I stumbled across the introduction of the sensory game segment, and was attracted by the never-before-seen visual expression in that segment (just the part of the Chinese restaurant assembling guns). Last summer, we ushered in a theme that we had never touched before. The story of future games and reality, I watched many movies of the same type at that time, such as Ready Player One, Blade Runner, Ghost in the Shell, Black Mirror, and later Witness of Love and Robot, etc. I think about a question, from what perspective to build a big world view is proportional to the investment in the film. If there is enough money we can build a fantasy like the number one player, but what if it's a short film that doesn't cost that much? At that time, I didn't delve into this matter because of the willingness of all parties, but today, after watching the sensory game, I think I can talk about it. First of all, in 1999, what kind of sci-fi movies were there? In the same year, there were films such as The Matrix and Star Wars that invested more than 100 million US dollars, and how sensory games use more than 3,000 Canadian dollars to express the imaginative world in the game world. I think it is also a headache for us to think about 21 years later. . Then we can simply start from those aspects to build a game world. First of all, we need to separate the game world from the real world. Let’s talk about the game world first. The game world can be divided into: tangible and intangible, that is, visible, first of all, character modeling including: dressing, clothing (different materials and devices) Wait). Secondly, the props functions include: game media (game console equipment, etc.), life tools (the difference between the corresponding props in the game world and the real world), and transportation (transmission devices appear in the game). Then there are specific scenes including: public scenes (birthplace, etc.), player autonomous scenes (set a separate environment, different characters, different scenes according to the needs of the plot), public facilities (mark the scene's characteristic facilities, such as replenishing energy, adding game time, etc.). Finally, there is the natural environment: the natural environment that is different from the real world (such as the color of the sky or a liquid manifestation, such as a river flowing with grass, etc.). Let's talk about intangibility, human nature (for example, the characters in the game are completely different from the characters in reality, which will make the invisible into tangible behavior, and do things that cannot be done in reality). There are also virus plug-ins or BUGs in the game (this kind of invisible also affects the development of the story of this game world). The invisible is like the mind, and the tangible is like the body itself. Having said that, I want to go back and emphasize that what we are looking for in the game world mentioned above is change and difference, but the relationship between this and the real world is determined by the theme of the film. If you want to reflect the confusion between the game world and the real world , similar to thieves For the feeling of dream space, the fewer differences in the game world, the better, which is related to the theme. Then again, in the face of this theme and the corresponding funds, how does director David Cronenberg choose the elements that suit him in the game worldview? First of all, Cronenberg did not do the HTC scene, but started from the characters and props. In order to reflect the feeling that the two worlds are chaotic together, the shapes of the two worlds have been unified. Secondly, we seek new breakthroughs in props. The game equipment in reality and the game equipment in the game are absolutely amazing. This prop setting adds the concept of life. It will not be a prop but an actor. It plays a decisive role in explaining this worldview for the whole film. The rest of the homework is to strengthen this element through tangible and achievable ways, because there are a lot of uncomfortable organisms in the film, and the appearance of these props is imperceptible. enhances the authenticity of the game equipment in the game.
I personally think that the props in this play are really the most outstanding. The first is that the game equipment in the game world and the game equipment in the real world are indispensable. The second is the bone gun with vegetable soup. This gun Just like the spinning top in Inception, it tells us the truth of things. The third is the game equipment in the new game world that has just entered the game world grocery store. First of all, from the perspective of prop production, it can be said that I have never seen that movie that can package props to this step, customized The transparent plastic packaging on the outside strongly increases the authenticity of the game world. This setting is really laborious but adds color.
I also want to say about the Chinese restaurant that appeared. The plate of dinner was really impressive. It felt like a plate of chop suey, which reminded me of an oil painting by Edward Hope in 1929 called "Chop Suey". ", why is it called chop suey? In 1896, when Li Hongzhang visited the United States, Chinese food became a synonym for Chinese food. Therefore, I think the dish that was actually served in the film was just an impression and a concept of Chinese food at that time, and the purpose was to satisfy what kind of dishes can form a bone gun, including the mystery of the East. When looking at that gaming device, I don't know why I think that device is like ourselves, just like when we were in our mother's womb, people in the game world are the purest and most unobstructed, like For unborn babies, the analysis of this film is like gnawing on the bone, and it has to be carefully scrutinized.
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