When watching this "Seeking Encounters in the Dungeons, Is There Anything Wrong", I always think of "Blessings for a Better World": the male protagonist has a goddess around him, and there are many beautiful girls around him who are fascinated by the male protagonist, and the whole drama also has a considerable number of welfare embellishments.
In contrast, "Blessings for a Beautiful World" is a funny otherworld adventure, the main line plot is embellished, and the side line daily is the core; while "Seeking Encounters in the Dungeon Is There Anything Wrong" uses the RPG upgrade route, and the main line plot requires a large number of partners to join, enriching the character image through various plot constraints. More importantly, let the growth of the characters in the play be associated with the growth of the audience outside the play, forming a linkage effect.
The two styles necessarily correspond to different "malleability", so the main line of "Seeking Encounters in the Dungeons" and the simultaneous writing of the outer transmission are relatively better - similar to the various funny plots in "Blessings for a Better World" can be merged into the main line at any time.
When the evil finished the three seasons of "Seeking Encounters in the Dungeons" + 1 sequel + 1 theatrical version, I think this drama can be regarded as a "standard model play":
First, the light novel started, and then animated - of course, the work is not well done in terms of cartoonization; second, the novel update and the animation of new content are basically synchronized, which can ensure the continuous popularity of the work; third, the combination of mythological background and contemporary popular other-world adventures; fourth, the characters are numerous, the personalities are very different, and the character image is closely followed by the plot; fifth, based on universal values, there is no "evil" culture to attract attention.
Next, we will focus on points 3, 4 and 5.
There are too many benefits to introducing mythological concepts into the work, because myths and gods are not too unfamiliar to most people, and the good and evil attributes of the gods have already helped readers anticipate a concept when they are introduced into the work, such as the famous "FGO", the Marvel work of Thor, Loki, and "American Gods".
"Seeking encounters in the dungeon is not mistaken about anything" is also well aware of its magic, but also like "World of Warcraft", the world design introduced the gods of different cultures, the tower and labyrinth of the main stage, corresponding to the labyrinth built by The Tower of Babel and Daedalus, there are Babylonian myths and ancient Greek myths, like Loki, Freya is Norse mythology, Hephaestus, Apollo, Hermes, etc. are ancient Greek myths, Ista, is the ishtar - everyone likes to hear the bow, It is also a Babylonian myth, and as for Suma and Ganissa from Indian mythology, Kenyu lei is a figure in Japanese mythology.
And the design of the protagonist Bell is also quite interesting - the heir of Zeus. In ancient Greek mythology, the heirs of Zeus belonged to the demigods, and various adventures were often required in the human world to gain the approval of the gods. Bell's various monster upgrades also borrow this idea.
If it were me, I could have written "Seeking Encounters in the Dungeons" as a Western "Troy" or our own "Evolution of the Gods", microscopically it is the story of the adventurers, and on the macroscopic point of view, it is actually a political struggle between God and God - what is the family, is not the worshipper and believer of God! You can't overstep your understanding of religious wars.
In addition, in addition to the more ancient mythological elements, there are also elements that are common in modern times in Seeking Encounters in the Dungeon. For example, ista's territorial attributes are very similar to Japan's famous fragrant place - Yoshihara. Not to mention that the image of Chun Ji was once considered to be "Hua Kui".
Heroes saving fireworks women is always romantic, and there are too many works of art over the years — the impression is that "Gintama" has the story of Silver Hour and Moon Song. Therefore, this Bell saves the "noble girl" who thinks she has lost her body, adding a mood.
As for the meow, the elf, the half-orc, the "brave", the guild, the maid, etc., they are already common elements in the same kind of work.
Regarding the character growth and emotional line, it is still a classic routine. The male protagonist is the eternal "Asasi", and the little Terran Lily Luka Ode steals the male protagonist's knife worth 200 million yuan and almost lets the male protagonist die on the way to the adventure. But Bell forgave and accepted "one by one". This design seems that the male protagonist is also too "virgin".
However, the entanglement between the male protagonist and the female second is not as great as "Rebirth without a job ~ When you come to another world, you will take out your true ability ~" to show the evil at the bottom of human nature. Like Bell and Chunji's emotional laying out is more smooth - of course, the scenes of Chunji in season 3 are actually not much; and the emotional line like Bell and Ryu Li Ang is silent, from the beginning to help the male protagonist regain the stolen sword, Bell clenched his hands to show gratitude, but it is more or less to make the once closed elf with a sense of movement, and the increase in the opportunity for follow-up battles, the increase in the frequency of contact between the two, the heating of feelings seems more reasonable.
Another example is the bell and Cassandra Ilion branch. Kassandra's image belongs to the timid little girl, and Bell's willingness to help find a pillow and to believe in her dreams is essentially a soothing to her soul. For this kind of introverted girl, the attack on the heart, Bell can also be regarded as a crooked hit - although rotten good people are easy to be issued good people cards in the real world, the other world is fragrant.
As for Hestia, her fiery love was fascinating, but much better than Akuya next door. Bell and Hestia's relationship, but also a little lover from the bottom of the dependency of that kind of attribute, that is to say that this male protagonist goes to the dungeon every day to fight monsters and save props to sell money to raise goddesses, is not the real portrayal of the real world social animal 996 working to save living expenses.
This Hestia is probably a sense of dependence! Fortunately, this Bell is an "innocent teenager" in the setting, otherwise he would have to be kissed by Hestia every night and still retain the name of "Virgin Goddess", which is really the biggest "Wenchun News" in the Divine Realm.
Seasons 1 and Season 2 of "Seeking Encounters in the Dungeons" have a smoother plot than The 3rd Season and the Theatrical Version, and the Theatrical Version is well funded, but the "Fall of the Goddess" node is insufficient, and there is always a kind of "I don't know why you want to die, but the timeline has reached this stage, and whether I really have a good feeling for you or not, I must stab you."
As for season 3, I even have a sense of watching the "human rights equality" propaganda film, and it is a bit long to tell such a story in one season, which can be completely compressed into 7 episodes, and the rest of the content can be answered in season 4 - unless, the producers do not consider the fourth season. By the way, the ending song of the third season is good for thieves.
Perhaps in today's view, "Seeking Encounters in the Dungeons Is There Anything Wrong" is just an ordinary version of the harem in the name of otherworldly adventures, but if you count from January 15, 2013, the first volume of light novels came out, this story has accompanied many novel fans for 8 years - from the beginning of the serial, the starting time should be earlier.
Thus, what is even greater about this light novel is that it plays a companion role. Although the values of love, kindness, sincerity, etc. are old-fashioned and "unreal", presumably, there will be people who need this kind of reading to give themselves confidence, watch the characters grow, and look forward to their own growth.
At the same time or similar genres like "My Youth Love Story" is really problematic. " and "Blessings for a Better World" have long been completed, and the warriors of the dungeon are still composing new epics, with adventure, friendship, love, in fact, it is enough.
We talked enough about the show. So, why hasn't there been a similar work in china?
From the perspective that light novels can be introduced to the mainland, this theme (genre) can be reviewed; from the perspective of 3 seasons of animation can be watched on the platform, the scale of welfare display is still above the high-voltage line - judging from the development of domestic online literature for so many years, the author (or cartoonist) should not be lacking. What is missing is probably macro policies, social atmosphere, and industrial chain shaping.
When the economy is depressed, the development of the entertainment industry will be relatively rapid, coupled with the solidification of social structure and other factors, we have reason to believe that more and more new generations will actively or passively look for a spiritual anchorage in the secondary field.
Games, comics, anime, and novels can appear in this harbor. Novels are the lowest production costs, but the derivative value is huge, from the perspective of The development of the Japanese industry, a large number of games, manga, and animation are derived from light novels, which means that light novels are the bottom core - basic industry.
So, the question is, is there a well-known light novel platform in China at present? I think, as if there is none. Indeed, like the famous starting point, Jinjiang, etc., there are sub-sections of "light novels".
However, the platform is obviously not enough resources for this tilt. For example, if the prize money and benefits of the writing competition are higher, the publicity channels will be more intensive, and the more experienced writers will be more willing to participate, and more people will be willing to watch.
At the same time, even though there is also a special light novel website in China, "SF Light Novel", there are very few outstanding works.
In today's era, the excellence of works is not only based on traffic, but also on their diversified monetization ability. Assuming that a light novel is only highly read, but there is no publication, cartoonization, audio novelization, animation, or even film and television drama, the ontological value is actually limited. It is not only not conducive to the long-term development of the author himself, but also not conducive to the benign development of the relevant industrial chain.
There was a writer named Ma Boyong. I think he's a smart guy who understands how contemporary literature maximizes. His two most recent historical novels, The Twelve Hours of Chang'an and The Fifteen Days of The Two Capitals, are works that are easy to commercialize. It can even be said that such a story was written with a commercial idea.
I also thought of the previously popular "Mountain and River Order", which was originally the priest's "Tianyake". "Mountain and River Order" only began to be broadcast exclusively on Youku Video in February 2021, while the original "Tianyake" began to be serialized in Jinjiang since October 2010. I feel that if an online literary work can be recognized by the market, it cannot be commercialized in such a long period of time.
Nowadays, many light novels in Japan use manga to test the waters once there is positive feedback from the market, and choose the opportunity to consider animation. At the same time, it is possible that the third volume of the novel is still being written, and the animation of the first volume, which was released half a year ago, has already been scheduled. Sometimes, I think of the previous Korean drama creation model, the whole team is based on audience feedback while changing the script while shooting next week's new plays, this model makes the creative team extremely stressed, but the audience is very buying.
Not surprisingly, the development model of domestic light novels in the future will probably follow the Japanese set.
At present, the B station with the deepest foundation in the field of secondary culture in China does not seem to have made some efforts in the field of [light novels], which is also relatively strange. Moreover, the platform of station b has not been very inclined to the resources of the text field (column field). If station B can rely on the current industry advantages, integrate resources, and open up the whole industry chain channel from light novels, comics, animation, audio novels, peripherals, etc., it will really be able to make a lot of money lying down in the future.
Who knows what will happen later?