What kind of ethos is this? Sheep have recently been speechless by this news...
I still remember that when "China Strange Tan" was broadcast a while ago, countless netizens broke the defense online, it turned out that when we grew up, we still needed Sun Dasheng very much.
As a result, after the first two episodes were broadcast, Shuang Ding was bombarded by parents again??
Reason: It scared my children.
And the "crow pretending to be a ghost" who was scared and cried in the mouth of this parent is like this
In the first episode, I was scared to cry by a crow pretending to be a ghost, and in the second episode, I was scared to cry in less than a minute, and said that the child definitely had a childhood shadow after watching it.
Later, he said that he was very sure of this painting style, but the plot educates children to be world-weary? As a parent, you don't want your child to see such works.
Film and television works are for the public, of course, everyone is qualified to judge good or bad, and whether they like it or not is also a very subjective matter, but to question whether this kind of animation is necessary is too high-level.
A comment in the hot is particularly apt, because these "parents" who don't know where they come from, we have lost enough ...
The childhood shadow of those years was reported to be taken off the shelves, and the low-cost and high-quality work "Hulu Baby" with limited technology was stunned by the lack of smooth connection of the action, and "Nezha: The Devil Child Descends", which is known as the pinnacle of national comics, was scolded on the screen before the release due to Nezha's image problems, which almost affected the release.
Now that the problem of the painting style of national comics has been pushed to the cusp, how did the painting styles that did not get the beauty in the past turn into classics?
The aesthetic changes of national comics
The style of painting complements the classics
Whenever someone complains about national comics, sheep will think that once upon a time, the existence of national comics influenced the creation of two famous Japanese animators Hayao Miyazaki and Osamu Tezuka.
Since he was a child, Miyazaki has loved classic works such as "Trouble in the Heavenly Palace", "Nezha Troubles the Sea" and "Seven-Colored Deer" produced by China Shanghai Beauty Factory, and with this initial love and vision, Miyazaki embarked on the road of creating animation.
Osamu Tezuka is a big fan of Chinese animation, and after the release of China's first animated feature film "Iron Fan Princess" in 1941, it made him more determined to become an animation creator.
Osamu Tezuka specially came to China to visit idol Wan Yiming (creator of "Iron Fan Princess")
Osamu Tezuka was fascinated by the Chinese story "Journey to the West", and after being deeply influenced by the role of the Monkey King, he created the manga "My Monkey King", which was later adapted into the cartoon "The Great Adventure of the Goku".
When his classic "Astro Boy" became famous all over the world, he drew a cartoon of Astro Boy holding hands with Sun Wukong to express his admiration and love for Chinese animation.
"The Iron Fan Princess", taken from the story of Journey to the West, is not only the first animated feature film in Asia, but also the pioneer of ink painting in Chinese animation.
It took a year and four months to draw nearly 20,000 drawings to create this 80-minute "Iron Fan Princess".
As a landmark work, its characters are vivid and vivid, the story is full of interest, and its ink painting style with Chinese characteristics has amazed the world.
Yes, ink painting is a unique style of mainland animation, but Chinese animation is by no means limited to this.
We certainly have a lot of groundbreaking animations.
Rich in metaphors and brain-opening "Rubik's Cube Mansion", this was also the childhood shadow of countless children at that time, and even some adults shuddered when they watched it.
Let's not mention that the plot of the first episode is to lose their ears and break their legs, and just looking at their faces has an indescribable strangeness.
The weirdness of the half-cut eyebrows, the face is different from the skin color of ordinary people, coupled with the strange but uniform blush, this weird painting style has scared many children crying...
Later, after "Huluwa" became popular all over the country, some people have been questioning its painting style, "I can't say where the problem is, the overall look is strange."
Until now there are people who have the same doubts...
The painting style of "Huluwa" is inseparable from the factors of the times and the creative background at that time.
Because animation technology was limited in the 80s, the producers did not have much capital investment, but there were always more methods than difficulties.
This animation draws inspiration from traditional shadow puppets and solves technical problems in the form of paper cutting, but the disadvantage of paper cutting is that the final effect is not very smooth, and the action is slightly rigid and rigid.
Even so, it did not prevent it from becoming a classic.
Nowadays, animation technology is becoming more mature, production costs are abundant, and everyone's aesthetics have changed.
However, the improvement of animation technology and sufficient funds cannot directly increase the quality and visual texture of animation.
For example, the 2D version of "Big Ear Tutu" is obviously more cute and cute than 3D.
But of course, sheep does not mean that the improvement of technology is not good, but because of the improvement of our animation technology, many wonderful stories can be better presented.
For example, "The Return of the Great Sage", known as the light of national comics, the eyes of the Great Sage are like torches, the flowers are fluttering in the wind, and with a gentle pull of two fingers, the golden hoop rod that can turn over the clouds and the sea is brought out.
This is the mighty and majestic Qi Tian Great Saint Sun Wukong, the temperament of the God of War is vividly reflected, and it is simply a qualitative leap on the screen.
There is also "Nezha: The Devil Child Descends", which reached the peak of national comics in one fell swoop, and before the official release, the theater played the trailer of Nezha before screening other films.
As a result, the audience was madly persuaded to retreat by this evil face and a black eye boy in front of them.
That's it? Playing Nezha, who is as fierce as fire and jealous as hatred, isn't this pure and pure devil? Most viewers can't accept the image of Nezha after being maliciously ugly.
But as soon as it was officially released, the reputation was immediately reversed in two levels, and the dark circles that originally looked at the spicy eyes became a representative of ugliness, and the shaky, hanging-erlangdang pace was very in line with the role positioning.
Even if there have been many classic Nezha images in the past, it does not affect it to withstand many negative comments and turn over into another brand new Nezha.
Same dark circle elements, different controversial arguments.
Nezha was scolded mainly because he was ugly, and the second episode of "Chinese Odd Tan" "Goose Goose Goose" was deeply caught in the turmoil of painting, which many viewers complained that they couldn't understand.
The audience can see a lot of Chinese elements from the animation, and can also understand that the director is more inclined to the expression of imagery, but he can't get this beauty at all.
So there is the phenomenon that the "Chinese Odd Tan" mentioned by the sheep at the beginning was bombarded.
But shouldn't a bizarre and grotesque style that is not understood exist?
Should the aesthetic threshold be lower when targeting the general public?
Catering to the public aesthetic is so fragrant
Why build an aesthetic threshold?
As soon as the second episode of "Chinese Odd Tan" aired, it attracted a lot of criticism, the peculiar character image scared children to cry, and some adults also expressed their inability to accept this style of painting, and even began to question the creator's motives.
Let's first hear what the director himself said?
Style serves expression
Hu Rui's original intention in creating this story was to reflect the emotions of contemporary people into the feelings of the protagonist, while also retaining the style of ancient Chinese strange novels.
Adhering to the principle that less is more, it shows the big weather and emotions with Chinese visual image thinking.
Someone asked? What does that have to do with the character's dark circles?
This is an aesthetically technical grafting.
The scene starts from the traditional aesthetic of ancient China, with a detailed sketch style, hand-painted frame by frame, and dark circles are a typical representative of Gothic aesthetics, making the characters look gloomy in color.
The aesthetics of the painting style of "Goose Goose Goose" is an innovation, it is not simply attached to the content to express, each flower into its own eyes, what you see, you can understand why.
And the director must have thought before painting that there will be many audiences who cannot accept this style, and the works produced with great care will be subject to controversy in exchange for negative reviews, is it worth it?
Why doesn't an aesthetic that is recognized by the public exist?
In the face of the problem that it is difficult to adjust, the effective solution is to predict the audience's acceptance in advance based on past praise works, and the popular style may not be outstanding, but at least it will not be scolded.
But "China Qitan" is resolutely unwilling to do this, and chief director Chen Liaoyu believes that creation is not for pandering, and it is the responsibility of creators to improve aesthetics.
Source: Universal People Magazine
Judging from the feedback of "Goose Goose Goose", some viewers reported that horror cannot become a form of beauty, and some viewers thought that they could feel a grotesque beauty, but did not understand it.
But creators can't have an opportunistic mentality because of the existence of aesthetic thresholds, trying to obtain more audiences with low thresholds.
The source is the same as above
And, as a creator, you should first express yourself.
Secondly, the output of creators should have the effect of subtle, spring wind and rain, and they have the responsibility to raise the threshold of aesthetics a little bit, and then a little higher.
This is not to say that the feelings of the audience are not important, but that the way to please the audience is undesirable, and the creator needs to take responsibility for himself.
Seeing Chen Liaoyu, the chief director of "China Strange Tan", talking about the problem of aesthetic threshold, Yang thought of Jiang Wen having the worst and lowest rated work that was scolded, "One Step Away".
The words that are scolded are nothing more than saying, "What's so good about thigh dancing?" "It's vulgarly beautiful."
Such an evaluation divides beauty into hierarchies, trying to judge the value of its existence by high beauty and vulgar beauty.
When Jiang Wen talked about the work "Evil Does Not Suppress Righteousness", the host Dou Wentao single-handedly asked the most concerned point of the public, why pat the butt?
Jiang Wen's reply is even more simple and direct, beautiful, can't it?
Why is it bad to always look at something with a judgmental eye, and simply appreciate it?
Including the completely naked Peng Yuyan in the film, not for the gimmick, not for the flow, that is, when Jiang Wen saw his body, he felt that this was more beautiful than ancient Greek sculptures, so why not shoot?
When a work comes out, there must be two sounds, but the proportion of sounds is different, and it is important to make both sounds exist.
When other creators hear these voices, they may lead to more ingenuity, thus achieving a virtuous cycle of creative environment.
Just like when "Tianshu Qitan" appeared, many audiences complained about their inability to accept its painting style, but this one became the source of inspiration for director Hu Rui to make "Goose Goose Goose".
The barrage is the audience's evaluation of "Goose Goose Goose"
The sheep said so much not to influence everyone's aesthetics, let alone for which kind of beauty to stand.
Instead, I hope that more people will be able to allow them to exist, even if they cannot agree with the works that they do not accept the style of painting, and allow the existence of diversity and beauty of different forms.
Song high and low is the fate of some creators, but we must be more thankful that these unkitsch creators have always respected the audience.
If, one day, when a work is presented in a similar way, and there is only one voice left in the commentary, that would be even more terrifying, right?