When I saw this question, it immediately caught my attention. My diploma states ‘liberal arts’—I graduated from NYU’s Philosophy Department. However, after writing code for over 10 years, I took a step into the sciences, although I remain a liberal arts student, as I’ve also been writing novels for over 10 years.
I wasn’t previously a practitioner in the film and television industry. I was a programmer for 10 years and have been writing for over 10 years. My strength lies in writing, not in visualization. Now, among AI filmmaking practitioners, there are some individuals, like myself, who weren’t originally from the film industry but joined due to the advent of AI.
“The Computational Universe Book 1: Xinglong Awakening” is the first book in the eight-part “The Computational Universe” series. This rewrite introduces a second female protagonist, Reva Stern, from the Astra Federation. I am extremely satisfied with the rewrite results – the overall story is rich and full, perhaps even overly abundant, but it truly serves as an excellent beginning for the eight-part series. The first draft is complete, but I still need a few days to address the detailed issues arising from the new storyline.
This involves several issues, such as AI’s current limitations in long-form narrative, AI performances lacking emotional depth, and audiences having high overall expectations for films. We are amazed by AI’s development on one hand, while lamenting that it’s still too far from being watchable on the other.
People often say my novels aren’t story-like and advise me to change my style. Instead, let’s examine the difference between writing a story and creating a world. Recently, I watched several interviews with Director Gunn, who said something like this:
AI is developing at high speed, and many technologies become outdated within a few months. However, creators who persist have gradually received positive feedback. Whether you tend to make short videos, create dramas, or build worldviews, creators who truly want to stay in this field long-term have all found opportunities, big or small.
I watched the new “Superman” for the second time yesterday, because I’m a die-hard DC fan, and also because even though it’s a bit mindless, it has vitality that overflows from the screen. Today, we continue our discussion from yesterday and explore how to make AI-driven film and television creation more vibrant.
Yesterday I went to see the new Superman movie. Absolutely loved it, and I’ll be going for a second watch today. I’m a die-hard DC fan—there are traces of DC in all the novels I write. The new Superman performed brilliantly; it’s been a long time since a superhero film kept me thrilled from start to finish. It was exhilarating, heart-wrenching, and emotionally resonant, with that overwhelming comic-book feel—a rousing start for the DCU. It’s not perfect, but it’s undeniably exciting.
Midjourney has its artistic style, and so does Flux. If you’re not careful when creating content, it’s easy to produce homogeneous styles. This can easily cause audiences to develop aesthetic fatigue with AI artistic styles. We need to fight against this homogeneity to create memorable works.
I came across this question on Zhihu a few days ago and was immediately drawn to its alarmist tone. I’d like to discuss this topic. Is AI destroying human culture? First, we need to consider what human culture actually is. It’s a characteristic expression of human conditions within our collective unconscious.