This article comes from The @Zeta Eta@ Chen Dong-Lai'er @NC Zhang Thirteen on the topic "Is "The Wolf" is the "martial arts game" that Chinese players dream of? " discussion and answers
<h1 class="ql-align-justify"> United States</h1>
Cowboy Sheriff Gangster
Revolver Rifle Drawing
This is America's Wild West
Ronin Samurai Ninja
Rib difference, tai knife, juhe chop
- This is Japan's chaotic Warring States
The "second cousin" of R Star's seven-year-old sword was born in October last year
The sequel "Single Dog", developed by the FS Company led by Miyazaki' old thief, was also officially released yesterday
P Station Painter: AegisFate
After that, There will be a 3A-level Japanese-style ACT game such as "Ghost of Tsushima" that restores Japanese history more (although this is not developed by the Japanese production team, but don't forget that many classic Westerns were made in Italy)
『The Ghost of Tsushima Island』
It can be said that American Westerns and Japanese sword films have followed in the field of games in the next era
But when will we in China have true AAA chivalry, long swords and rivers and lakes?
In fact, the reason why the game "Single Dog" makes some first-time people feel like "Isn't this the AAA martial artist I dreamed of?" The sense of déjà vu is largely because many of the visual elements overlap with some elements of the Chinese martial arts in our impression, to give two more representative examples of visual effects in the film industry.
"Hero" directed by Zhang Yimou
"Shadow" directed by Zhang Yimou
It has to be said that many times human beings do not classify things so accurately, and it is unreliable to rely only on some visual features and scene memories to distinguish many of the themes that are also the subject matter of the action scene of "sword and light sword shadow" in Eastern culture.
The game "Single Dog" does have a lot of cultural elements that Chinese will not be unfamiliar, after all, "Buddhism" is one of the three major religions in the world, and Japan is our neighbor, whether it is weapons, clothing or architectural styles, you can glimpse some common features of Oriental culture.
But can we say this is martial arts?
Some people will say: Of course not, how can pure martial arts element accumulation be called martial arts? The cultural background is a little far away!
Indeed, although Leone's first film version of "Red Dead Redemption" was made by imitating Akira Kurosawa's "Heart Stick", the Western film "Seven Heroes Of Akira" was also made by imitating Akira Kurosawa's "Seven Samurai", and there was a "Edo period" outside of "Westworld", but as the first two characteristic elements listed, sometimes not only many elements can be replaced by more similarities, but the social and cultural background must also be similar - the Western Pioneer Era in the United States and the Sengoku Conquest Era in Japan actually belong to the "Edo Period", but as the first two characteristic elements are listed, sometimes not only many elements can be replaced by more similarities, but the social and cultural background must also be similar - the Western Pioneer Era in the United States and the Sengoku Conquest Era in Japan actually belong to the "Western Frontier Era" Troubled World'.
Then back to the game of "single dog", if we put the historical background in China's Warring States period, although Buddhism was not introduced at that time, but the Tao, Confucianism, Law, Ink and other sons and hundreds of families can be seen as sects instead of Buddhism, the identity of the protagonist "wolf" can be changed from a ninja to an assassin, and the Reed clan is replaced by the ruler of a small princely state... If all the "Japanese elements" are replaced by "Chinese elements", can we say that this is also a game with a "historical martial arts" theme?
In fact, this is a "paradox of the ship of Theseus".
To be honest, the name "Wuxia" was originally just to distinguish it horizontally from other novel themes, no one can give it an accurate boundary, the classification boundaries of all cultural concepts are actually blurred, and "Wuxia" represents a collection of elements. But we don't have a quantitative standard to say that how many corresponding elements a work has can be called a martial arts work, we can only try to identify which typical or atypical martial arts elements it has.
Privately, a good work does not have to stick to the theme and cultural elements, these are the external "shape" of the work, and for the game work, the play mechanism, narrative mode and plot structure of a game are the core.
The Soul series and The Bloodborne Curse, the former born from Norse mythology, the latter borrows from the spiritual core of Cthulhu mythology, but their play mechanisms, narrative methods and plot structure are almost no fundamental differences, and even many of their narrative threads have cross-corresponding features. The despair expressed in the Soul Series that "the power of the individual cannot overcome the rules of the world after all" is also reflected in the Blood Source, and the Blood Source expression of "Human Curiosity about the Unknown and the Unbridled Pursuit of Power Will Eventually Lead Them to Destruction" also has a corresponding model in the Soul Series.
As I said in my previous answer, in the blood source, the world rule that "the original fire will eventually be extinguished" is replaced by the blood source curse of "the heirs of the ancient gods will eventually die, and the hunters will never wake up in the nightmare of bestiality", the "fire-spreading king" becomes the "moon god looking for a substitute", and the "endless journey of the fire" becomes "the replacement for the heirs of the ancient gods".
Therefore, the highly recognizable play mechanism, narrative method and plot structure of the Soul series and Blood source complement each other and are integrated, and are borrowed by other games, and they are named "Soullike" (the typical representative is "Hollow Knight", although the play mechanism is slightly different).
In short, for a veteran player who has been immersed in the game field for many years, it does not matter whether the game of "Single Dog" is the "dream martial arts game" in his eyes.
Because he will not pay too much attention to the theme of a game, a game is martial arts, xianxia whatever xia does not matter, as long as its play mechanism, narrative method and plot structure can be its own, can give players a unique and comfortable experience, then it is an excellent work.
Chinese games do not necessarily have to be martial arts, or that sentence - the theme and cultural elements are only external shapes, for game works, play mechanisms, narrative methods and plot structure are the most important.
<h1 class="ql-align-justify" > Chen Dong-Lai'er</h1>
There is a preconceived question here: "Only Wolf" is obviously a Japanese ACT, why do some Chinese players have the idea of "this is a martial arts game"?
My answer is: rather than saying that "Only Wolves" is very "martial arts", it is better to say that our "martial arts" are somewhat "Japanese".
China has had a "wuxia" culture since ancient times, and the source of literary creation is very clear, but today's Chinese players' understanding of "wuxia" is actually more based on "wuxia (fighting) films" and "wuxia games". Film, television and games have innate audiovisual and interactive advantages, low acceptance costs, and stronger appeal and indoctrination. Today, when we imagine and construct the "martial arts world", the first thing that appears in our minds is often film and television or gameplay content, and novels will not become the preferred material because of the lack of direct "picture sense".
But how did our martial arts-themed films, televisions, and games come about?
You know, although film and television and games are cultural products, they are also industrial products. Our industrialization in China started late, most industries are very young, and Japan started early and developed relatively mature. The reality today is that Chinese films, television, and games have studied a lot of Japanese in history.
Those old martial arts films of the 1950s and 1960s in Hong Kong and Taiwan imitated the Japanese "sword and sword films", and there was a "Japanese martial arts period". Shaw played a large number of Japanese films for employees to learn, and director Zhang Che admitted that he was a fan of sword and sword films, and borrowed a lot of creative techniques from them. In Hu Jinquan's new martial arts movies, we can also see many factors of "sword and sword films". Later, Gu Long, Xu Ke and even Wang Jing's group of "martial arts" authors were also deeply influenced by Japanese swordsman novels and "sword blade films". Gu Long's novels are somewhat Japanese, such as "Raccoon Wash Sword Record" based on "Miyamoto Musashi", and many later works are very similar to Shibata Rinosaburō. Xu Ke's "Butterfly Change" is recognized as a work that combines the style of "sword and sword pieces", and the shadow of Akira Kurosawa's "Seven Samurai" can also be seen in "Seven Swords", a large number of Japanese visual symbols are used in the "Laughing Pride" series, and the "Ghost of a Lady" series has many shots that pay tribute to "Heart Stick" and "Spider's Nest City". In general, the Hong Kong and Taiwan martial arts film and television dramas of the 1980s and 1990s (a large part of which are adapted from jin Yong and Gu Long novels, and the mainstream audiences in Chinese mainland were also exposed to the works of this period) still have not left the study and reference of Japanese "sword and sword films". Don't forget, until Wang Jing filmed "New Shaolin Five Ancestors" in 1995, she was still copying the core story and classic bridge section of "The Wolf with the Belt" in 1972.
"New Shaolin Five Ancestors" borrows the story core of "The Wolf with the Belt" and copies the bridge section of "choose a knife or a toy"
In terms of audiovisual language and cultural symbols, Chinese "martial arts film and television dramas" and Japanese "sword and sword films" are very related. Many of the story sections, character shapes, action performances, prop scenes and even musical sound effects that seem to be unique to martial arts films today have secretly traces of imitating Japanese "sword and sword films". (Another major source of Chinese martial arts films is traditional Chinese opera, just mention here, so as not to be misunderstood as "day blowing" and "fine day", I will not expand it)
Not to mention the game industry, where Japan is still ahead of the curve (otherwise why would we discuss Only Wolves?). ）。 After the 1990s, all kinds of domestic "martial arts" games, whether it is stand-alone or networked, whether it is turn-based or real-time, whether it is act or RPG, from the core gameplay to the art performance, it is also initially imitated step by step. Many of the works can be seen as a Chinese skin of Japanese games (including some Korean games later).
Therefore, although China's "wuxia" novels have been around for a long time and the "wuxia" culture has a long history, when it comes to film and television entertainment adaptations since the 1960s, we have actually been stealing from Japan. Even if you later go out of your own way, you can make a blockbuster to win the grand prize ("New Dragon Gate Inn", "Hero", "Crouching Tiger, Hidden Dragon"), and make a lot of money by making games ("Sword Man Love", "Rain Blood", "Against the Water Cold", "Chu Liuxiang"), but the starting point of the creation of such cultural products does have the ingredient of imitating the Japanese "sword blade film" and Japanese games.
With such a close relationship, a sense of identity will naturally arise. "Only Wolf" as a Japanese "sword game" (this word is made by me, don't care too much), in the eyes of Chinese players, that is a familiar recipe, a familiar taste, and it feels quite right. Some people will think that "Only Wolf" is the "martial arts game" that Chinese players dream of, which is also reasonable.
<h1 class="ql-align-justify" > NC Zhang Thirteen</h1>
Looking at the answers of some people along the way, is it a bit "magic"...
What is the source point of China's so-called "martial arts" now derived from Japanese sword and halberd films, which can be said to be exported, just take a few Hong Kong films that have "copied" sword and halberd films to talk about things?!
The following is basically a perversion of my remarks, just self-talk that questions some of the answers.
Many years ago, many people believed that the three related to sword and sword films, martial arts films, and Westerns influenced each other.
Let's not talk about martial arts novels, let's talk about the imagery, the old Shanghai film boom in the mid-to-late 20s there was the concept of "martial arts movies".
Han Yingjie, who was the first to sign martial arts instructors with Liu Jialiang and Tang Jia ("YunHai Yu Bow Edge" and "The Drunken Man" were all signed as "Dragon and Tiger Martial Artists" in subtitles before, and the first one who ranked first was the martial arts foreman) had been engaged in film stunts in the old Shanghai period, and Han Yingjie was born in opera martial arts, and later practiced acrobatics, because it can be seen that the positioning of stunt people and their own production direction of "wuxia movies" at that time was quite mature.
Stills from The Drunken Man
Stills from "The Edge of the Jade Bow of the Cloud Sea"
Before and after the founding of the People's Republic of China, many film studios in old Shanghai were reorganized into "Shanghai Film Studios", coupled with the previous years of war and some special reasons, which led to a large number of filmmakers going to Nanyang or Hong Kong to develop, which led to a "fault" immersion of Chinese films, which was quickly thrown away by Japan next door.
The glory days of Japanese cinema were from the late 1940s to the early 1970s, led by major studios such as Daiei, Nippon, Toho, and Toei. In particular, Toei, known as the "Kingdom of Costume Films", began shooting a series of sword and sword films in the 1950s, which was the widest audience at that time.
Founded in 1958, Shaw's films, which symbolized the rise of Hong Kong films, coincided with the prevalence of sword and sword films, coupled with the fact that Shaw, who was also a representative of the large studio system, had originally communicated with the Japanese film companies at that time, so it is not surprising that the Shaw costume films of the 60s were full of shadows of sword and blade films.
But at that time, the action movies of Hong Kong's Xianhe Ganglian and several companies on the Great Wall gave me more of a feeling that it was still something from the old Shanghai period, and the imitation of The Sun Shadow was not absent but not as heavy as the original Shaw.
Shaw films
In 1964, Shao built a movie studio and began to set up a scene in the studio to shoot films, and I personally felt that Zhang Che and Chu Yuan began to go to two extremes, and also made their personal style.
Zhang Che disliked the stinginess of the things filmed in the studio, and also disgusted with boss Shao's propositional work, went to Taiwan to form a longbow, the real scene pipe was enough, and the "Eight Doors" was filmed out of the feeling of "American tough guy film", in fact, Zhang Che in this period is no longer the Zhang Che in the "One-Armed Knife" period imitating the sword blade film period!
Stills from "The One-Armed Knife"
Because of the increase in the rights of martial arts directors on the set and the use of directors, Hong Kong action films no longer need the sense of ceremony and template killing of sword and blade films after entering the 70s!
This also prompted the evolution of the entire Hong Kong action film style at that time, not to mention zhang che's "Thorn Horse" and "Five Poisons" in this period have been amazing to what extent, the "orthodox kung fu films" made by Liu Jialiang of Zhang Che are pure national aesthetics.
At the end of the 1970s, Japanese films were already in a twilight state, and Sanada Hiromiyuki, as a popular action actor in Japan, made a series of action films (including sword and sword films) and began to show a "Hong Kong" posture. That is, from this time on, including Sanada Hiroyuki himself, a large number of Japanese action actors and stuntmen went to Hong Kong to study and develop, and all the action films (including sword and sword films) in Japan after that were gradually "Hong Kong", and even derived from the action style of animation and close-up that we now see, are inseparable from the influence of Hong Kong films at that time.
Therefore, from the 1980s to the present, the so-called sword and blade culture in Japan is no longer the same thing as the sword blade of the Kurosawa Akira and Inagaki periods. In the same way, the martial arts films that experienced the New Wave of Hong Kong cinema are not the same thing as the martial arts films that Shaw imitated and groped for at that time, or the martial arts films of the old Shanghai period.
The above high vote replied that Xu Ke's "Butterfly Change" is a sword blade style... I completely deny that "Butterfly Change" is obviously a mix of Chinese and Japanese art styles, the core is a imitation of Hitchcock, and the subsequent "Hell Without Doors" is somewhat stuck with the shadow of some zombie cult films.
Tsui Ke is a Vietnamese Chinese, read movies in the United States, entered the industry in Hong Kong, such an experience is destined to be his film style "mash-up", and he paid tribute to the famous work "Knife" of "One-Armed Knife" in 1995, I can't see the shadow of the sword blade at all, but more Western.
As for the "grudge" of sword and western films, it feels needless to say, it is too famous.
Here is pulling more than one "branch" of martial arts films, I don't know if this description is correct, I call it "Western style martial arts film", for people of my age, this is the most impressive type of martial arts movies, how many western films are affected by this kind of film, this is a matter of opinion, not much to pull.
First of all, we know that after the lifting of the restriction on Bay in the late 1980s, Hong Kong film talents dared to go to the mainland to shoot in large numbers (Bay Bay was the largest foreign port market in Hong Kong at that time), and Xu Ke took the lead in going to the Yinchuan Desert in 1992 to shoot "New Dragon Gate Inn". After that, "East Evil and West Poison", "Murderer Tang Chop", "Adventure King" and even "Journey to the West" will have desert dramas. Until the birth of "Crouching Tiger, Hidden Dragon" and "Hero" (in fact, these two also have desert scenes).
Of course, before Xu Ke, the new Chinese films in the embryonic stage also had excellent western-style martial arts films such as "Yellow River Hero" and "Double Flag Town KnifeMan". This period is also the most prosperous period of Chinese martial arts movies.
I think that during that period, it was difficult for Hong Kong filmmakers to shoot in the desert except for the mainland (mainly filmed in Bay Bay, South Korea, and Thailand before the restriction), so they went to the deserts of Yinchuan and Dunhuang after the restriction, but it is not excluded that the big sale of "New Dragon Gate Inn" caused the follow-up, and the desert scene is indeed more lonely and sad texture, which is very suitable for Chinese's impression of "hero".
As mentioned in the previous answer, in 88 Hong Jinbao produced a remake of "Seven Samurai" of "Zhongyi Qunying", to be precise, this film is a remake of the American version of "Heroic Seven Dragons", and the western period was replaced by the Republic of China period. However, this film was more utilitarian, and at that time, it was filmed in bay, and there was no suitable location, but this is not the point, in the final analysis, it will be the film itself set too small, just like a child's play.
The Seven Samurai
Of course, even if this film comes to the mainland to shoot the texture it deserves, because director Tang Mingji's vision is like that. Even if we don't shoot the desert, our martial arts films can still bloom in Jiangnan towns, vast grasslands, and bamboo waterfalls. Deserts may just be what the times need.
Here is a negative example, Zhang Dongjian went to Hollywood to shoot "Yellow Sand Samurai", the director is also a Korean, it is estimated that the impression of "New Dragon Gate Inn" is very deep, so he created a real. Western tribute version, but he is after all a Korean played by a Japanese samurai in the Western United States to dress b of the egg story, he does not have Chinese martial arts films should have "god" and "rhyme".
This is the same as the Western gunfight film "Sukiyaki" directed by Takashi Miike, you don't have that "god", how can you shoot that "rhyme"?
This can also indirectly explain that today's Japanese sword and sword films already have the technology of Hong Kong martial arts, and The "Sword Heart" and "Miyamoto Musashi SP" of Tanigi Kenji Takeshi are better than many Chinese movies in terms of action scenes, but I still don't think they are "martial arts films", because they are originally sword films under the new era and new technology products, of course, people are originally positioned as sword films.
Although "Only Wolves" is a game, it is the same reason! Is the "martial arts game" that Chinese players dream of is "Only Wolf"... Sorry, I think this question is even a bit "arrogant"....
Miyazaki Old Thief is going to do is sell blossoming hardcore action games all over the world and ta is not real. Japanese sword and blade culture doesn't matter anymore!
Can you still pull "martial arts"?! One day China has the ability to make martial arts games like this, it is estimated that some people still mention "xx is not in line with the martial arts culture of the Chinese people?" ”
Of course, let me feel more "arrogant" is the answer of a few people, China's "martial arts culture", or the evolution of the "martial arts culture" in the image is extremely complex and wonderful, not a few "arrogant" summaries can be concluded, thank you.