"Many of today's fairy dramas are sentient and unrighteous, and there are immortals and no heroes."
This is CCTV-6's "China Film Report" common evaluation of "Long Moon Ember Ming" and other fairy dramas.
Source: "China Film Report", the same below
But the fans of "Long Moon Ember Ming" were not satisfied and began to control the comments in the comment area of the sixth princess.
"Changyue is not a simple love idol drama, there is obviously great love." "The causal fate that Changyue Ember Ming talks about is different from other fairy dramas, and it is a breakthrough."
And so on and so forth.
On the cat's eye, the strength of "Long Moon Ember Ming" crushed word-of-mouth dramas such as "Long Season" and "Thirteen Years of Dust" in the same period, and won the popularity crown 36 times.
But it is this fan who says that "it is really the only drama to chase down", but it failed to pass on Douban, with only 5.6 points. In the genre of fairy tale dramas, it is not yet prominent, let alone the vast national drama.
Low word-of-mouth is normal for today's fairy tale dramas, but it is really rare for word-of-mouth to be polarized to such an extent. One-star accounted for 19.4%, five-star accounted for 12.8%.
You can't help but wonder, is it because people are jealous that "Long Moon Ember Ming" is too hot and maliciously give it one star, or is it really not so good-looking?
When Xiaoshi watched the drama, the first reaction was: déjà vu. The familiar discomfort of being disgusted by a group of fairy tales and rotten dramas has surfaced again.
It's hard not to agree with the evaluation of the sixth princess - "Many of today's fairy dramas are sentient and unrighteous, and there are immortals and no heroes. ”
Admittedly, 99% of the fairy tale dramas on the market are ugly.
Cons on the bright side
In fact, as early as the launch of "Long Moon Ember Ming", Xiaoshi has seen a lot of related "scolding battles" on various social platforms. In short, it is still the most common actor who does not stick to the role.
For example, "Three Lives and Three Lives and Ten Miles of Peach Blossoms", Bai Shao's dubbing is the rescue king Ji Guanlin. Zhang Shuping, who has won art and design related awards in Golden Statue, Golden Horse and Cannes, combs anyone's hairline and is nicknamed "Zhang Combing".
Source: "Three Lives and Three Lives and Ten Miles of Peach Blossoms"
There is also "Ancient Jue Dust", Zhou Dongyu plays a peerless beauty, and her facial features fly chaotically, which makes people shatter the filter of her movie coffee.
Source: "Ancient Jue Dust"
When it comes to "Long Moon Ember Ming", the most out-of-the-loop discussion is that people complain that the male protagonist Luo Yunxi is too thin. The character he played at that time was a proton, in an enemy country, humiliated, tortured, not enough to eat, and it was common to be punished on his knees and flogged. With such an identity and experience, it is normal to have a thin body shape and cheeks.
Source: "Long Moon Ember Ming", the same below
Not only is it close to the character, it makes people feel pity, but it also reasonably explains why he fell into the enchantment in the future. But halfway through the plot, his thinness is not right, because the character he played at that time became the god of war.
According to the original description, he has a "broad and strong chest". In the simple cognition of our audience, the God of War has an inherent divine posture. In the immortal world, it is Jiao Enjun's Erlang Xiansheng Zhenjun, and when placed in the human world, he will be made up by his brain as Xiang Yu and Lü Bu of the three armies of the Brave Crown.
But Luo Yunxi still looks like a wither, and his lines are also weak.
Even if the makeup is added and the dermabrasion filter is applied, it is completely impossible to see the posture that the god of war should have.
It's not that Xiaoshi deliberately stepped on, you must know that Deng Chao also played two roles in "Shadow". One is the governor of Dadu Ziyu, and the second is the substitute Jingzhou.
In order to perform the latter's physical strength, Deng Chao gained 20 pounds in three months, and in order to perform the former's serious injury and dying, Deng Chao lost 40 pounds in the later stage of filming. In this way, there is a huge tension when Ziyu and Jingzhou are in the same frame.
Source: "Shadow"
Amir Khan starred in Wrestle! Dad", in order to perform the difference between the two identities of wrestler and dad, also lost dozens of pounds in a few months.
When you look at him who is old and strong, and then look at him who can't help himself because his daughter won the championship, it is inevitable to think that it is not just a champion standing on the field at this moment.
Source: Let's Wrestle! Daddy"
Similarly, in the just-concluded "Long Season", Qin Hao worked hard to gain weight for Gong Biao, who played Fufu, making netizens exclaim that "Yi Nengjing can't recognize it when he comes".
Source: "The Long Season"
After filming the middle-aged and elderly scenes, he used the "Qin Hao Weight Loss Method" to lose weight. Of course, some people have scientific eating habits and fitness methods due to physical fitness and other reasons, it is difficult to get their weight on a roller coaster in a few months.
But just like Yu Hewei, who played Shi Qiang in "The Three-Body Problem", he was not favored by everyone at first, but when he showed superb acting skills, the five-star reviews on Douban calling Shi Qiang one by one have said it all.
Source: "The Three-Body Problem"
More important than sticking to the face or not, is convincing the audience through acting skills.
But Luo Yunxi does not have such strength.
"Noble" status
Cutting out the acting skills that talk is better than nothing. The problem of posture and the degree of closeness to the face are only the biggest shortcomings on the bright side of "Long Moon Ember Ming".
When you delve deeper into the plot, you will find that "don't have sorrow and hatred for life".
In the first episode, the heroine's father, all the masters, the junior brothers who grew up together, and the major immortal cultivation sects were almost slaughtered by the male protagonist.
Before they died, the female protagonist traveled to five hundred years ago through an artifact to prevent the male protagonist who was still a mortal from being demonized.
Does this plot sound quite emotional? But what makes people cry and laugh is that the way the female protagonist prevents the male protagonist from demonizing is actually to fall in love with him and touch him with love.
Every time I watch the heroine move her admiration for him, Xiao Shi can't wait to cross into the play and shout a reminder in her ear: He just killed not only your father, but also killed you all over the door.
Admittedly, Romeo and Juliet is an enduring theatrical mode. But when writing a script, screenwriters must at least pay attention to the most basic narrative logic and the most universal human nature.
This side has just been wiped out, crying so much that the liver is broken, and the three or five episodes over there have been privately practiced with the enemy? It's not strange that you can't read, and it's not strange that you feel uncomfortable.
Because no matter what the prelude of the plot is and what the character of the characters are, this kind of drama has only one purpose in the end - to make the male and female protagonists fall in love.
Then use cheap brushstrokes to write a sense of CP or not, the so-called sense of fatalism, attracting the attention and tear ducts of young audiences. And when you pay attention to the characters themselves, you will find another huge slot in today's fairy tale dramas.
"Three Lives and Three Lives and Ten Miles of Peach Blossoms", the female protagonist Qingqiu female monarch, the male protagonist Nine Heavenly Prince.
"Fragrant Honey Sinks Like Frost", the daughter of the heroine Flower God, and the son of the male protagonist Heavenly Emperor.
"Ancient Jue Dust", the female protagonist is true to the ancient, and the male protagonist is the true god Bai Jue.
Source: "Ancient Jue Dust"
See something is wrong?
Their status is terrifyingly high.
The former emperor and daughter are now ordinary, and one of the four noble true gods is now like that. After all, the protagonist of "Long Moon Ember Ming" has been rolled up to the absolutely invincible demon god who looks at all the worlds.
But what about the villain?
Poor mortals, children of princes and nobles, or the sons of a maid under a fairy seat.
At the beginning of its birth, it was the male and female protagonists who were "unguarded"; The development and growth is to let the male and female protagonists experience love and hate; Death is the result of the male and female masters' cultivation, and they are sacrificed to the flag.
Show jealousy with jealousy, frame shamelessness with shamelessness, interpret cold-bloodedness with cold-bloodedness.
There are no characters at all, no logic, because their faces are clearly written: I am a love NPC.
This identity dilemma is common in today's fairy tale dramas.
As Professor Mao Jian said: "Left-wing films returned innocent consciences to the bottom, and then a hundred years later, our film and television dramas linked the scheming with the poor, and naïve with the rich." ”
According to the current narrative logic, who will be the villains in the future? And what kind of identity is the person who is worthy to be the protagonist of the future fairy tale drama?
When we can't think of the answer, we might as well look to the past.
In past fairy tale dramas, the protagonists often started at the end of the micro and were born in the city. It may be the inconspicuous trot hall of the inn, it may be a scholar with no chicken power, and it may be a young lady who is a small sect.
Source: "The Legend of Sword and Fairy", the same below
Fueled by proud dreams, held by big hands in the shadows, and wrapped in their own desires.
Weak, they meet the rivers and lakes one day, and then enter the larger world. Along the way, they have their own scheming and calculations, and there are disagreements and differences with their companions.
But after the end of thousands of sails, a certain opportunity allowed them to eliminate their stereotypes and understand what "fairy tales" are.
But these can no longer be seen in today's fairy tale dramas.
Xian Xia drama loses its essence
The protagonists of fairy tale dramas have no small characters, and the villains are all small people, which is a pity.
But after all, this is just a narrative device for the creator, and there is nothing wrong with it. The most terrifying thing about today's fairy tale drama is that it has lost its essence.
If you fall in love in the city, it's called a puppet, and if you fall in love in ancient costumes, it's called an ancient doll. In Xiaoshi's view, the vast majority of fairy tale dramas are not worthy of being called fairy tales.
Because they are only playing fairy love, which is more in line with their type of drama, in fact, they are "fairy dolls" that no one is willing to admit.
At first sight, I acted in three episodes, misunderstanding performed three episodes, Xiu Chengguo acted in three episodes, and Sansheng III came N three episodes again.
If you have to say what is the difference between them and urban idol dramas, it is probably that the male and female protagonists are dressed fairy.
Immortals can't fall in love? Xiaoshi certainly doesn't think so.
Take the "Immortal Sword" series, which is regarded as a guideline. The main love line of "Immortal Sword" is the love-hate entanglement between Li Xiaoyao, Zhao Linger and Lin Yueru, and the secondary line is also the entanglement of Anu and Tang Yu Xiaobao.
"Immortal Sword 3" also made Sedum and Xuemi fall in love for more than one life, and Xu Changqing and Zixuan tortured each other for hundreds of years.
But one of the biggest common denominators is -
They didn't blind themselves to love, they didn't make it the whole of life.
They do have red dust as a companion and live a dashing and cheerful life. But I have not forgotten the faith when I first went on the road, and I have not forgotten the vision of sheltering the cold and happy people in the world.
In "Immortal Sword", for her mission, Zhao Linger sacrificed herself to eliminate the Moon Worship Sect Leader. Li Xiaoyao held her covered in blood, like an old cow who had been beaten by a hammer, and how withered her spirit was visible to the naked eye.
In "Immortal Sword 3", in order to let everyone eat a full meal, Mao Mao cut meat and fed eagles, and made a deal with the evil sword fairy. Although Sedum killed the Evil Sword Immortal, he sacrificed his Yang Shou in order to resurrect the people of Li.
The makeup at that time, the setting at that time, the cost was much smaller than it is now. If you carefully observe the performances of Hu Ge, it is not difficult to find many mistakes.
But they are victorious in spirit, victorious in living, victorious in living people. Instead of fake artificial paint, dispensable background plates, love machines without character.
Jin Yong said that the most important thing in martial arts is "not martial characters but chivalrous characters."
In the battle of Shaomuro Mountain, Duan Yu and Wuzhu were not afraid of death and stood up for Qiao Feng. For a promise, the Seven Heroes of Jiangnan went to the desert for 18 years and became the guide of Guo Jing's "great hero".
At the end of "Lion King Fighting", in the face of Li Hongzhang, Huang Feihong, who was in the upper hand, did not bully the weak, but said without humility: To practice martial arts and strengthen the body, the most important thing is to unite wisdom and martial arts and broaden the wisdom of the people.
Source: "Lion King"
In this way, it is truly worthy of being called a hero. Really excellent martial arts film and television dramas are always martial arts for the table and chivalry for the inside.
Wuxia is so, fairy is naturally the same, the most important "not fairy characters but chivalrous characters".
Today's fairy tale drama, of course, can also draw cats according to the tiger, learn the end of the protagonist giving up his life for the sake of the world, so that fans can take the "sense of fate" to line up with the sixth princess.
But if they do not have the spirit of chivalry, flesh and blood, and bones, then even if they die, they are only appearances.
It is difficult to draw people and bones, and so is drama.
In the second episode of "Long Moon Ember Ming", the female protagonist angrily scolded the subordinates who bullied the male protagonist. "Is someone willing to despise themselves and be a slave all their lives, but they have to step on other people's heads, find that little fun, and see that others are having a hard time, just make you happy?"
Do you think that she asked these subordinates who were in ancient times and could only sell their lives to the powerful to find a way to live, to mourn their misfortune and anger them, and to inspire them to strive for strength?
No, her focus is on the following sentence.
"Today you dare to say this to Tangtai Ember (male protagonist), but you are deceiving him and no one to rely on, when the Ye family falls, do you dare to say this to grandmother, father, and me?"
In essence, you still can't lose your sense of power and noble identity.
"I can't write about noble personality, so I have to write about noble identity."
But only a noble identity, how can he be worthy of being an immortal and a hero?
If this is also a fairy, then I only feel sad.