In the finale of "Imitator", Wu Kangren becomes a lawyer, which seamlessly connects with the beginning of "Our Distance from Evil".
Oh, go to the wrong channel.
The first five episodes of "Imitator" are a very typical criminal investigation structure, with serial murders, finding murderers, and finding suspects.
At the poles of "doing evil" and "hurting", the presentation is quite textured.
In the later episodes, several times reversed, and the "murderer hidden behind the murderer" was shaken out in a row.
In this article, we briefly talk about the various suspects under the reverse and nested structure.
(First put a picture of Wu Kangren interrogation Tuzhen Lou, and the following contains spoilers)
First, Hu Jianhe: The cold and warm tragedy of marginalized people
Come, talk about Hu Jianhe, trapped in the past love, almost become a kind of "cover-up".
The character Hu Jianhe in the play first appeared as a smoke bomb.
Responsible for being a "suspected murderer".
Obfuscate the public and prolong the mystery of suspense.
After several episodes of the play, the truth about this part of him was quickly revealed.
He was not involved in the killing, and his problem was to shield the criminal.
Strictly speaking, he may not be considered a cover-up either.
A story that he could not confirm the criminal facts of his friend and could not verify his conjecture;
Second, he repeatedly tried to persuade his friends to turn themselves in.
It is not to let friends fly away, hide in other places, and escape criminal punishment, but to correct the attitude of "I will accompany you to turn yourself in".
Of course, it is not right for him to conceal important clues from the public prosecution and judicial organs and obstruct the handling of the case, but after his death, he was once misunderstood and wrongly accused of being an accomplice, and he was repeatedly bullied and suspected before his death, and the only warmth he gained outside of family affection came from a perverted murderer, which is really tragic.
Hu Jianhe's core contradiction is the struggle between "private affection" and "broad justice," and "how the kind-hearted help from the wicked should be treated."
Hu Jianhe's misfortune may be classified as "marginalized people who are always suspected."
Pure in nature but with a bumpy fate, he was repeatedly bullied when he was a teenager and suspected again as an adult.
Brother Yong suspects that he is certainly because he has appeared in the core place and his objective performance is suspicious, but there is more or less some habitual color prejudice against marginalized people, right?
When he was young, the pregnant children at school bullied him and abused him, and Shen Jiawen was the only one who stepped forward to help him.
It's just this helper, the problem is even bigger.
The heart disease is more crazy, and the means are more bloodthirsty.
For so many years, Hu Jianhe always remembered Shen Jiawen's hand stretched out to him in bloody despair, so he chose the latter between "direct denunciation" and "confrontation and persuasion to turn himself in", and unfortunately died.
If Chen Heping is evil, horrible, hateful, and disdainful, then Hu Jianhe is unfortunate and extends to unfortunate lamentation.
Second, Yoshi Tamura: The split play of scapegoat and filial piety
The murderer on the face card at the beginning was finally portrayed as the one who did the least evil in the gang and came out to apologize because his father's life was threatened, playing the "filial piety" card.
(To say guilt means homicide, he was involved in hurting the girl, but it was not he who killed the girl; There is no intention to wash away the rest of his sins)
His last scene was when he saw the counselor (heroine), grabbed the pen on the table and pierced his throat.
Determined to seek death, blood rushed.
Chen Heping used his father's death to threaten him to atone for the entire gang and voluntarily turn himself in.
He finally wants to tell the truth, feel sorry for his father, and die to apologize.
In the action of "death", the character portrayal seems to be out of shape.
Mixing with fox friends to catch girls and violate and hurt scum together, the way of expression in some bridges is very similar to "pure filial piety" and "team conscience responsibility".
People who commit crimes are not necessarily the people who commit great evil in the dark, which is easy to understand and the correct three-dimensional character shaping method.
But between the attitude towards the old father, the innocent woman, and the accomplice, multiple sides appear to be separated, and the glue of assembling back into a complete three-dimensional character does not seem to be too high.
Of course, you can change the angle and understand that his willingness to turn himself in and lie about murder, imprisonment, and even suicide is all out of guilt for his crimes.
However, on his deathbed, he stressed that he was sorry for his father, and even apologized to the heroine for "letting people hear this and see this", but he did not feel more guilty and sorry for the girl he really hurt (maybe he felt that prison meant two clear guilt?). ）
In short, it somewhat makes people feel that the drama pursues strong dramatic conflict and visual stimulation (he commits suicide in front of the heroine), abandoning (or not caring about) the coherence and unity before and after the characters.
Third, Shen Jiawen: From victim to perpetrator, from puppet to demon
The play presents Shen Jiawen, which can be roughly divided into three stages.
One is that he cruelly hurt girls.
People and gods are angry together, and there is no forgiveness for sin.
The second is his unfortunate upbringing, hurt past and inner demons.
The third is that his misfortune and pathological perversion are exploited, stimulated and induced.
Shen Jiawen's mother was depressed after giving birth, and her marriage relationship may be frustrated, and her mental state was also abnormal.
Shen Jiawen's sister Shen Jiawen died at 2 months.
The unacceptable mother, named his later illegitimate son Shen Jiawen, was always obsessed with dressing him up as a girl in a skirt and lipstick.
Loss of emotional control leads to verbal and physical harm.
Over the years, Shen Jiawen often saw Shen Jiawen who appeared as a female ghost.
To make matters worse, he had a strong malicious attitude towards women in general, killing, intentionally hurting, abusing, humiliating, and applying lipstick to the victim's face that his mother forcibly applied to him as a child.
If Chen Heping, the core mastermind behind the case, represents some kind of unsolvable extreme evil of antisocial personality, then Shen Jiawen may represent some kind of "evil that has been cultivated and urged."
The former is causeless and inconsecutive, and the latter is abused and responds to his own pain in a way that hurts others.
Chen Heping and Shen Jiawen's criminal psychology of different forms and different sources and levels may be isomorphic to answer the question that has always been pursued in "Our Distance from Evil": Why are they like the criminals who are crazy and unreasonable?
The answer to the former is that he is perverted, vicious, and extremely narcissistic, while the latter is violence begets violence, tragedy repeats tragedy, and hatred breeds hatred.
Fourth, the source of evil
The first half of the play is a conventional Benge criminal investigation mode, and since the identity of Chen Heping's true murderer was revealed, the main axis of focus has become "demonic mentality self-statement".
Scum and demons, sending them to hell feels like insulting hell.
Compared to stating and listing the charges, the intuitive and specific details are the most frightening.
For example, at the beginning of the second episode, Master Ma set his heart to find his missing granddaughter, and this devil's plan was to swagger, deliberately drove the car, tricked the girl, and brought her to the door.
Through the one-sided glass, looking at the loved ones who are a stone's throw away, getting smaller and farther away in the gap between the windows.
This desperate attitude of watching the madness struggle but unable to change the situation in the slightest, is too late.
What kind of crazy pervert must be the person who came up with such vicious means to torture innocent women?
Chen Heping repeatedly stressed that these were his "originals" and his "works".
"Millions of you are looking at me and dare to say that I don't matter."
It is human nature to value yourself.
In some contexts, having a clear sense of self-awareness and autonomy is still a compliment.
But Chen Heping obviously does not fall into this category, extremely narcissistic, extremely vicious, without any view of right and wrong and empathy.
With "murder" and media presentation as two axes, the pursuit of twisted perverted extreme psychological satisfaction.
Another important psychological driver for him is the incompetent rage after being questioned and criticized.
Yao Yaci was not used to his own abuse of girls and adulterated news, so he planted the seeds of resentment.
Finally, he smashed the other party to death with an ashtray.
Not being so fond of criticism is also a common human feeling, but Chen Heping's perverted and vicious behavior of not distinguishing between good and bad, retribution, and killing people for pleasure at every turn is obviously an extreme amplification of "a little negative in people's common feelings".
Although the play slightly separates Yao Yaci's role shaping before and after (the first half is faintly a bit of black and white indistinguishable bigwigs of "just cleaning up without asking about the means", and the later stage is particularly principled, and is getting closer and closer to a one-sided pure and perfect character in the memories and regrets of the junior's path), Yao Yaci's words against the scum Chen Heping are particularly loud and powerful: You are just a worthless noboby
No amount of horror and evil can cover up the "unworthy" nature of small distortion.
It's hard to understand what brain circuits are those wearing his same masks and shouting his innocence.
If he has not yet debunked the false mask, and still uses the false persona of a good media person to mingle the world, it is easy to understand: the supporter has been deceived.
But such a loud support for a serial murderer, a garbage that is more vicious and obscene and disgusting than the bed bugs in the gutter, is really incomprehensible.
(Shouting "killing to pay for life" for justice, shouting "don't waste and don't indulge" for procedural justice are easy to understand)
The end of Chen Heping in the play is twice lynched.
The first time is that the male protagonist finally pulled out a gun after his girlfriend was killed by him, knowing that he was the real murderer of the series but could not find effective evidence (such a close distance, they all started and did not kill them, purely to pave the way for the subsequent plot).
The second time was when a masked man stabbed in public after the sentence was pronounced for life.
The blood flowed, but what he cared about was that the media camera wanted to track down the murderer, and he was still very perverted on the ground "pat me, pat me, pat me."
The thought of malice swelling, killing and manipulating as the focus, eager to be noticed and sought after.
Perhaps, his more matching ending than falling in front of countless cameras is rotten in a corner where no one pays attention and no one cares.