Home Entertainment A common problem in the era of Xianxia drama 2.0: Xian is still a hero and gone jqknews

A common problem in the era of Xianxia drama 2.0: Xian is still a hero and gone jqknews

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A common problem in the era of Xianxia drama 2.0: Xian is still a hero and gone jqknews

Author: Han Siqi

“Agarwood is like crumbs” is like a scoop of cold water, pouring it on the “Xianxia 101” that was in full swing and eager to try.

If it is said that “Meeting You at the beginning of the year”, “Let’s try the world” and “Splendid Xinghan” broadcasted this year, it has fully demonstrated the roughness of ancient puppet drama production and the weakness of the market from different aspects. Then the broadcast effect of “Agarwood is like crumbs” can be said to be a “fried cold rice” with complete short-board elements.

The imaginary space for the story of “Agarwood” has not been updated in any way: this is not only reflected in the very “copy and paste” of the male and female protagonists, as if they were drawn directly from the crew of “Xiangmi” and “Liu Li” to set up rival scenes, but also not only in the standard style The sadomasochistic routine of “burial style” is also reflected in the rigid ratio of industrial saccharin + industrial glass ballast produced by the assembly line.

  The first shot of the “Xianxia 101” of misfire: there are immortals but no heroes, feudal sadomasochism

There are “immortals” but no “xiamen”, which is a major feature of the Xianxia drama 2.0 era since “Three Lives, Three Worlds and Ten Miles of Peach Blossoms”. It is not difficult to understand that there is a “Xian”, but what does it mean to have no “Xia”?

Xia uses martial arts to violate the ban, and the word “criminal” expresses the essence of “Xia”: mostly stories about “resistance” or “disobedience”. This kind of “disobedience” spiritual core, combined with female-oriented romance stories, has shaped the transitional theme of martial arts dramas and ancient puppet cultivation dramas – Xianxia dramas. Its landing point is often: using “qing” to reverse the direction of fate’s rotation. Just as “The Legend of Sword and Fairy” can become the white moonlight in the hearts of domestic drama audiences, not only because of the heavy childhood filters, but also because of the story of the 1.0 era of Xian Xia drama, which is “using a bizarre, clear love-hate story to put Fate and incomplete wisdom are given to every young man who is eager to grow up.”

In the fairyland that took off in five hundred years, the fate of three lives turned around and violated the taboo love of heaven. The sadomasochism that spans reincarnations is bloody, but when the protagonist of the story awakens from the position of a tool person, gives birth to flesh and blood, and develops love, their costly “resistance” naturally affects the hearts of the audience.

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The problem is not the stability and routine of the story structure, the key is the absence of “Xia”, the lack of loneliness and resistance of “even if the bones and ashes are broken, but also to build a monument for love”. This makes the “strange feelings” and “sadistic love” of the fairy tales incorporated into an extremely feudal space. This is a common problem in the Xianxia drama 2.0 era. The fate of Yehua and Bai Qian in “Three Lives Three Lives Ten Miles of Peach Blossoms” is a natural match, and the origin of the lingering three lives’ sadomasochism is Yehua’s weakness—— Even if he was the grandson of Heaven, he could not and would not dare to resist the great patriarch, the Heavenly Emperor.

The flaws in “Agarwood are like crumbs” are even more obvious. The male protagonist Ying Yuan also did not dare to disobey the Heavenly Emperor’s uncle in the slightest, and he did not question the absurdity of the heavenly rule that emotion is sinful. Even if the heroine Yan Dan jumps without a bridge and goes down to Huangquan, there is “miserable”, perhaps “beautiful” and “strong” in the setting of the force value, but there is no “strong” in the real sense. On the contrary, his “submissiveness” “And the unquestioned acceptance of the Tiantiao can be said to be bordering on weakness.

Their choice is to quickly give up this life, enter the next reincarnation, and find a world line that can achieve a happy ending. The most touching “relationship” in “Xianxia” is weakened and empty. Not only is it reflected in the emotional line, but the world view setting of the story of “Agarwood is like crumbs” is also very feudal.

Reincarnation Destiny. Immortals born with “immortal fetuses” have the opportunity to follow the rank promotion system of immortals. The female protagonist Yan Dan’s twin sister Zhixi is such a fairy with “true roots and Miaohong”. Her way of ascension is to continuously pass the “examination” of the immortal magic. She is already the youngest deputy head of Tiangong, and she is addicted to “rolling life and death” to cross the class.

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Class distinction. In addition to talent, Yan Dan, who has the aura of the protagonist, can be promoted faster because of the “big man” in the heavens, the privilege to open the small stove and the green light all the way, and the fairy road is smooth. As the most functional and facialized villain in the play: Ying Deng, her jealousy of the innocent and kind female protagonists and sisters has the motive to snatch the hero’s love, and her position in Xiantu has a very low ceiling. To love Yingyuan heaven and earth, or to love privilege, is the same question for her.

Against such a feudal and powerless background, “Agarwood is like crumbs” even the most basic function of sadomasochism, the narration of “abuse” has been stumbled.

  Dry abuse: the ancient puppet fairy who lacks new “growth points”

Sadomasochism is the pass of Xianxia drama.

The jade is burnt, the bones are turned to ashes, and the love is fiery and vigorous. Eternal hatred, on the other end of the scale, is a love of equal intensity, lingering in units of several lifetimes and several lifetimes. With the key words of burial and sacrifice, abuse and love at the cost of thousands of years. As a type of romance, such sadomasochistic stories are obviously more suitable and can only grow in the overhead background of Xianxia and fantasy. Once connected to modern dramas or period dramas, there is an immediate risk of breaking the law or changing history by magic.

The story of “abuse” is accomplished by transcendence or betrayal, perhaps by position, faction, or clan. Because of the mixed belief in “love”, when the script of fate is pushed to the fate of having no choice, the love that occurs outside the control of reason, the story of dense ups and downs comes into being. The “sacrifice” of this concentration, the expansion of the threshold, the most direct way is the exponential growth of time and space units – Sansheng Sanshi was tired of seeing it, so “Agarwood like crumbs” started from the flood and famine era; Huang was not cool enough, so “Agarwood” spread the story from before the establishment of the Three Realms. It is a pity that the most direct stimulation will be grasped by aesthetic fatigue as quickly as possible.

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To a certain extent, this is also the reason why “Xianxia 101” is optimistic. Today’s little girls don’t want to suffer from love more and more, and at the same time yearn for a “love narrative”. As an emotional compensation, the ancient puppet fairy is undoubtedly looking at other people’s “love of life and death” script, creating it on one side In the dream space, a low-cost and efficient way to experience love.

Incompetence in love, in the play, is the mechanism by which the logic of “sadistic love” can take effect. Therefore, “Xiangmi” sets up a meteorite that breaks love and love, so the stories of “Three Lives Three Worlds” constantly design amnesia to reset the emotional nodes, so “Agarwood is like crumbs” to increase the number of untouchables.

Outside the play, inability to love is a symptom of the times. “Don’t ask if it’s worth it, just ask if you want to”, will be labeled with a derogatory “big love” label, and the input-output ratio is calculated. The contemporary way of looking at love has changed. At the same time, modern education reminds people: love yourself first, don’t use courage in petty love, and superimpose contemporary people’s avoidance of grand and abstract things. Make people more willing to feel the heavy part of love through the substitution of sadomasochistic stories.

But when the value core of “Xia” is emptied, the logic of “abuse” is no longer smooth. It is said that it is “dry abuse” because the characters can’t stand up, there is an extreme character design, but there is not enough plot support, the audience naturally feels that the story cannot be believed, let alone moved.

Of course, the dilemma of “Xianxia 101” may also be embedded in this difficult-to-please era: take a step back, from the most orthodox aesthetic point of view, sadomasochistic puppets are just bubble soap operas, and the pattern is not broad enough; further, from the Internet Judging from the vane’s standpoint, sadomasochistic puppets are too “feminine”, which is the “poisonous juice” that makes female audiences anesthetized by attachment to fantasy.

“Xianxia 101” is in urgent need of an imaginary innovation, so as to find a new “growth point” for typed content. (Han Siqi)

责编:崔益明 ]

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