{"id":170857,"date":"2024-03-27T16:11:47","date_gmt":"2024-03-27T16:11:47","guid":{"rendered":"https:\/\/culture.org\/?p=170857"},"modified":"2024-03-27T16:11:47","modified_gmt":"2024-03-27T16:11:47","slug":"netflixs-3-body-problem-vs-the-original-novel-biggest-changes-from-the-book-series","status":"publish","type":"post","link":"https:\/\/culture.org\/art-and-culture\/film-and-tv\/netflix-3-body-problem-vs-original-novel\/","title":{"rendered":"Netflix\u2019s \u201c3 Body Problem\u201d vs. The Original Novel: Biggest Changes From the Book Series"},"content":{"rendered":"<p>The adaptation of <a href=\"https:\/\/culture.org\/art-and-culture\/literature\/liu-cixin-visionary-sci-fi-author-and-cultural-icon\/\" target=\"_blank\" rel=\"noopener\">Cixin Liu&#8217;s science fiction novel<\/a>, &#8220;<i>The Three Body Problem<\/i>,&#8221; into the Netflix series &#8220;<i>3 Body Problem<\/i>&#8221; has come with several significant changes and creative liberties.<\/p>\n<p>Below, we\u2019ll explore the most notable differences between the book and the TV series.<\/p>\n           <!--  <script type=\"text\/javascript\">\r\n                jQuery(document).ready(function() {\r\n                    jQuery(\".key-accordion-item .key-menu\").on(\"click\", function() {\r\n                        if (jQuery(this).parent().hasClass(\"active\")) {\r\n                            jQuery(this).next().slideUp();\r\n                            jQuery(this).parent().removeClass(\"active\");\r\n                        } else {\r\n                            jQuery(\".key-content\").slideUp();\r\n                            jQuery(\".key-accordion-item\").removeClass(\"active\");\r\n                            jQuery(this).parent().addClass(\"active\");\r\n                            jQuery(this).next().slideDown();\r\n                        }\r\n                    });\r\n                })\r\n            <\/script> -->\r\n\r\n\r\n            <!-- start html -->\r\n\r\n            <div class=\"news-key-takeaway-wapper\">\r\n                                <span style=\"background-color:#4db2ee;\">Key Takeaways<\/span>\r\n                <ul class=\"news-key-nbox\" style=\"border-color:#4db2ee;background-color:rgba(77, 178, 238, 0.1);\">\r\n                                                        <li>The novel's singular protagonist is expanded into a group of characters, adding depth and a global perspective.<\/li>\r\n                                                                    <li>The series introduces settings in England and adjusts the timeline for a broader appeal.<\/li>\r\n                                                                    <li>While retaining the essence of the original characters, the series modifies roles and relationships for the screen.<\/li>\r\n                                                <\/ul>\r\n            <\/div>\r\n            \n<h2>3 Body Problem Character Transformations and Expansions<\/h2>\n<p><b>The Oxford Five: <\/b>Perhaps the most significant change is the transformation of the novel&#8217;s single protagonist, Wang Miao, into a group of characters known as &#8220;The Oxford Five.&#8221;<\/p>\n<p>This group of scientist friends shares the experiences that were solely Wang Miao&#8217;s in the book, creating a dynamic, engaging narrative. The change adds emotional depth and shifts the story from a singular Chinese perspective to a more international, less male-dominated view\u200b.<\/p>\n<p><b>Character Roles and Relationships: <\/b>The emotional journeys and professional roles of characters have been diversified among the Oxford Five.<\/p>\n<p>For instance, the experiences of playing a VR game and dealing with an ocular countdown, originally Wang Miao&#8217;s, are now distributed between Jin and Auggie. Such distribution allows for a richer exploration of the narrative&#8217;s themes and adds complexity to the storyline\u200b\u200b\u200b.<\/p>\n<h2>3 Body Problem Location and Chronological Changes<\/h2>\n<p>The <a href=\"https:\/\/culture.org\/art-and-culture\/scott-pilgrim-anime-series-coming-to-netflix-with-original-cast\/\" target=\"_blank\" rel=\"noopener\">Netflix series<\/a> makes significant changes to the setting and timeline. While <b>the novel is almost entirely set in China, the series adds present-day scenes in England<\/b>, with London and Oxford University serving as the main backdrops.<\/p>\n<p>This geographical shift is complemented by flashbacks to China, enhancing the international feel of the story\u200b\u200b.<\/p>\n<h2>3 Body Problem Narrative Adjustments<\/h2>\n<p>The adaptation introduces narrative tweaks to accommodate the medium&#8217;s requirements and audience expectations. Characters like <b>Ye Wenjie<\/b>, <b>Mike Evans<\/b>, and <b>Da Shi<\/b> (renamed Clarence in the series) retain their roles from the book but were adapted to the series format.<\/p>\n<p>The alien civilization,<b> referred to as the Trisolarans in the book,<\/b> is called<b> the San-Ti in the show<\/b>, reflecting the creative team&#8217;s effort to maintain the essence while making the story accessible to a global audience\u200b\u200b.<\/p>\n<p>Creators<b> David Benioff, D.B. Weiss, and Alexander Woo <\/b>have expressed their deep respect for the original work, emphasizing that their adaptations were made with the blessing of Cixin Liu himself.<\/p>\n<p>They aimed to translate the novel&#8217;s sense of wonder and scope into a visual medium, ensuring that the story resonates with readers of the book and those new to the narrative\u200b.<\/p>\n<h2>Were the Changes in \u201c3 Body Problem\u201d Necessary?<\/h2>\n<p>The &#8220;3 Body Problem&#8221; series on Netflix introduces several key changes from Cixin Liu&#8217;s original novel, including expanded and transformed <b>character roles<\/b>, <b>location shifts<\/b>, and <b>narrative adjustments<\/b>.<\/p>\n<p>While they may seem controversial to fans of the books, the changes were made to humanize the narrative, broaden its appeal, and fit the story into the television series format \u2014 all while striving to retain the spirit and grandeur of the source material.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":10028,"featured_media":170858,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3384],"tags":[],"class_list":["post-170857","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-and-tv"],"acf":[],"_links":{"self":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170857"}],"collection":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/users\/10028"}],"replies":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/comments?post=170857"}],"version-history":[{"count":0,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170857\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media\/170858"}],"wp:attachment":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media?parent=170857"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/categories?post=170857"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/tags?post=170857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}