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Hua Yuhan | wen
Whether it is a movie or a TV series, whether it is an adaptation of a literary IP or a game IP, in most cases the screenwriter is a thankless character.
Even if the original author undertakes the main screenwriting task, in the hearts of most fans of the original work, the adapted film and television works cannot 100% restore the classics in their hearts.
Fortunately, the author is not a fan of the original "Wind Rises Longxi", nor has he read the 270,000-word spy war novel "Wind Rises Longxi" beforehand.
Therefore, when watching "The Wind Rises in Longxi", the author is very agreeable and fond of his ability to put spy dramas into the historical framework of the Three Kingdoms.
In particular, the characters and plot development in the play have very wonderful performances.
But for this short 24-episode "Wind Rises Longxi", it sets a strategic theme at the beginning of each episode, which is somewhat incomprehensible.
Not to mention whether the names of these well-known schemes and the content in the play can really echo each other, this lack of 12 precognitive results alone makes the author more or less "unhappy" with such an obsessive-compulsive disorder.
Looking at the original novel of "The Wind Rises in Longxi", the whole novel is divided into three parts.
They are: "Part I: Eleven Days in Hanzhong", "Interlude: A Yizhou Man in Wuchang", and "Part II: Loyalty of Qinling".
In the many sub-chapters under each section, most of them summarize and summarize their contents in two words of the battle style.
For example: "loyalty and sacrifice", "ending and beginning", "friendship and hatred", etc.
The setting of such a chapter name is undoubtedly conflicting and attractive, and it can make the reader have an inexplicable reading impulse, and thus drive the reader to continue reading.
On the other hand, "Wind Rises Longxi", which was adapted into a TV series, it is undeniable that "Wind Rises Longxi" after film and television has a higher level of results in the fullness of the characters and the details of the story.
Of course, to a certain extent, it is also inseparable from the performance skills of the characters in the play.
However, at the beginning of each episode, using one of the 36 meters to characterize the content of this episode always makes people feel like a rigid set.
And in the process of watching the drama, in addition to the more obvious plots such as "sound east strikes west" and "beauty plan", most other schemes are difficult for people to understand when watching the play.
Only at the end, when the "nasty" Sun Ling came out to comment, he suddenly found that the original episode was about "hiding the sky and crossing the sea" or "darkness Chen Cang" and so on.
What is even more "infuriating" is this Sun Ling, who completely destroys the thrill and secrecy of a spy war drama.
Just as the author is afraid that the reader will not find the metaphor he has buried in the text, he must point it out at the end of each paragraph.
Some of the ancients, when writing articles, conveniently did the work of "annotating" the ancient books by later generations.
As a result, after watching the show for 3 or 4 episodes, I developed the bad habit of not being able to fully devote my attention to the plot.
Because I know that even if I miss some important clues or plots, Sun Ling will complete him at the end.
At this time, the suspense and unknown of the spy story are gone.
However, there is another unintended benefit.
I actually had time to project my energy on the emotional drama, but unfortunately Zhai Yue was caught by Huang Pre early.
All that was left was Chen Gong's hatred for Huang Xian, and the beauty snatching war between Liu Ying and Feng Bing, Li Yan, and Xun Xue.
There are only 36 of the 24 counts left.
Compared with this set of "Thirty-Six Plans" that are likely to have been written in the Ming and Qing dynasties, if the screenwriter does not like the chapter titles in the original book.
From my personal point of view, the allusions or contents quoted in the "Art of War of Sun Tzu" written in the Spring and Autumn Period may have a sense of the times or culture.
Of course, in terms of popularity or household name, "Thirty-Six Plans" is indeed easier to understand and summarize than "Sun Tzu's Art of War".
But from a cultural or historical background such as the Three Kingdoms, instead of using the "castrated" 36 counts to forcibly match, it is better to integrate "Sun Tzu's Art of War" into the plot.
At least "Wind Rises in Longxi" is about the invisible battlefield of the Wei and Shu armies, how much does a "battle" word contain" contain the ideas of "the extreme of the shape of the soldiers, as for the invisible" and "the victorious soldiers win first and then fight, and the defeated soldiers fight first and then seek victory"?
From the perspective of military and combat, Sun Tzu's Art of War may be more suitable for the concept of "warfare" than "Thirty-Six Plans".
Of course, whether it is "Thirty-Six Plans" or "Sun Tzu's Art of War", this may not be the original intention of the original author Ma Boyong.
You must know that for "The Wind Rises in Longxi", the history of the Three Kingdoms is just this small shell.
Military institutions such as the Jing'an Division, the SiWenCao, and the Junzheng Division, as well as the cumbersome and lengthy administrative procedures, are all made up by the author.
Perhaps for the author, he pays more attention to the storytelling and logic of the novel itself.
Even the most eye-catching feelings between men and women are negligible in "The Wind Rises in Longxi" (the emotional content in the original work is written by someone else).
Perhaps because of this, "The Wind Rises longxi" has become a "nightmare" written by the screenwriter.
His structure is too simple (although the spy content is very exciting), he lacks cultural background and emotional interaction, and he only has to deceive and fight life and death.
In a sense, the novel version of "Wind Rises Longxi" is more like "Three Kingdoms", while the TV drama version of "Wind Rises Longxi" is a bit like leaning on "Water Margin".
In the end, maybe the original audience will praise "Wind Rise Longxi", and maybe the original audience will scorn "Wind Rise Longxi".
Whether it is praise or bad reviews, these disturbances eventually have to be carried by the screenwriters.
In their pen, it gives more connotation than the original work, and also gives it more watchability.
But the result is likely to be a completely different path from the original.
Good or bad, "The Wind Rises longxi" is still successful in the author's case.
He managed to capture the author's curiosity, even though I hated Li Ling's last storytelling remark, even though I wasn't cold to the so-called "thirty-six" at the beginning.
But in the spy drama that deceives me, I find the warm Zhai Yue and also see the emotional Liu Ying.
Perhaps for Gao Tangbing in the original work, a relationship scene like Liu Ying and Xun Xue can make people more moved (although I have not seen the original).
Perhaps the screenwriters' attempt at 36 counts is an enlightened attempt at spy dramas.
In the end, I "hated" Li Ling very much!
Past highlights: Is "The Wind Rises in Longxi" history? Don't be deceived by him, this is just the trumpet's "Three Kingdoms"
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