The recently broadcast costume fairy drama "Long Moon Ember Ming" tells the story of Li Susu, the daughter of the head of the Hengyang Sect, who returned to 500 years ago to incarnate Ye Xiwu 500 years ago and prevent the Tangtai Ember who was not completely eroded by evil thoughts from becoming a demon god.
For Li Susu, she alone shoulders the responsibility of saving the world's life and fortune, and she endures a desperate decision, but she is willing because she loves the world.
And the plot of "Goddess Loves the World" is not the first time it has appeared in TV series, from Ling'er in "The Legend of Sword and Fairy" more than ten years ago, to the little orchid of last year's "Canglan Recipe", and the light of "Starfall into Sugar", are fairies with a special identity of "divinity", they are pure and sincere, and they are always sad for the world and compassion for all living beings.
With the change of time, the image of the "goddess" has also been constantly full, and today's goddess loves both the world and one person. They not only shelter the people and all things in the world, but also hope that their lover can be redeemed by themselves, so they are obsessed with changing their lives against heaven and do not hesitate to testify by themselves.
01
Love both the world and the other
Why the audience loves "goddesses" is, of course, attracted by the "divinity" in them.
Even in the overhead fairy drama, whether it is the fairy gate or the demon gate, there is no shortage of egoists. Some so-called decency, full of benevolence and morality, are in fact extremely hypocritical, satisfying selfishness in the name of justice. And the villain camp, many of them are the king of the winners, and the losers are the collaborators.
It is undeniable that "seeking benefits and avoiding harm" is instinctive, but "goddesses" are completely born into the world, and they often have the identity that God is destined to change the world, and the arrival of the world is "salvation". Just like Li Susu in "Long Moon Ember Ming" is the only one who can change the fate of the demon god Tangtai Ember, the real identity of the little orchid in "Canglan Recipe" is the goddess of Xishan Mountain, and the combination of Leaving Light Qingkui and her sister in "Starfall into Sugar" can make the return to the ruins clear and separated, they were born to save Cangsheng.
And they really fulfill their duties as "goddesses" as always. Even after becoming Ye Xiwu, Li Susu never forgot her mission, and treated the people she met in this time and space with sincerity. Even Tangtai Ember, she didn't want to take his life for no reason, but slowly plotted it.
Little Orchid, in order to resolve the contradiction between the Moon Clan and the Immortal Clan, did not hesitate to kill herself, and finally resurrected the two tribes who died in battle, unsealed 100,000 soldiers, and also saved the Chidi woman. And she, as the goddess of Xilan, is also the representative of perfection and purity, purifying qi and guarding the age.
Although Aoi Guang Qingkui has always demanded herself with the "Heavenly Concubine" principle, and was mistakenly married into the Demon World, she did not feel sorry for herself because of her current situation, nor did she condescendingly look at everyone in the Demon World, and she used her medical skills to heal the warriors equally. Finally, when facing the contradiction between his sister and the two worlds, he chose to sacrifice himself for peace.
In addition to the "divine" righteousness, the love of "human nature" is also what attracts the audience, they love the whole world, and they love that person. Li Susu hopes that the embers of the Tangtai will become gods, the little orchid will revive the Seven Love Tree of the Eastern Qingcang, and the green flower will give mocking love, and they are all using their own power to redeem their rebellious lovers in universal values.
Therefore, they often need to find a balance between "divinity" and "human nature", divinity makes them "the only pure white jasmine", and human nature makes them toss and turn, cherish what they love. The more tangled, the more three-dimensional the characters, the more loving.
02
Change of life against the sky, the salvation of the "female standard"
Back to the fairy dramas with "goddesses" as the protagonist in the early years, Zhao Linger of "The Legend of Sword and Fairy" is one of the most classic characters, as a descendant of the Nuwa clan, she sacrificed herself to eliminate the Moon Worship Sect Leader and Water Demon Beast. Whether from the perspective of process or result, for the responsibility of saving the world, she can not "love one".
Xian Xia's landmark work "Three Lives and Three Lives and Ten Miles of Peach Blossoms" also tells about the love between decency, but does not need to face the choice of "love the life" and "love one", because this drama more portrays the awakening of the self-consciousness of the "goddess", as a susu, her fate cannot be controlled by herself; But as a white light, she only needs to follow her heart.
However, today's fairy tale dramas are increasingly exploring the relationship between "big love" and "small love", they are not only the chosen "goddesses" of "salvation", but also "people" with real seven emotions and six desires. Therefore, they are not blindly "tool people" of the Virgin when facing "great love", and they are more and more unyielding to the established fate when facing "small love".
The "goddesses" are more and more daring to change their lives against the sky. For example, Little Orchid doesn't understand why there is any conflict between protecting Cang Sheng and becoming the wife of Dongfang Qingcang, why she can't love anyone if she loves Cang Sheng. And Li Susu, she chose to go back five hundred years from the beginning, in order to "rewrite the future", both for Cangsheng and for Tangtai Ember.
In addition, in recent years, in costume fairy dramas, the roles of "goddesses" and "demon lords" are more and more configured, and the "goddesses" who are loved by the world often complete their mission while partially willing to redeem the big devil who lacks love, and this also reflects that with the development of the times, the audience wants to see the redemption of the creator's creation of "female standard".
The role of the "goddess" is often the first perspective or important perspective of the whole play, because the easier it is to feel the love of the character, the easier it is to have "divinity". No matter what kind of experience they have, they all believe in love, feel love, understand the beauty of "love" because they have love, and also understand that they must use "love" to redeem the people of the world and redeem those who have not been loved for a long time.
Correspondingly, the more crazy the character of the "Demon Venerable" type is in the early stage, the more deviant it is, and the more it can show how powerful the redemption power of the "goddess" is, because the most difficult thing in the world is that people with blood on their hands "put down the butcher knife", and even use their own changes to "atone" for their sins, which may be more difficult than saving the life of the "goddess", and it is also a kind of completion.
The redemption of "female standard", taking into account "big love" and "small love", is the "goddess" to seek perfection on the premise of self-will, and it is also the connotation of the story that the audience wants to see the most at the moment, women can have both the energy to change the world, but also a happy life based on the present, and importantly, she has the right to choose.
03
One more point is "Virgin", and one less point is "silly white sweet"
From the audience's point of view, the role of the "goddess" image is attractive, but from the creator's point of view, how to create a "goddess" image that can be liked by the audience is not easy.
For creators, it is necessary to master the scale of the character's personality, and more "Virgin", only concerned with completing the mission, sacrificing himself in order to sacrifice himself, or sacrificing people in the same camp as himself out of the aura of the protagonist; One less point is "silly and sweet", too pure and ignorant of the world, resulting in a rampage in the process of completing the mission.
Therefore, the creator must determine and improve the psychological motivation of the "goddess" character, why should she "save the world", out of a destined identity or chosen by heaven? And why redeem a lover, out of instinct for love, or out of compassion? After sorting out these, follow the character to naturally continue the fate for her and show the character arc.
The role of "goddess" can not be a heroine, but it must have the characteristics of a "big heroine". Just like the departing green flower in "Starfall into Sugar", she does not seem to be weak and weak with force, but she is the toughest, calmest, and most cohesive one in the protagonist group.
With her presence, the light night has weaknesses and armor, and the protagonist group is like a family, and the protagonists with different ideas and backgrounds can get along together. With her existence, people in the demon world are no longer bent on becoming kings and losers, but dare to face their own selfish desires. She is like the light shining into everyone's hearts, warm and warm, and all things grow towards the light.
And for actors, it is also necessary to grasp the balance between "divinity and human nature". The first is to perform the feelings of "people", not to interpret a "decent role", the so-called "divinity" is inspired after perceiving the seven emotions and six desires of people, without paving the way for "people", blindly interpreting "God" is also a castle in the air.
Li Susu's spirit lies in the fact that although she came to "save the world", she felt compassion for the people who were hurt for the wrong things committed by "Ye Xiwu", and also maintained a relatively good attitude towards the Tangtai Ember who did not show "evil", her "divinity" and "human nature" are embodied bit by bit in life, so the actor needs to express it in a life-like way, and Bai Lu also handed in an answer sheet that satisfied the audience.
Yu Shuxin and He Xuanlin's "goddess" have their own emphasis, and Little Orchid is naïve and unfamiliar with the world at the beginning of the story, and after experiencing the world, she gradually understands what she wants and why she exists, which is more of a profile of growth. And Yu Shuxin's interpretation of the two states before and after allows the audience to empathize with the substitution and taste the responsibility of "salvation" together.
And He Xuanlin's "goddess" is more gentle and delicate, she has been educated orthodoxly since childhood, and she has been cultivated as a future "heavenly concubine", and she has "divinity" in every move, and when she softly speaks "love and righteousness", even mediocre people will begin to think about answers that they have never thought of. He Xuanlin's interpretation of this role converts the two dimensions of the character into the three dimensions of the character, so that the audience can feel what the real "goddess" should look like.
Actors must really love the role they play, "goddesses" are often loved, and the most magical love comes from the actors themselves, and if you want to perform such a role well, you need the actor to love the character with all his heart, experience her persistence and entanglement, big love and small love, in order to truly "speak my heart with my mouth".
04
epilogue
With the changes of the times, the role of "goddesses" has become more and more three-dimensional, and we no longer need to blindly emphasize the "tool people" of the salvation of the "Virgin Radiance", but also see them seeking perfection in "divine righteousness" and "human love". I hope that as an audience, in the future, we can see more "goddesses" who not only bloom and can change their lives against the sky, and walk through the vicissitudes of these six realms alive.