, writing a story in which a series of characters speculate about the reasons for the downfall of an ancient civilization does not have much potential for subtlety and will inevitably reduce to recounting all the apocalyptic concerns of the people at the time of writing, but Scalsi has revolted. .

Make no mistake, of course; I do not mean that the message conveyed by the story is necessarily wrong or irrelevant. Professions such as the AI uprising, the rich's disregard for the hardships of ordinary people because of the extreme class distance, and the concern for Mars's grounding, all while the earth itself is becoming uninhabited, are all important and debatable concerns. But the importance of the message that a story conveys does not necessarily justify its badness as a story.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

If you have something to say that people would like to hear, and it is so important that it leaves no room for delicacy, put it in the form of a treatise, a book. Write an inaccuracy or tweet; Make a video of it; Talk about it. Thousands of well-written and visual content has been produced to better address the issues that this episode addresses. What is the urge to turn it into a story that reminds one of the propaganda of totalitarian regimes? He is not content to leave some things to the point, and even at the end of the episode he felt the need to mention Ilan Mask by name. He thinks the importance of the message, but not necessarily the mistake he wants to convey, justifies the rudeness of his stories, but this is not his way.

Part Two: Bad Traveling

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story "Bad Traveling" by Neal Asher >
  • Producer: Blur Studio

There are one or two episodes in each chapter of Love, Death, and Robots that are known. The creators of the series have counted on them a lot and are supposed to be the flagship of every season. Bad Travel is definitely one of those episodes; Both because of its longer volume and because it was directed by David Fincher.

Bad Travel is one of the best episodes in the series in terms of storytelling. This episode does not suffer from the common problem of episodes, that is, the rawness of the idea and the context, and tells the whole story with the right plot, good characterization, and a satisfying ending.

A precedent like "Zima Blue" and "Pop Squad" is that it has no shocking semantic shock and is simply a good story that is well told.

Problem). The problem of the tram is a moral scenario in philosophy that can be expressed as follows: Suppose we have two trains with five people on one of the rails and one on the other. A train is coming and is supposed to cross a railway on which five people are tied with ropes. You are on the scene and you can manipulate the rail switches to change the direction of the train and make it enter a rail where only one person is tied to the rope.

The question is, is it moral? What is? That five people would be killed without your intervention or one with your intervention?

This scenario is supposed to show us the complexities of morality, but for Torrin, the protagonist, it is not complicated at all. . For Turin, sacrificing a minority to save the majority does not require thinking at all. Although we should add that the minority we have in this story, none of them are good people.

In this story, the role of the train that is coming is played by a giant crab that, for unknown reasons, can The bodies of his victims speak to Turin. He hides in the warehouse of the ship of which Turin is one of the crew, and constantly asks for a new victim to eat. He tells Turin to take the ship to Phaiden Island to eat the island's innocent people. Several people agree that the crew members should take the ship to Fiden Island to save their lives, where they should endanger the lives of many innocent people in order to get rid of the crabs themselves.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

As the episode progresses, our assumption is that only two people voted in favor and Turin killed them out of selfishness, but at the end of the episode, Turin reveals That everyone voted in favor. Realizing that the ship's crew are all inherently selfish and unscrupulous, and knowing that they are looking for an opportunity to trick him, Turin cleverly kills them, throws their bodies to the monster, and finally beats them to death. The monster blows up the ship and escapes with the lifeboat. Which certainly has not been ineffective in attracting Fincher to the project.

Turin is one of those characters who does not exactly fit into the hero/villain dichotomy. Throughout the story, he cleverly kills all the ship's occupants and feeds the monsters. Of course, it's true that these people were idiots themselves, but their's being idiots is not necessarily a sign of Turin's goodness. If we find out in a part of the story that Turin has a wife and children on the island, and in order to save their lives, they throw themselves into water and fire so much that If the monster did not reach Fiden, perhaps the motive behind his actions seemed logical. But given the current information in the story, we have to admit that Turin is really someone who is willing to work so hard to save the innocent people of an island and get his hands dirty with blood, but the paradox is that for someone who is so valuable to the lives of innocents. He believes that killing and deceiving other human beings seems easy. This is the unresolved contradiction that makes his character interesting.

If I have one objection to this episode, it is the design of the monster. This monster is a lot of clichs, because it is just a giant crab, but due to its magical properties, it was expected to have a more creative and strange nature.

Part 3: The Very Pulse of the Machine h2>

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story "The Very Pulse of the Machin" by Michael Swanwick ( Michael Swanwick)
  • Manufacturer: Polygon Pictures Studio

The pulse of the car could have been a masterpiece, but only if Solaris had not been published before. The idea of a planet - or in this particular lunar case - that has intelligence and self-awareness and absorbs and reflects human memories and thoughts, was implemented in Solaris in the best possible way, and this story does not add anything new to this idea. And it just looks like an imitation of Solaris's idea, but with less ambition and depth.

One of the problems with the episode is that it tries to cast doubt on what is happening or not, because the main character In order to survive, a world of drugs enters his body, and we do not know in most of the story that the strange images and sounds that the main character hears are the result of his illusions or that this conscious moon/machine is really talking to him.

Drawing on the illusions caused by drugs has no effect other than making the events of the story seem insignificant. Moreover, given that at the end of the episode it is proven that the main character's mind is attracted to the moon (because we hear his voice from the moon reporting to Earth, although it is not clear whether this report really has a specific audience or not. ), Trying to create ambiguity seems completely unnecessary and useless.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

Another problem of the episode That is, it constantly gives references to the poems of famous English-speaking poets who have no strong connection to the heart of the story and seem to be a somewhat false attempt to deepen the events.

Leaving aside the story of the episode, it is undoubtedly the greatest strength. The pulse of the machine is animation and its visual design. One could not expect anything more from the story of one of Jupiter's strange illusions on Io. The pulse of the car is one of those episodes that overwhelms you when you watch it because of its powerful sound and visual effects, but when it does, it impresses because of its lack of depth and repetition of its whole idea (if you are already familiar with Solaris). It does not last.

Part 4: Night of the Mini-Dead

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Based on a story by Robert Bisi and Andy Lyon
  • Producer: BUCK Studio strong>

Night of the Dead is one of those funny episodes that can hardly be missed. This episode tells the familiar apocalyptic scenario of zombies invading Earth, but with a different perspective: From a high-speed perspective, it is as if you are following a zombie-centered apocalypse from a dollhouse.

In some ways, this episode is an example of Charlie Chaplin's famous quote: "Life is a close-up of tragedy and a far-right view of comedy." The story is about a zombie attack, and apart from a series of clear visual jokes (like a powerful kick by Buddhist monks at zombies that throws them a few meters away!), It tells the story of an unfortunate incident, but because we keep everything at a distance, we keep our distance. This unfortunate incident seems very trivial and ridiculous.

This episode also contains an existentialist message: At the scale of our universe, we humans are nothing. At the end of the episode, when zombies have taken over the earth and governments are forced to bomb the earth to counter them, suddenly the camera goes back and we see the Milky Way galaxy, which at a small point where the earth is located, makes a sound for a moment. The wind is heard coming out of the abdomen. At the scale of the universe, the extinction of humanity is equivalent to the wind coming out of the stomach. If you are looking for a philosophical message, this is your message too! And its creators have taken every opportunity to include details, details that are either comedic or cosmopolitan (such as zombies that have been mutated by exposure to radioactive radiation or vehicles that have been optimized to fight zombies)./p>

Night Fasqli Dead is one of the best experimental episodes of the series and will meet your needs if you are looking for cool ridiculous content.

Part 5: Kill Team Kill

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story "Kill Team Kill" by Justin Coates
  • Producer: Titmouse Studio

Massacre is about a group of US Army Special Forces engaged in a cyber-bear fight against The saying of one of the soldiers in the story is "a tank covered with fur". The bear, a CIA spy project, has spiraled out of control and is attacking American soldiers.

Mass killing is largely animated testosterone. All the stereotypes about masculinity, wicked soldiers, Americans' love of guns and the heroes of the action movies of the eighties have reached their limits in this animation, and the animation itself is aware of this and presents all these features to the audience in the greatest possible way. he does. The dose of animated caricature is so high that I was shocked to see it directed by a woman named Jennifer Yuh Nelson (directed by Kung Fu Panda 2 and 3).

The coolest aspect of the episode is undoubtedly the main threat That is, the bear is cybernetic. This bear is equipped with all kinds of weapons that come out of its body and is practically the toughest creature imaginable. The soldiers killed him with rockets, machine guns and knives, but nothing matched, and the cybernetic bear killed them all in the most violent way possible. If he was the ultimate giant in a video game, he certainly should have become one of the toughest giants of all time.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

Part 6: Swarm

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story "Swarm" by Bruce Sterling
  • Developer: Blur Studios

Riding is one of the most intriguing episodes of the entire series, and nothing more is expected from an adaptation of a story by Bruce Sterling, one of the pioneers of contemporary science fiction. Episode dialogues are a bit more technical than the standard series, but the idea behind the story is simple: In the distant future, a man named Simon Afriel is sent to a distant star system to investigate a species of alien creature, obtaining their genetic information. And see if a newer, more obedient colony of these creatures could be built to serve humans as slaves. He has been there before as a researcher and has been exposed to these creatures. Galina introduces Simon to Clooney and explains the mechanism of these creatures. When he learns of Afril's true intentions, he opposes her at first, because he thinks it is immoral to turn living beings into slaves, but Simon tells him that these creatures are merely organic robots and have no other use. . In a brilliant dialogue, Simon says, "It's not like these people are going up to the sky and dreaming about their desire for freedom." It was for a colony to figure out their plan,

the colony we are talking about is millions of years old. The space creatures that inhabit it may seem very primitive and animalistic, but no creature can survive for millions of years and maintain its social structure without having a big trump card in its pocket, and this is a fact that neither of these two human beings has. They were not careful.

The advantage of these creatures is that they can absorb any other species they encounter into their structure. These creatures had previously encountered other intelligent creatures such as humans, but by absorbing their genetic structure they reduced them to a parasitic creature that could only survive in the context of their community.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

Basically the high potential of these creatures to adapt themselves to their enemies And the use of their weapons against themselves is the reason for their survival. The question at the heart of the episode is whether these creatures can also reduce humans to the level of disgusting parasites, or whether humans can resist them because they are creatures. This is the view of Simon Afril. He deeply believes in humanity and thinks that all the creatures that these aliens managed to turn into parasites were parasitic in nature, but humanity is an exception to this rule.

Basically, the episode ends where Simon Afril decides It takes to prove to this "rider" that humanity is not what they think it is. But after Simon accepts the challenge, the episode ends. Basically, the story leaves the answer to us.

Although the episode ends exactly where the main story ends, it still seems incomplete; Personally, I was shocked when I came across the title page, because it seemed that the half-finished story had been abandoned. None of the possible answers support this question. Basically, what this episode does is do worldliness and storytelling in a standard way, leaving everything to the audience's personal philosophy in the last few seconds. This method of storytelling, while not necessarily wrong or bad, is far from the ideal of storytelling, as it creates a semantic gap between the end of the story and the rest of the story. Basically, when you write a story that has an open ending, you need to include clues in the fabric of the story so that the audience can use them to discuss and conclude about the ending. When you simply have to look at personal information and philosophical schools outside of the story to discuss open ending, it seems like a waste of time. In my ride, too, there is no clue throughout the story as to whether or not the children of humans are vulnerable to these creatures, and finally, to draw a conclusion about this end, you must refer to your own personal view of the nature of humanity.

This is the case when we really want to think philosophically about the last question of the episode. If we look at the plot, the question that is asked at the end will not even seem very thought-provoking, because according to the available evidence, these creatures change their enemies biologically and genetically, and the individual will and intelligence mentioned above. It has no effect on this process. That's why Simon's bets seem so silly.

Episode 7: Mason's Rats

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the short story "Mason's Rats" by Neal Asher
  • Developer: Axis Studios

Mason Mice is one of the light and humorous episodes of the series. This episode takes place in the future of Scotland and is about a farmer named Mason who has been captured by mice for a long time and he wants to get rid of them. But these mice are different from ordinary mice, because they know how to use tools and weapons! The idea behind the story is that humans have developed so many advanced weapons that natural factors (such as mice) have evolved to use them to counter them with tools.

(Traptech) calls, apparently specializing in pest control. But unlike the pesticide companies we know today, it does not sell pesticides; Sells weapons of mass destruction! Initially, the pulse inserts five laser-firing lasers into the Mason stall, and these lasers are effective for a while, but the head of the mice manages to disable them. Mason turns to the bat again, and this time they deliver a dreaded scorpion-like robot that sadistically crushes the mice.

The mice resist the scorpion-like robot, but resist. It breaks them down. In one absurd scene, a scorpion-like robot throws a mouse over its head and shoots it down in the true sense of the word. Everyone who watches the scene - both the mice and the mason - is thrilled to see the scene and the height of the robot's sadism.

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

Part 8 : Buried in In Vaulted Halls Entombed

BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

  • Adapted from the story "In Vaulted Halls Entombed" by Alan Baxter
  • Producer: Sony Pictures Imageworks

Buried in the arched corridors is one of the same types of stories that I introduced in the critique of the previous chapters under the title of "The Spinning Story". Here the wheel has given us this result:

What would happen if

* turned the wheel *

American soldiers

* Spinning the Wheel *

Facing a Love God?

Basically, the biggest problem of the episode is the "American Soldiers" section. Unfortunately, the soldiers in this episode behave in a way that is not expected of a real soldier: like talking and throwing pieces in a cave where silence must be observed, wasting ammunition by firing on a large army of spider creatures that seem virtually insignificant. And basically get involved in a situation where retreat is more logical.

Leaving aside the weak militaristic aspects of the story, we are dealing with a standard Lovecraft story: In that way:

  • The protagonist tries to discover a mystery
  • Discovering this mystery exposes him to an ancient and terrible god
  • This encounter drives the protagonist crazy
  • ul>

    BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

    The story adds nothing special to the standard formula of Lovecraft stories other than the same element of militarism. But anyone who is familiar with Lovecraft stories knows that the illustration of these stories always has great potential to surprise the audience. In this story, too, the story of the encounter with the Lovecraft monster (who is probably the person himself) is told, and you can feel his horror.

    However, this episode showed that if The creators of the series decided to turn one of their main Lovecraft stories into an animation, the better the result. The militaristic aspects of this story are much better attached to the Lovecraft aspects than just an awkward patch. If the episode's good depiction of a confrontation with Lovecraft Monster had been spent on a better and more authentic Lovecraft story, the episode would have been far more memorable.

    Episode 9: Jibaro

    • Based on a story by Albert Mieglo
    • Creator Pinkman.TV Studio

    As mentioned earlier, each season of the series has one or two episodes that have been given a special price. In the third season, one of these episodes was "Bad Journey" and the other is undoubtedly Gibarro. The episode also featured in Season 3 promotional content and was widely shared due to its unique visual style. Gibarro was created by Albert Miguel, the creator of Season 1 (The Witness). This episode, like the witness, has an extraordinary visual style that is rarely found. But unlike the witness, it is not very boring and has a clear theme and message about greed, unhealthy relationships and colonialism.

    This episode offers an interesting interpretation of the famous mythical creature Siren. In this episode, we see a woman who kills Spanish colonial men with her seductive/scary screams and dances. What makes him different from the rest of ancient Greek mythology is his gold-plated body, which has given him a special appearance, and the clear symbolism of the conquest of the Americas by the Spanish conquistadors and the plundering of the continent's natural resources. .

    Sierra's territory is a lake. As the conquistadors approach, Syrennows startle them with a terrifying scream, causing them to start dancing strangely and killing each other. The only survivor is a deaf soldier apparently named Jibaru - the name of the episode.

    This episode has no dialogue at all and is defined entirely by images. In this sense, the atmosphere is very archaic. Sayren and Jibaro's characters - both in face and body movements - are very expressive, and almost all of their feelings and thoughts can be discerned from the details of their behavior.

    (And other soldiers who have already been killed) This is the only person who is not affected by his screams, falls in love with him, follows him and tries to kiss him. Jibaru feels scared at others at first, but gradually warms up and starts kissing her. Gibarro's mouth and tongue for kissing others - surrounded by sharp, angled jewels - He is injured and realizes that flirting between the two is not possible. For this reason, Gibarro deceives Sayren, anesthetizes him, and during a scene that seems to be a combination of rape and looting (the two disasters that the Conquistadors brought to the Americas), he removes all the jewelry from Sayren and throws it in a bag to take with him. Now that he has no partner to share his wealth with, he probably feels like the happiest man in the world.

    BingMag.com The third season of “Love, Death and Robots” is the best season of the series so far

    so far the story follows an plausible logic, but at this point something happens that is not very logical: it reddens the blood of others in the lake, Gibarro eats the bloody water of the lake (why should he do that?) and then His hearing is restored, and the others, who are no longer jewels, are driven mad by his screams. Finally, we see Gibarro's body buried next to the bodies of a large number of other men on the lake floor. . Sayren is attracted to Jibaru for the wrong reasons, and he pays the penalty for this wrong choice by being raped and looted. In the background of this personal story, the clear symbolism of Spanish crimes against Native Americans and the fever of amassing wealth among Spanish soldiers is depicted. Given that Siren himself is not an innocent person and is at best an unintelligible monster, this message does not sound harsh and blends well with the atmosphere of the story. It is appropriate to mention the ironic name of the episode: in the culture of Puerto Rico, Gibarro is called an autonomous farmer who exploits nature to his advantage. The hidden irony of choosing this name for the deaf soldier we see in this episode is that he is merely a greedy man who exploits nature to his advantage, but the way he exploits it is different from the way a farmer exploits the earth to the sky.

    Classification of episodes, from worst to best:

    9 . Three Robots: Exit Strategies

    8. The Very Pulse of the Machine

    7. In Vaulted Halls Entombed

    6. Night of the Mini Dead

    5. Kill Team Kill

    4. Masons Rats

    3. Swarm

    2. Jibaro

    1. Bad Traveling

    "Love, Death and Robots" ID

    Creator: Tim Miller
    Voice actors/actors : Michael B. Jordan, Nolan North, Peter Frenzen and
    Synopsis: A collection of short, guessing and independent animations in each of which love, death and robots play a prominent role.
    IMDb users rating for serial: 8.4 out of 10
    Metacritic rating: 65 out of 100

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