山河大学 502 寝室四名女生的平静生活，被一则神秘消息彻底打乱。她们被迫登上无限列车求取生机，而这仅仅是冒险的序章。列车行经末日之地、丧尸盘踞的城池，各类任务接连不断。在生存考验下人心几经摇摆，四人彼此依靠，于重重险境中奋力闯关，执着追寻一线生机。

"你是叶七言，原本是平凡的游戏爱好者，一场全球末日危机突然降临，你与万名求生者一同被卷入残酷的 “列车求生” 真实生存游戏。被困在穿梭于无尽荒原的列车中，你必须遵守生存规则，每二十四小时停靠危机四伏的站台搜集物资，升级列车抵御危险，在绝境中奋力活下去。 在生死边缘，你意外觉醒独一无二的 “升华” 天赋，能够将普通物品、武器、列车甚至蓝图进行质变升级，凭借这份特殊能力，你从一把普通小刀开始，一步步打造出超强装备与顶级列车，快速建立生存优势。你冷静理智、沉稳布局，巧妙利用站台资源完成交易，稳妥应对变异怪物、灵异诅咒等各类危机，在全球求生者中脱颖而出。 闯荡途中，你结识了实力出众的上官映雪、组建势力

A group of commuter train passagers are put in accidental suspended animation and emerge years later into a devastated world.

于周周在极寒末日中被挚爱方启东一家残忍背叛、推下列车冻毙。重生回到末日前一个月，她觉醒了末世最强金手指——飞鹰号列车空间。面对方启东全家算计榨取财产的嘴脸，于周周决心以牙还牙，诱敌登上那辆“不归”的末日列车。她联合闺蜜彤彤及家人，利用重生先知和飞鹰号的囤货能力，抵押套现、刷卡借贷，疯狂收集物资。在零下50度的极寒来临前，于周周誓要掌控命运，让仇人付出代价，带领亲友安全度过末世。

生化灾难席卷城市，列车这一交通工具成为唯一的逃生通道。林烬登上列车后，发现车厢内暗藏陷阱。乘客被诱导自相残杀，食物加速感染，步步索命。凭借曾亲历类似灾难的敏锐洞察力，他逐一识破谎言，集结医生、机械师、前乘务长等同伴，最终揭开真相。面对这辆被恶意程序控制的列车，林烬绝地反击，接管列车，重燃人类之希望！

穿越者陈安预见母星紫星爆炸，意外成为星际列车D1314号列车长。他携好友与物资逃离，在崩溃宇宙中穿梭求生，建立星币体系与秩序，带领乘客猎杀星兽、掠夺资源、对抗其他列车长与异族文明。途中吸纳预言者、机械天才等特殊人才，觉醒超凡能力，升级列车，在黑暗森林法则下于星海中挣扎前行，应对统领级星兽、文明冲突等危机，为列车与幸存者谋求一线生机。

社畜林雾于开往地狱的幽灵列车上醒来，列车遍布致命生存规则，多名乘客误触规则接连惨死。危急时刻林雾觉醒专属神级提示系统，凭借弹幕提示抢占唯一活命座位，收获稀有道具列车股东体验卡。面对准备屠戮无票乘客的列车长，他出示卡片震慑对方。此后林雾坐拥魅魔侍奉，携手伪人少女苏小雅闯寂静岭、鬼市等恐怖副本，搜集极品装备。最终他历经背叛与鬼怪围剿，接连反杀强敌，推翻原有棋局，登顶新一代末世列车之王。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

S级雷系异能者傅景霖遭至亲与未婚妻背叛，被剥夺异能推入尸潮。绝境中他觉醒SSS级“无限复制”能力，在探寻“普罗米修斯计划”真相时陷入圈套。最终他直面身世之谜，掌握终极力量，彻底改写末日世界的生存规则。

After a deadly virus wipes out most of humanity, the survivors are forced to wait in self-sustaining bunkers with a networked video interface for communication, but one by one, they start mysteriously disappearing.