Analysis of the third season of Love Death and Robots

If love and death point to thinking about human emotions and human destiny respectively, then robots mark the change of observation perspective. When animation, an art form, no longer sticks to the limitations of human performance, the position that physical cameras can reach and the light and shadow that can be recorded, and perhaps no longer takes human beings as the sole center of narrative, then science fiction stories will find its best form.

In Crash of Love 3, the audience examined the tenacity and fuzziness of human reason and the greatness and meanness of human emotion through the eyes of robots and non-human intelligent races. In every emotional or speculative story, everyone needs to find his own answer.

Most of the world views and story types in Crash of Love 3 did not come out of thin air, but inherited some mature commercial fantasy stories. For example, the fourth episode of Night of the Dead is a summary and satire of the doomsday funeral movie, and the eighth episode of Tunnel Tomb superimposes the elements of Cthulhu on the adventure story of grave robbers.

However, under this premise, Crash of Love 3 provides a wonderful differentiated expression, which also benefits from the creator's active exploration of the form of "short story". Mini Night of the Dead brings together the most common and old-fashioned scenes in doomsday funeral films in a minimalist way. The only change is to use a top-down panorama.

It is this creative change that makes the tragic and thrilling human-corpse war and the choices between life and death become insignificant ants in the grand world scale.

The non-human perspective of axis-shifting animation is super-alienated, and even the collapse of the human world can't shake the solemnity and vastness of the universe in this ruthless cold-eyed meditation, thus the whole work becomes a black humor of post-anthropocentrism.