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京大益智遊戲博士專為兒童設計的動腦解謎 3：5 歲開始，天天挑戰 (19個題型共62款益智遊戲): : 1962 AI 62 3 1984 50 2019 456 3 100
作者: 東田大志 | 譯者: 卓文怡
★19個題型共62款益智遊戲，由淺入深的指引，越玩越愛思考
★結合程式運算思維的動腦解謎，學習拆解資訊化繁為簡，越玩越有邏輯
★搭配「博士小提示」，讓思路變得清晰可見，越玩越會解決問題
★全套四冊加贈「趣味遊戲圖卡」，提供動手操作輔助思考，越玩越樂於挑戰
★結合程式運算思維的動腦解謎，學習拆解資訊化繁為簡，越玩越有邏輯
★搭配「博士小提示」，讓思路變得清晰可見，越玩越會解決問題
★全套四冊加贈「趣味遊戲圖卡」，提供動手操作輔助思考，越玩越樂於挑戰
日本京都大學益智遊戲博士東田大志，為了提升孩子面對未來AI社會不可或缺的邏輯思考能力，專為孩子設計結合程式運算思維的動腦解謎，透過「理解規則」→「推理分析」→「解決問題」的過程，玩出樂於思考的大腦。
本書共有62道題目，每個題目亦有難易度標示，循序漸進引導孩子在動腦解謎的益智遊戲中，藉由趣味拼圖、圖形組合與分割、推理迷宮、情境解題、拆解指令、歸納訊息等各種題型，培養程式設計的運算思維，發展解決問題的邏輯思考能力，為數位時代的日常學習和生活挑戰打下良好基礎。
書中帶領孩子從多元、有趣且生活化的情境解題，體會到靠自己思考的樂趣。例如，要如何幫助快遞員依照路線找出送貨的順序？勇者打鬥的怪物順位要如何安排，才不會耗盡體力？根據對話，找出正在說謊的人是誰？這些益智遊戲的用意是經由邏輯思維的訓練，讓孩子學會以不同方式思考、不同角度分析、判斷和解決問題，了解「答對」不是唯一重點，解決的方法也不只一種！
此外，難度較高的題型附有「博士小提示」，幫助孩子學習將複雜的問題簡化，釐清思路，更有效的找到解題方法；或許孩子還是會卡關，需要先翻閱書末的解答也沒關係，解答中提供詳細的方法說明，建議爸媽陪伴孩子一起挑戰，並適時的給予指導和精神鼓勵！
如果發現有些題目，孩子還需要實際動手操作輔助思考，可以影印書中頁面，或是利用套書所附贈的「趣味遊戲圖卡」，讓孩子能透過剪下的拼圖、七巧板、顏色方塊等配件，實際轉向並放在書上比對，增加趣味提高成就感！
相信不論是個人獨享、親子共讀合作解題，都能享受其中，現在就翻開《京大益智遊戲博士專為兒童設計的動腦解謎3》，邊玩邊培育擅長邏輯思考的大腦吧！
作者
東田大志
1984 年出生於日本兵庫縣，畢業於京都大學綜合人類學系，並繼續在京都大學研究所攻讀人類環境學的博士課程，是全日本第一個以「益智遊戲學」論文取得學位的博士。現為益智遊戲作家，已經自創超過50種類型的益智遊戲。他從小學到高中，每天都沉浸在益智遊戲的世界裡，高中三年級的暑假才開始準備升學考，還是應屆考上京都大學法學部。
大學在學期間，曾經將自己設計的益智遊戲製作成宣傳單在全日本發放，引發大眾討論，因此被稱為「發送益智遊戲傳單的人」。經常受邀參加電視和廣播節目，在報紙與雜誌上皆有連載專欄。2019 年開設「京大東田式益智遊戲教室」，課程內容是學習自己設計益智遊戲題目，極力推廣從大人到小孩都能樂在其中且同時訓練大腦的益智遊戲。
譯者
卓文怡
曾在日本大阪攻讀日中口筆譯。擅長實用書籍、推理小說等各領域之翻譯。在小熊出版的譯作有「4．5．6 歲幼兒數感啟蒙：情境數學遊戲繪本」（全套3 冊）、「準備上學嘍！」系列（共５冊）、《日本腦科學權威久保田競專為幼兒設計有效鍛鍊大腦貼紙遊戲》、《日本腦科學權威久保田競專為幼兒設計有效鍛鍊大腦摺紙遊戲》、《日本腦科學權威久保田競專為幼兒設計有效鍛鍊大腦迷宮遊戲》、《日本腦科學權威久保田競專為幼兒設計有效鍛鍊大腦益智遊戲100 題》等。
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4.1 ★★★★★
Based on 6 reviews
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Product Reviews
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
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On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future.
Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless.
Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar!
The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co.
And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today?
I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society.
The film can be a bit 'heavy' at times, though. Not everyone's cup of tea.
Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things.
The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring.
The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world.
If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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Reviewed in the United States on January 31, 2016
★★★★★ 5
My favorite movie musical
The Umbrellas of Cherbourg (1964, Jacques Demy, Director) is a very straightforward love story that’s fairly predictable, but that doesn’t take away from its absorbing allure. In fact, I love this film so much that I’m willing to overlook some of the minor flaws in the blu ray transfer from Criterion. This transfer is somewhat grainy/hazy in picture quality, and the sound isn’t exactly clear; in fact, it can be slightly muffled at times. However, I’m not going to dwell on these few minor imperfections. Now, for the heart of the review: The Umbrellas of Cherbourg is so unique in that all of the dialogue is sung. This is definitely an acquired taste, but about 15-20 minutes in, I was used to it and all-in. The next thing that becomes obvious is its rich color; it’s sort of pastel-like, with some backgrounds that are quite striking. Finally, the last thing that jumps out is the continuous upbeat music in the film, with the exception of the main theme, which is an emotionally-charged melancholy number by Michel Legrand that is the heartbeat of the film. This film is really a heartfelt love story where fate is the prevailing narrative and force. It’s a film about important decisions and their outcomes. Along the way, there are familial issues, death, rebuilding with emotional crutches, and some humor injected at just the right times. Some of the dialogue is cliched, but I guess that’s par for the course in a love story? Finally, while watching this film, I could definitely see where the 2016 film, La La Land took so much inspiration from, especially the ending sequence and the upbeat musical numbers. Overall, The Umbrellas of Cherbourg is a masterpiece of a film that’s essential to your blu ray collection. The Criterion Collection usually does a stellar job with resorting older films, but for some reason this isn’t their best work. I was expecting better quality. The blu ray also contains some nice special features.
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Reviewed in the United States on July 22, 2025