Regarding science fiction, there used to be an era of innocence, which is worth remembering. After Einstein broke out a certain possibility of the transformation of quality and energy, some visionaries could no longer cover their brain holes, and they sent out innocent and lovely imaginations like fairy tales. French animation director René Laloux is one of them: his 1973 sci-fi animation Primitive Planet exemplifies this type of fantasy (the film won the Grand Jury Prize at the Cannes Film Festival). ).
The story of "Original Planet" can be understood as taking place in the era after the destruction of human civilization. The descendants of humans are called Ormus, and they live on the planet of the alien blue giant Daigos. Daigos civilization has super technology. and meditation, and reproduction also depends on cross-planet meditation. Orms are pets kept by the Daiggs, half the size of their fingers. The protagonist of the story is a pet Ormus named Tyre. Because he was favored by the hostess, he inadvertently learned the knowledge of the Daigs about the world, and escaped into the wild Ormus community, leading the community through learning and harmony. Technological progress finally broke the enslavement of the Daigos and reached a peaceful symbiotic civilized relationship with them.
In this naive "fairy tale" story, fantasy is no longer restrained by the strict gravity of science, but becomes a utopian imaginative carnival, such as strange-shaped alien creatures, obviously borrowing a lot from the prototype of the earth's marine life, squirming, drifting , Wings, spines, sticky tongues, crystals, flowers, eyes and other elements are randomly mixed together almost without restraint, making people feel that the mysterious planet of Daigos is just a drained seabed of the earth. The setting of meditation and transfiguration is also a mix of supernatural power and scientific principles, which can be described as cranky and eclectic.
Arthur Clark's famous saying "Any sufficiently advanced technology is no different from magic" has left enough room for visionaries to survive. Those seemingly unrealistic fantasies cannot be falsified. The universe is so big With so many possibilities, how can you be sure that this one of mine is wrong? Therefore, it is meaningless to judge the right and wrong of Anne LaRue's madness.
Perhaps Anne Laroux's experience working in an asylum (for five years he worked there, where he taught painting, puppets, and shadow play) was an important reason for his lifelong fascination with fantasy (almost all of his works were fantasy or science fiction), and his painting resume must be the direct reason for his fascination with animated films. "Pristine Planet" is a collaboration between Lalu and Polish surrealist illustrator Roland Top, so the whole film is full of strong and charming surreal style.
Yes, surreal, I like this word very much, not because I like its expression in painting, but I like to imagine the point beyond reality. No matter how rich reality is, it will always be a huge cage in which the possibilities can be exhausted, framing life and making people disappointed. If you can't break through it in your imagination, then the world will be very boring. This is also the reason why I like science fiction rather than speculative fiction: no matter how bizarre the stories of the latter are, they will eventually return to a logical and regular rationality, that is, to life and reality, while the former does not Is escape, has its own third cosmic speed, means that the unknown is endless, and we have embarked on a journey of exploration.
Hi, off topic, I have to go back to Anne LaRue and his sci-fi animation. The 1960s and 1970s (in the 1980s or 1980s) belonged to the innocent and memorable era I mentioned, and Anne Laroux’s main works were also created during this period (“Monkey’s Teeth” in 1960, 1964 "Death Time" in 1965, "Snail Cry" in 1965, "Pristine Planet" in 1973, "Lord of Time" in 1981, "Wang Buddha's Escape" and "Ganda Star" in 1987), after 1988, he He stopped directing cartoons, as if his fantasies had stopped and that era had ended. That innocence comes from unrestrained, unutilitarian enthusiasm, and a sincere longing for the universe. This longing originated from the first ancient ape that looked up at the stars millions of years ago, but ended when we thought we were familiar with the universe. boring contemporary. In those days of innocence, Kubrick questioned space with his philosophy, Armstrong challenged the universe with the moon landing, and now, we are buried in the virtual Internet universe, falling in the graveyard of the moments of joy of short life.
So thanks to Liu Cixin and The Three-Body Problem, he is continuing the traditions of our ancestors, the myths, fairy tales and traditions of Lalu and Kubricks, and by doing so, he is truly looking to the future. Roberto Bolaño's novel "The Last Night on Earth" made me feel sullen, how sad and regretful it was that the last night ended in a mortal brawl. Yes, when it comes to sci-fi, I float and I digress because gravity can no longer bind me and my language.
Anne Larue's story is not well told, so is "Pristine Planet", "Lord of Time" is also, the plot is smooth and lacking in fluctuations, the soundtrack is pleasant but ineffective, and the setting is arbitrary but not rigorous. etc. But he and his cartoons are so innocent and cute. Since we can tolerate the fixed pattern of fairy tales, we should also embrace his stories. Don't lose this tenderness, otherwise, we may really have nothing.
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