Why China’s sci-fi community is embracing ‘Love, Death & Robots’ as the nation transforms into a technol**ical leader

　　中国科幻界为什么在向科技强国转型过程中如此热衷“爱，死亡与机器人”

　　It’s not just titillation – the graphic Netflix series’ convenient format, references to China and sci-fi themes appeal to a society remade by technol**ical advancement

　　这不仅仅是一种乐趣——Netflix的这部漫画系列以便捷的形式、对中国的借鉴以及科幻主题吸引了一个被科技进步重塑的社会

　　Following its March 15 Netflix debut, the animated sci-fi series Love, Death & Robots has attracted over 100,000 comments and a score of 9.4 on China’s social media network Douban. To put that into perspective, Wolf Warrior 2, the highest-grossing film in China – shown on more than 19,000 cinema screens – has had around 620,000 comments and a score of 7.1 mark on the same site.

　　自3月15日Netflix首播以来，这部科幻动画片《爱，死亡&机器人》在中国社交媒体豆瓣上获得了超过10万条评论，并且评分高达9.4分。从这个维度来对比，中国票房的电影《战狼2》——在1.9万多家影院上映——在同一网站上有62万条评论，得分7.1分。

　　Netflix is not available in China, and with the series’ propensity for titillation, it will probably never officially be shown there. How, then, has it carved out a niche following?

　　Netflix在中国是被墙的，而且由于这部剧喜欢挑逗，它可能永远不会在中国上映。那么，它是如何在中国赢得一大批追随者的呢?

　　ard-core sci-fi fans and housebound gamers have built a Chinese subculture on the lookout for cutting-edge cinematic expressions in tune with their virtual lives. It certainly does not hurt that the masterminds behind the shows – David Fincher of House of Cards and Tim Miller of Deadpool – are well known. Even People’s Daily and Xinhua republished a review of the series from The Beijing News.

　　在中国，铁杆科幻迷和宅在家里的游戏迷们建立了一种中国亚文化，寻找与他们的虚拟生活相协调的前沿电影表达方式。例如，《纸牌屋》的大卫•芬奇和《死侍》的蒂姆•米勒这两位幕后策划者都成为了知名人士。这对中国当然没有什么坏处，甚至《人民日报》和新华社也转载了《新京报》对该剧的评论。

　　Love, Death & Robots is a series of 18 standalone films of disparate themes, styles and lengths (6-18 minutes), that has been compared to “an R-rated take on the Black Mirror formula”. In a society where short videos have become a predominant form of creative expression, Chinese netizens think these episodes are meant to be consumed within the time span of a bowl of instant noodles.

　　《爱、死亡&机器人》是由18部主题、风格和时长迥异(6-18分钟)的独立电影组成的系列，被比作《黑镜公式》中的R级影片。在一个短视频已经成为一种主要的创造性表达形式的社会里，中国网民认为这些片段可以在一碗方便面的时间跨度内被消费掉。

　　More importantly, as Kai-Fu Lee argues in AI Superpowers: China, Silicon Valley, and the New World Order, while the US leads in AI discoveries, China leads in AI implementation. It’s no exaggeration to say AI is now inscribed into China’s “national psyche”, with shows such as CCTV’s Artificial Intelligence vs Human Intelligence and Hunan TV Network’s I am the Future turning robots into household names.

　　更重要的是，正如李开复在《人工智能超级大国:中国、硅谷和新世界秩序》一书中所言，美国在人工智能“发现”方面处于领先，而中国则是在人工智能“实施”方面处于领先。毫不夸张地说，人工智能已经融入了中国的“民族精神”里，中央电视台的《机智过人》和湖南卫视的《我是未来》等节目已经将机器人变成了中国家喻户晓的名字。

　　Also, Chinese fans believe that The Wandering Earth has ushered in an age of sci-fi films in China. With Liu Cixin and Hao Jingfang winning the Hugo Award in 2015 and 2016, sci-fi has become the stage to showcase China’s new literary talent, drawn to the energy and escapism, as well as a world of less political sensitivity.

　　此外，中国影迷认为，《流浪地球》在中国开创了科幻电影的时代。随着刘慈欣和郝景芳分别在2015年和2016年获得雨果奖，科幻小说已经成为展示中国新一代文学才华的舞台，而吸引观众的主要因素是描绘了一个充满活力和逃避现实，以及政治敏感性较低的世界。

　　以上就是今天的内容，不知道你有没有看这部科幻动画，或许你也可以利用一个泡面时间感受下这部高分神作！