What was written before the second brush is in the second half, and may need to be read in flashbacks.
Answer sheet: A seemingly contradiction, a possible explanation, a very cold value.
Side note: a director I like anyway.
1. The Eternal Drift of Contradictory Objects
After the second brush, it was found that Nolan did not write a good answer to the question of "the boundary between the reverse small system and the forward system". All I can study is that some objects will follow the physical laws of reverse order (that is, entropy reduction in the positive direction) together with retrogrades, but there are no clear boundaries on which objects are. Compared with this amorphous form, it is even more difficult to think about some objects that seem to contradict themselves.
For example, the "Fragments of Future Wars" collected by female scientists (also the most emotional sentence in the trailer): there is a point in the past when "collected" (in the positive sense, that is, cut from the wall) , in the future there will be a reverse "shattered" (forward point of view, that is, the gun sucks the bullet back) point of time. So between these two points, should it be in the female scientist's drawer, or should it be sitting on the wall waiting for the contrarian to generate/absorb it? Another question a lot of people ask is how is this bullet glass mounted to the wall before being "collected" forward?
A concept of "make sense" needs to be introduced: that is, in line with (from this point of view) the laws of positive entropy physics, hot water gets colder, metal rusts, the human brain perceives things, stores them in memory until death erases them. Generally speaking, our understanding of cause and effect, the design of strategies, and the actions we take accordingly are also based on the perception of this regularity—if something goes our way, it makes sense for us. However, the same object/atom that is in the same place at the same time can only choose one of the two - the "fragment of the future war" is so embarrassing, it cannot be in two directions at the same time in the same time and space, and it can't face people in two directions at the same time. make sense (collected after seeing forward, left after shooting backward) / keep the same direction.
Unless you still take the explanation of the bullet in Neil's brain (see the "Before the Second Brush" section below): Objects that touch the forward/reverse system will also turn with it. When the reverser shoots to create it, it travels upstream, all the way back in time upstream where it encounters the interaction of the orderer, and turns around until it reaches the hands that reversed it again in the drift. At this time, the observation or interaction of the positive/reverse person is a reversal, that is, "every reverse person is a reversal instrument in itself", the same applies to positive people. We know that every turn means a paired appearance and a paired disappearance. If you want the trajectories of forward and reverse drifting to exist at the same time, the observer must endure this kind of spectacle, just like the spectacle of witnessing a person entering a reversal instrument - the positive sequence is that a piece of clean glass suddenly turned into a broken mark, and the scientist "removed it. "It, however, only obtained a split copy from the wall, and the shards on the wall were still there; the fragments then stayed both on the wall and in the drawer, until the future soldier shot/sniffed, The two pieces turned into smoke at the same time.
2. How?
How did such a strange interaction happen?
- Why not ask how the other interactions happened? No matter how the boundaries of the positive and negative systems are delineated, as long as there is interaction between the two systems, it is impossible to find a development that makes sense for both parties, and one party must act abnormally in the reverse narrative to complete the story line in the other direction. Lockpicking genius Robert Pattinson, the way to save is to lock the door. Andrei in the blue room is even more of a master of anomalous actions. He "counts down", uses a "gun" to heal the bleeding Kat, and then takes her away to pick up the empty box.
——Why not ask how the “normal movement” we are accustomed to occurs? Are you pedaling, or are the pedals attracting your feet? Am I typing, or is the keyboard grabbing my fingertips? Active and passive are just artificial orientations of legal imputation, "the fat tiger's fist beats Nobita"; however, the effect of force is mutual, when two planets dance in the gravitational force, how do you describe who is benefiting and who is flattering.
When the Protagonist took up the bullet for the first time, the indifferent teaching of the female scientist was: intuition. Those who are completely ignorant of the law can still let the law manifest itself in themselves, which is "don't understand, but perceive". This is also the life we move forward with wishful thinking in the illusion of cause and effect. If the Creed makes you speechless, you should be at least equally speechless for the world around you, the question of "how" is too stupid, in fact, no one ever "does" anything, everything just happens.
(Of course, it is possible to use this mechanical determinism with no guiding significance to set any movie or even anything, but "Creed" with its own logic of intertwining positive and negative and the time and space that has been broken through scars, it is particularly successful in attracting. The suspicion of an idle audience.)
Finally, how to fight it? Ted Jiang said, you can't change fate/reality, then change the way you look at it. If the universe were a written book, those ungrammatical sentences (like the grandfather paradox, the ambitions of future children and Andre's funeral) wouldn't be on the page at all; you would turn it from front to back , turn from back to front, pick and repeat to watch the most interesting scenes, like the hero of "When Harry Met Sally", watch the ending first, and then slowly find the character that you liked from the ending. Appearance paragraph. The meaning of a book comes from reading, from falling in love with, choosing, and trying to interpret some of the countless wonders of destiny in indifference.
3. The most mechanical Nolan
Digression (literally digression for a quiz film): This is a most mechanical, utterly mechanical Nolan. He has long loved the process of clearing the border (the pleasure of the four-level dream linkage, like the click sound when the watch is repaired), the devil-like self-disciplined protagonist (falling into the water tank a hundred times, performing alternately a thousand times, the pursuer tattooed Engraved on the chest), the precise timing of the plot (the time of sea, land and air is like a three-part song)... His characters are like instruments, the plot is like tenon and mortise, and the story is like the finale. His most indulgent is indeed "Interstellar", I will remember the jet machine in the twilight cornfield, it is not a lock that sticks out in half, a closed loop not used to complete any riddle, just a twilight cornfield, existing in three-dimensional space with straight-line time.
However, the setting of "Creed" is inherently cold, and he also (simply deliberately) used a messy and deliberately rushed narrative method to finally cut it into a thorough question. He is no longer a dreamer, a big magician Master, he is a big proposition person. However, this question is still very easy to do and very interesting. The two days of diving into it, the happiness and enlightenment it brought me may not be inferior to "Interstellar" in terms of quantification. Move with love. This is where I am most at a loss. You say that what pleases me is setting and science rather than expression (like copyright law and patent law), but the experience I get can indeed be called beauty; you say that it comes from the extra "problem solving" process outside the theater. Not the movie itself, isn't watching any movie a projection and completion in the interaction? The director just shoots, how the content reaches us is another matter, in any case, in the chain of cause and effect I know, "this movie" "moved me", and I still can't hate Nolan.
2020.9.6 at 22
Before the second brush: time inside and outside of you
This part was written before the second brush, to record my entangled problems, and to discuss with other friends who have excess computing power, are full, and have ADHD.
(All the directions below refer to, unless otherwise specified, the world subject (under the condition that the algorithm is not triggered) as the reference frame.)
There's really only one problem: if the basic model of the story is that the world flows downstream and the characters go backwards, how do you tell the boundaries between the world and the characters?
The world flows downstream: people and things that are not reversed develop according to their original temporal/causal sequence and physical laws.
The role goes backwards: From a positive perspective, for the retrograde person who has passed the instrument, the internal time sequence/causality/physical laws are running in reverse. However, his own thinking operation and body control are completely coherent and normal, maintaining the previous linearity without turning back, such as retaining the memory of the previous positive experience, which is also the basis for the operation of pincer tactics and even the occurrence of the whole film. From a positive perspective, a retrograde is a walking retrograde system, a collection of atoms whose physical laws are retrograde. (Thus, retrograde immortality is not possible, where neurons are in positive order relative to themselves, telomeres are worn down, and telomeres are worn out until they die, as oddly reversed as they may appear to the outside world. ☹)
The question is how to draw the boundaries of this system? How do you define "retrograde"? There are two ambiguous critical situations in the film, which are handled in diametrically opposite ways:
(1) A retrograde Protagonist is scratched by the forward self. After starting the retrograde, the arm went from intact (and actually healed) to a dull pain, then blood dripping, and finally disappearing on contact with the blade. The development of the wound follows the logic of the forward perspective (so it is interesting for the viewer to follow the reverse Protagonist sequence); that is, the wound is not part of the reverse system.
(2) Retrograde Neil blocked the gun. After saying goodbye at the end of the film, Neil will (and when I say "will", I didn't mean to choose Neil's subjective time perception) trot all the way to reverse himself, enter the bunker, get caught in the bullet trail, and get shot and die forever. The development of bullet wounds follows the logic of Neil's perspective: wounds are part of a retrograde system.
The plot of Kat's abdominal injury, reverse healing seems to suggest that the direction of the wound tissue should be subordinated to the weapon that caused it. But in both cases above, the weapon that caused the wound was positive. (The section of Kat's red and blue room is the focus of the second brush)
[Also: In (2), where did the bullet go after Neil died?
If the bullet went through his head (but how does that "block" the gun?): From his (reverse) perspective, a bullet that was lying still in the distance suddenly flew, and He had to catch up and let it go through him, back into the barrel. He then lay there with the ballistics on his head, going backwards in time until the moment when the universe exploded (collapsed).
But if the bullet stayed inside his head, it would be very weird: from Neil's point of view, the bullet stayed in the brain after being shot, traveling backwards with his body until the universe exploded (collapsed). But during this time (ie, after the death of Neil's perspective, before the resurrection of the objective forward perspective), the same bullet was waiting to be fired in the gun of the Russian buddy. ——This shows that, from a positive perspective, two bullets exist at the same time. After the shot is fired, when the bullet in the gun reaches the bullet in the brain of the jumping corpse, the two merge into one and disappear instantly, and then the resurrected Neil leaves. From Neil's point of view, after he entered the bunker, he quickly put his head in front of the gun, and then two bullets suddenly appeared in his head, one flew back to the gun, and the other stayed in his mind forever , he also fell to the ground dead.
Indeed - if the retrograde is a self-contained retrograde system, it is actually a moving retrograde instrument, and those who enter the retrograde instrument will disappear in the following time if they do not turn back. The bullet just turned back in Neil's body. Like if you throw a boomerang, it will travel a certain distance and return to your hand, and beyond the point it turns, it never reaches. 】
Back to what I wanted to say. (1) and (2) may be the embodiment of two different reversal views: (1) "The wound does not belong to the reversal" is an erosion of the small system of reversal in the positive world. If you push it to the limit and think that "small systems that go against the larger environment" do not exist at all, then it is the scene described by Liu Cixin in "Collapse": "Are we talking backwards?" "Yes, and you It's going to feel so smooth." When the world is reversed, all those in it will follow a new, backward logic of behavior and consciousness. The reversers of "Creed" are not like that. They go back with their own consciousness, memory, breathing, heartbeat, and peristalsis of the large intestine. The normal logic is attached to them. The former is going backwards, the latter is turning around and going retrograde.
It's easy to see the cosmic blueshift of "Collapse" as doomsday (despite Ding Yi's lightheartedness), while the partial reversal instrument of "Creed" is a weapon - in fact, "trying to reverse the whole world" is the villain's conspiracy in the film point. The difference is that we can't break away from the logic of this set of habits, and we can't imagine any other way of manipulating and changing the world than what we already understand about cause and effect.
The material world doesn't really care, whether a building is built and blown up or restored from rubble, whether an apple falls from a tree or flies from the ground, it doesn't make any difference. In a deterministic universe, sufficient and necessary conditions can be pushed to each other. The double arrows are equal to the left and right, and there is no direction to speak of. The four-frame comics are read from the left or from the right. God has no preference. When a video is placed upside down, the countless small liquid crystal dots on the screen are nothing more than two kinds of arrangement. It's just that one of them makes sense to human beings, and the other is a spectacle. Regarding the death of Robert Pattinson, you can say: There is an air-dried fossil buried in the ground. With the development of biological evolution and human civilization, it gradually becomes moist and fleshy, and the rust inside the brain is combined into a bullet, Until one day, he jumped, the bullet disappeared, and left backwards, never to be seen again after entering the reversal machine (though other organisms that looked like him appeared elsewhere for a while). It can also be said in reverse. But, for us poor readers, what really makes sense is to flip the objective scale of time over and over again, and then tell the story like a maze: There is an agent who, after threading the needle many times, finally sacrifices himself and saves him. the world and friends. This is the way the film is made, and the only guide to the flow of human love, admiration, and grief.
2020.9.6 at 2
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