The high story of the temple and the distant characters of the rivers and lakes, "The Sword In the Snow" will be the height of the temple and the distance of the rivers and lakes, and experience the thrill of the double helix narrative.
Recently, "Knife In the Snow", which is being broadcast on eight sets of TV drama channels of CCTV, has triggered network resonance - he appeared in the first episode with the protagonist Xu Fengnian and has been accompanied by his side.
It turned out that he was the swordsman Sword Nine Yellow who had once been famous in the jianghu. Subsequently, Lao Huang and Xu Fengnian said goodbye and resolutely embarked on the road to a decisive battle with their old enemy Wang Xianzhi. Because Lao Huang has a high probability of ten deaths and no life, the farewell scene is extremely tragic, which makes many viewers burst into tears.
This typical passage allows us to see a major innovation of "The Sword In the Snow", that is, the height of the temple and the distance of the rivers and lakes are tightly intertwined through the protagonist Xu Fengnian, forming a double helix that continues to extend and advance.
In the past, domestic dramas either focused on historical storytelling or the depiction of rivers and lakes, even Mr. Jin Yong, who was the "great hero", only used history to provide a background and stage for the jianghu heroes, and few works can completely screw the temple and the jianghu at the story and character level and advance synchronously. The temples and rivers and lakes in "The Sword In the Snow" are not only three-dimensional and full of shapes, but also often promote each other for cause and effect.
The original novel can be seen everywhere in the author's attempt and effort to describe the world's various changes, and the adaptation of the TV series continues such a stroke very well. As the son of the Starling King of the Northern Mountains, Xu Fengnian was inevitably at the height of the temple and had to face the most complex, vicious and sinister struggle between his home and country. At the same time, Xu Fengnian's chivalrous nature makes his heart go farther away from the rivers and lakes, and he constantly knows and knows the jianghu people with distinct personalities, witnessing the most romantic, brilliant and proud legends of enmity and resentment.
The high story of the temple, the distant characters of the rivers and lakes, and the adaptation of the screenwriter Wang Tian highlight these two advantages even more, and combine them more closely through combing, refining and summarizing. "Knife Line in the Snow" combines the height of the temple and the distance of the rivers and lakes, and is a successful example of domestic TV dramas that dare to innovate and dare to try.
Be on the height of the temple
Unravel layer by layer
Strategizing is the first element of the show to be perceived by the audience. The first plot point at the beginning of the series is that Xu Fengnian and Lao Huang, who are traveling, encounter the Chu people who are chasing Xu Fengnian disguised as horse bandits. In the following episodes, although many characters appeared, and many groups of character relationships and world views were introduced, the drama contradiction was always that someone was secretly plotting and assassinating Xu Fengnian three times in succession. What Xu Fengnian, the protagonist, has done in these episodes is to analyze and dismantle the conspiracy behind this assassination while pretending to be stupid.
How the truth of the assassination plot is presented to the audience is obviously carefully designed by the screenwriter. First of all, through a series of fishing, inducing, intimidating, and interrogating the relevant characters of the three assassinations, Xu Fengnian analyzed a truth himself and told it to his master. In fact, this truth is already very unexpected. Three consecutive assassinations, the purpose of which was almost none other than the target of the assassination, was a power struggle in a distant distance. This is equivalent to using the protagonist as a pawn.
Secondly, after Master warned Xu Fengnian that he did not fully see this game of chess, Xu Xiao confessed that he was also involved in this game. Finally, after Xu Fengnian unraveled one layer and Xu Xiao unveiled a layer, the screenwriter immediately laid another layer. The audience understood the truth of the layout of the assassination, but did not see the so-called layout man Zhao Heng. The reason for the end of this bureau is not that it has been cracked, but that Xu Xiao's father and son have not pursued it for the time being.
Xu Xiao did not value Zhao Heng's bureau, but how Li Yang looked at the North Starling. On top of the already complicated enough to kill people with a knife, two layers were added, and the water that calculated each other inside the Yang was unfathomable at once. As said in the play, "there is no trace of cause and effect in a thousand miles", such a deep water, Xu Fengnian is naturally unavoidable.
Unlike many royal relatives who always have brotherly discord, Xu Fengnian's status in "The Sword In the Snow" is "sheltered" by his father. That is to say, Xu Fengnian did not need to worry at least in the Northern Starling's sphere of influence. This in turn brings about an anti-routine dramatic contradiction.
Xu Xiao went to great lengths to make Xu Fengnian succeed the King of Northern Liang smoothly, but Xu Fengnian resisted taking charge of The Northern Starling because he was disgusted by his father's cunning. Xu Xiao has rich experience and can give up small and large with a fierce heart. At this stage, Xu Fengnian obviously can't do this. Therefore, Xu Fengnian's change from unwilling to take charge of Bei starling to willing to take charge of Bei Starling will surely become a core of the whole drama. Obviously, only by continuing to experience the wind and rain of the temple's heights, Xu Fengnian had enough impetus to transform.
The heart is far away
The fateful struggle and the mission will be achieved
"Sword Line in the Snow" has many characters who have been enshrined in the hearts of book fans. People who are familiar with the original will always keep the highlights of the characters in mind, and it is easy to unconsciously use them to define the entire character. Perhaps because of this, the casting of this drama has reached an epic level of difficulty. We can understand the "deification" expected by book fans, and we can understand the "humanization" that the creator of the TV series hopes for.
Asking for character styling with detailed descriptions, or using the character's highlights later in the novel to demand debut status, will become harsh. Because the character shaping of the TV series has a certain law, it is necessary to pay attention to the step-by-step growth in the process of advancing the story, and to ensure the integrity of the season within one season.
Although this drama does not retain all the characters in the novel, in the field of television dramas, it is already considered to have more characters. Even so, the play still allows many characters to live in their own stories through foreshadowing, conversation, flashbacks and other means, not just passers-by or tool people in the life of the protagonist Xu Fengnian.
Take Lao Huang, who has just touched the audience, for example. The character modeling does not retain the most eye-catching feature in the original book - the lack of front teeth, but highlights the sword box that is more relevant to his life experience. As a prop, the sword box appeared in the picture of him and Xu Fengnian in the same frame many times. In particular, Xu Fengnian fished out of the lake the sword box that had been thrown away by Lao Huang.
He didn't know what was in this wooden box, but he noticed that Lao Huang attached great importance to it, so he fished it out. Such a very small fragment lays a heavy foreshadowing for the tragedy of its subsequent tricks. Through the sword box and a series of other conversational information, Lao Huang's fate buried deeply for more than ten years was well outlined.
Another character who has been brilliantly portrayed is the Nangong servant played by Zhang Tianai. It is reasonable to say that her personal story has not yet unfolded, and the intersection with Xu Fengnian is relatively shallow. But the sense of mission in this character has been established. Gao Leng seems to have made every decision for one purpose - to listen to the Tide Pavilion, study martial arts, and become the first in the world. This state is particularly charlatan, completely different from the long-sleeved and dancing characters of Liyang.
Not only is the mission clear but also the mission will be achieved, so that many of the characters in this drama can carry a decisive aura after they appear. It is conceivable that the famous characters Li Chungang, Wang Xianzhi, Hong Xianxiang, Deng Tai'a and others who have not yet appeared in the book should also adopt similar shaping methods, focusing on the fate and mission of their bodies, and making full preparations before they usher in the original famous scene.
Double gene Xu Fengnian
The new thrill of the double helix
Being able to closely twist the thrilling grandeur of the family-country struggle and the romance of the jianghu feud is naturally thanks to the unique characteristics of Xu Fengnian, the protagonist. As mentioned above, his identity makes him inevitable to avoid the struggle between his home and country, but his heart has a chivalrous side of the jianghu people.
Although Xu Fengnian does not know martial arts at present, the audience can already see that he is very close to the people in the jianghu. Some of his actions, such as throwing roast chicken into the lake to the lake to the old kui at the bottom of the lake, fishing for the sword box for the old yellow, forgiving the blue bird to conceal the identity of his dead soldier, and happily agreeing to let the Nangong servants shoot into the Tingchao Pavilion, are all chivalrous acts that make the jianghu people feel quite good.
One of the details of Xu Fengnian's role is that he was shocked and heartbroken when he heard Qingbird say that two dead soldiers had died for him. Zhang Ruoyun grasped the scale of this expression very well, which could not only make the audience perceive it, but also did not deliberately exaggerate, and there was a sense of naturalness that could not be hidden. In addition, When Xu Fengnian and Jiang Ni were walking and chatting before, they said that the Xu family owed the veterans a peaceful and prosperous life. The intention of the whole play has been thoroughly pointed out.
It can be seen from this that the temple is Xu Fengnian's physiological gene, and the jianghu is Xu Fengnian's psychological gene. The two genomes form a double helix, pushing Xu Fengnian and also promoting the entire "Knife Line in the Snow".
The current plot is still laying out Xu Fengnian's motivation for learning martial arts. At that time, Xu Fengnian is bound to formally set foot in the rivers and lakes, and use many forces to tide over new difficulties one after another, and to turn over the terrifying waves in the two fields of rivers and lakes and temples.
Highlight moments without padding will become self-congratulatory, and only the highlight moments that are paved for the foot can make people immersed in it. The double helix created by "Knife Row in the Snow" shows a huge advantage in laying the groundwork.
We can often see that when the plot goes to the home country paragraph, the inadvertent small details are already paving the way for the appearance of the jianghu characters; at the same time, we can see the handsome shots of the jianghu characters, and often coincide with the nodes of the home country's struggle, which affects the direction of the family country's luck.
In this way, you have me and I have your interweaving advancement, which greatly increases the watchability of the episode. Watching a serial drama also needs to pay more attention to the echo of the foreshadowing in front and the highlights in the back, and the fresh experience brought by "The Knife In the Snow" is equivalent to the broken wall between the screen and the screen.
"Studies in Contemporary Chinese Literature" once commented on "The Sword In the Snow": "Enriching the form of connection between online novels and traditional culture". The original work draws on the continuation of the creative concept of reconstruction, and the TV drama version of "Knife In the Snow" also enriches the connection between the theme of the temple and the theme of the jianghu, making the collision between the individual and the homeland, selfishness and morality, thickness and romance more intense, and exploring a new path for the creation of many related types of film and television dramas such as domestic fantasy, martial arts, ancient costumes, and war.