内容来源：https://techcrunch.com/2026/10/25/grok-releases-the-first-seven-minutes-of-its-ai-generated-odyssey/

内容总结：

马斯克三个月前宣称Grok将推出全长且“符合历史”的《奥德赛》电影版，如今Grok仅发布了七分钟内容，公司称之为“《奥德赛》系列第一集”。马斯克此前曾抨击诺兰版《奥德赛》选用了非白人和跨性别演员。诺兰在很多方面恰是马斯克的对照——当这位SpaceX和特斯拉CEO大力鼓吹太空数据中心并不断发布AI生成内容时，诺兰自称“技术怀疑论者”，并表示在AI出现之前从未见过一项技术“被公众如此彻底地拒绝”。诺兰版《奥德赛》虽大量使用视觉特效，但主要依靠实景拍摄，横跨六国取景，演职人员数以千计，七月上映后票房大获成功，Imax场次连续数月售罄，并有望成为下届奥斯卡的热门领跑者。至于Grok版《奥德赛》（与Wonder Studios及导演Dev Walker合作制作），观感实在难以恭维。坦率地说，它没有我预想的那么惨不忍睹，也确实比马斯克近期发布的其他视频更令人印象深刻。如果不了解内情，有些瞬间我可能会以为这是真实演员在真实海面上航行。虽然我无法评判Grok版的历史准确性，但考虑到片中无人说古希腊语，某些篡改似乎在所难免。不过至少所有角色的肤色都符合马斯克的标准，旁白使用的英式口音对玩过奇幻游戏或看过过去25年好莱坞史诗大片的观众来说应该相当耳熟。这段影像真正缺失的是艺术性、灵感和人文关怀。通过上述旁白交代的背景故事似乎永无止境，随后接连出现一张张蓄着胡须的面孔，每个人都在生硬地念台词，相比之下诺兰那些备受质疑的对白（“我们的青铜时代正在崩塌！”）简直像莎士比亚。虽然个别镜头或许能勉强模拟现实，但整体而言，这段片段令人窒息，观众感受不到任何推进感，也没有理由关心屏幕上的任何人和事。诺兰版《奥德赛》近三个小时我能毫不费力地看完，而Grok版连一半都没放到，我就已经在百无聊赖地查看还剩多少时间。如果这是游戏过场动画，我早就按下“跳过”键了。很难想象还有人对这样的内容再看七分钟感兴趣，更不用说一整部电影了。

中文翻译：

在埃隆·马斯克宣称Grok将推出一部完整长度、“符合历史”的《奥德赛》电影版三个月后，Grok发布了整整七分钟的内容，公司现在称之为“我们《奥德赛》系列的第一集”。

马斯克此前曾猛烈抨击克里斯托弗·诺兰的《奥德赛》版本，因为诺兰选用了非白人和跨性别演员。而在许多方面，诺兰都是马斯克的完美对照——当这位SpaceX和特斯拉的CEO大力鼓吹太空数据中心并发布源源不断的AI生成内容时，诺兰却称自己是一个“技术怀疑论者”，并表示在AI出现之前，他从未见过一种技术“被公众如此彻底地排斥”。

而诺兰版的《奥德赛》固然使用了大量视觉特效，但它主要是一项实景拍摄的壮举，拍摄横跨六个国家，演职人员多达数千人。该片七月上映后取得了惊人的票房成绩，Imax场次连续数月售罄，并成为下一届奥斯卡奖的热门领跑者。

至于Grok版的《奥德赛》（与Wonder Studios和导演Dev Walker合作制作），好吧，你可以自己看看。

我承认它没有我预想的那么惊世骇俗地难看，而且确实比马斯克近期发布的其他视频更令人印象深刻。如果不知情的话，有些瞬间我可能会以为这些是真正的演员在真实的海面上航行。虽然我无法评判Grok版是否符合历史，但似乎确实有必要做一些敷衍处理，因为没有人用古希腊语说话。但至少所有角色的肤色都是马斯克认可的那种，而旁白使用的英式口音，任何玩过奇幻电子游戏或看过过去二十五年里任何一部普通好莱坞史诗大片的人都会觉得耳熟。

这段影像真正缺乏的是任何艺术感、灵感或人情味。背景故事——通过上述旁白交代——似乎永无止境，最终让位于一个又一个留着胡子的面孔，每个角色都尖声念着生硬的台词，让诺兰那些值得商榷的对白（“我们的青铜时代正在崩塌！”）听起来都像莎士比亚。

虽然个别镜头或许能勉强模拟现实，但整体而言，这段片段让人感觉完全窒息，观众感受不到任何推进感，没有任何理由去关心屏幕上的任何人和任何事。诺兰版《奥德赛》将近三个小时，我毫不费力就能保持专注，而Grok版连一半都还没播到，我就已经百无聊赖地查看还剩多少时间了。如果这是电子游戏的过场动画，我早就按下“跳过”键了。

很难想象还会对另外七分钟的这种内容感兴趣，更不用说一整部电影的长度了。

英文来源：

Three months after Elon Musk declared that Grok would release a full-length, “historically accurate” movie version of “The Odyssey,” Grok has published a whole seven minutes, which the company is now calling “Episode 1 of our Odyssey series.”
Musk had previously lashed out at Christopher Nolan’s version of “The Odyssey” because Nolan cast nonwhite and transgender actors. And Nolan is, in many ways, a perfect foil for Musk — while SpaceX and Tesla CEO hypes up data centers in space and posts an unending stream of AI-generated content, Nolan has described himself as “a techno-skeptic” and said that before AI, he’d never seen a technology “so completely rejected by the public.”
And while Nolan’s version of “The Odyssey” certainly used plenty of visual effects, it’s primarily a feat of practical filmmaking, with a shoot spanning six countries and a cast and crew of thousands. After its release in July, the film became an extraordinary box office success, selling out Imax screenings for months and becoming the likely front-runner at the next Academy Awards.
As for the Grok version of “The Odyssey” (created in collaboration with Wonder Studios and director Dev Walker), well, you can watch for yourself.
I’ll admit it’s not as spectacularly ugly as I’d expected, and certainly more impressive than other videos that Musk has posted recently. If I didn’t know better, there were moments when I might have thought these were real actors sailing across a real sea. And while I can’t speak to Grok’s historical accuracy, it does seem that some fudging was necessary, since no one’s speaking in ancient Greek. had to be made. But at least all the characters come in a Musk-approved skin color, while the narrator uses a British accent that will sound familiar to anyone who’s played a fantasy video game or watched a generic Hollywood epic from the past 25 years.
What the footage really lacks is any sense of artistry, inspiration, or human interest. The backstory — delivered via the aforementioned voiceover — seems to go on forever, finally giving way to one bearded face after another, each shouting stilted lines that make Nolan’s questionable dialogue (“Our age of bronze is collapsing!”) sound like Shakespeare.
While a few individual shots might provide a reasonable simulacrum of reality, as a whole, the clip feels completely airless, offering viewers no sense of momentum, no reason to care about anyone or anything on-screen. And where I had no trouble paying attention for the nearly three hours of Nolan’s “Odyssey,” I was listlessly checking how much time I had left before the Grok version was even halfway through. If it was a video game cutscene, I would have hit the “skip” button.
It’s hard to imagine being interested in another seven minutes of this, much less a full movie’s worth.