We often encounter such problems in discussions about ACG
"What criteria should be used to evaluate virtual works?"
"Is there anything wrong with looking for a sense of reality in a virtual work?"
Although the question seems to be only related to the creation of literary works, there are many ways to answer this kind of question. Even within literary theory, there are many opinions. Therefore, I do not particularly want to express my opinion on this issue.
But with recently looking back at the doraemon nobita and the dream three musketeers that I watched as a child, some thoughts have emerged about how good fiction works are. Here, from a non-theoretical point of view, I would like to share with you the feelings that I have received from this classic work.
That's right, there are two Shizuka
As one of Doraemon's novels, the story is very simple: Nobita, because he has achieved nothing, decides to find Doraemon for help, uses the dream-making machine to enter the dream, completes his adventure in the dream, and becomes a hero. On the way, Nobita decides to pull Fat Tiger, Xiaofu, and Shizuka into the dream in order to satisfy his vanity. Although there are many twists and turns because the Demon King is too cunning, in the end it is still the happy end that defeats the Demon King with the help of Shizuka and welcomes The happy end who marries Shizuka in his dream.
If you just look at this introduction, you will obviously think that this is the beginning of Doraemon's big long standard: Nobita is frustrated - looking for Doraemon's help - everyone joins - there is an unexpected danger - solve the problem, happy end
But if you look at the details of the work's extensive character actions, you'll see that Mr. Fujiko's brilliant idea is hidden in the 1994 film. These are the details this article wants to share with you: What does a compelling virtual work look like?
First, the actions of the villain
Let's start with the birdman who seduced Nobita.
Human form
Bird morphology
Birdman is a general being under the command of the Demon Emperor in the world of the game "Dream Three Musketeers".
In the work, the Demon Spirit Emperor said this:
"When this universe was formed, it had its definite number, and the swordsman with the immortal body was also one of the definite numbers, even if the swordsman was burned to pieces, he could still fight me again and again."
It is worth noting that the "repeated confrontations" mentioned here do not refer to the acquisition of the "Immortal Body" skill in the world of the Three Musketeers of Dreams, but to the fact that "the Silver Swordsman was summoned from the real world".
I am afraid that readers who read this, even if they have not read the original work, should have guessed its truth: the Demon Emperor in the world of the Three Musketeers of Dreams knows that he is a creature in the "Dream World". Even if you defeat the challenger who comes to the dream world through the machine, it is not a real victory. The world will be reset, and new challengers will continue to come into this world, and in order to prevent this situation, Birdman decides to volunteer to become a human and go to the real world, which the dreamer calls "the world of dream awakening "the world of dreams".
Birdman's plan was that since the Demon Emperor said that swordsmen would continue to come to the dream world, this was inevitable. Then just find a "waste" that can't pose a threat even if he is summoned.
Birdman, who was planning in this way, found Nobita and lured him into the world of The Three Musketeers of Fantasy and became the Silver Swordsman.
In this detail, the subtlety of Fujiko's plot design is that the villain is not inactive, and the villain's ability to act is even stronger, otherwise how can it be considered a powerful villain? The Demon Spirit Emperor was powerful enough to know where the "external world" was. Seemingly powerful villains in some works can't even do normal battles. Can such a work be called an "excellent fictional work"?
But in fact, in the discussion about the ACG works, the discussion of villains has never been broken.
"Why did he do that?"
"Why didn't he do that?"
In this kind of discussion, it is also the easiest to be sent to the sky cloud tree virtual word. We have to think: what should the villain do? Fujiko gives us a good answer in this work: the villain should do something reasonable that can be done. Even the little boss under the Demon Spirit Emperor was not counted as a birdman, and he spontaneously thought of the idea of a dimensionality reduction strike (ascending dimension strike). How can a villain who can't even resist the discussion of the motives and reasons for what he is doing stand?
And how can a work with this villain as an important character be called "convincing"? Nobita and the Dream Three Musketeers is one of the very few works in the Doraemon series in which Nobita's death scenes appear. In the process of dueling with the Demon Spirit Emperor, with just one mistake, Nobita was killed in a second. If it weren't for Nobita's mother inadvertently shutting down the dream machine, I'm afraid that the first time I saw the BOSS, the game would have been BAD END.
In the Doraemon series, where the battle scenes are already very loose, the image of the villain can still be shaped so well: wisdom and strength are combined, and the shot is a killing move, never taking the enemy lightly. This is not just the hallmark of this work. In the Demon World Adventure chapter, in order to defeat the Demon King, he must destroy his heart with a silver weapon, but the Demon King's heart is the size of a planet, if it were not for Doraemon's headlights amplifying the darts thrown by the fat tiger, no one in the worldview of the Demon World could have killed him.
We always subconsciously feel that although Doraemon is an excellent work, it still has a sub-supply temperament. Every battle is "like a hooliganism". But if we really think about it, we will find that these villains are often already "unique props without Doraemon, which is impossible to defeat in the original worldview". (An interesting coincidence is that the one who killed the clever Demon Emperor and the buggy Demon King was Doraemon's headlights, and at the end of The Dream Three Musketeers, even though shadow fen was still targeted by Nobita with the Silver Sword, he didn't worry, using the staff's staff body into a tree to control Nobita, but was killed by the enlarged Silver Sword.) ）
That's how the Demon King died
We can certainly say that if the villain is set too strongly, it is difficult to come up with a way for the protagonist to reasonably defeat him. In other words, the villain who is arbitrarily defeated by the protagonist is not really strong at all. In the creation of works, this is indeed a problem. But for the reader, this truth can be reversed: "If the villain is really strong, but the protagonist finally defeats him through complex efforts, then this must be a good work."
So back to the theme of this article, the strength of the villain matches the status of the villain, which is called realism. Some people admired Hitler's personal abilities and hated his fascist leadership, which was the most common attitude: if the villain was not strong enough, how could he become a LAST boss? If the protagonist defeats the unworthy boss, it will make people feel that this story is just the old cliché that justice will triumph over evil.
Second, the actions of the protagonist
In the protagonist's group, Nobita's actions do not have much to say. After all, he is the protagonist of primary school students, and most of the audience is primary school students. He can't do something too out of the ordinary to play a bad role model. Although many of his actions say that if they have a deep meaning, they can be forced to have a deep meaning:
By killing the dragon and bathing in the dragon's blood, you can get the immortal body, but Nobita can't do it.
The scene of the elementary school student killing the dragon and bathing in the dragon's blood was too shocking
You could argue that this is Nobita's anti-RPG stereotype, not preconceived not to think that dragons are evil. Instead, it is a humanitarian spirit, not to be an alienated brave, and to resolutely defend the dragon's right to live - in fact, this kind of anti-traditional PRG work is really written, and it is often very popular, such as "Goblin Killer" tells the story of the goblin killer who fights against the goblin in the hyper-realistic world where the brave go to the cause, the people suffer from the harm of the goblin, but no one retreats to the hyper-realistic world of the goblin.
But here, I really don't want to force it to be a deconstruction of traditional narratives. Obviously, it should be controlled by the influence of the audience. (But then again, in terms of the style of Japanese manga from the 80s and 90s, it shouldn't be that everyone is reluctant to kill dragons, but they can't face the Demon King without killing dragons.) Finally, full of tears, the dragon was killed bathed in dragon blood, leaving a tragic background? ）
In addition to Nobita, Doraemon has one detail worth playing: Doraemon, who plays as a magician, pulls out various props from his pocket to help everyone get through the adventure. But Nobita was angry because of this: it was too destructive. In order to take care of Nobita's mood, Doraemon decided to leave his pocket in the real world and not to the dream world.
If that's all there is to it, we can say that if fiction wants to be convincing, it has to maintain a unity of style. But obviously it is not so simple, after pressing the special button of the dream machine, the people who enter the dream have reversed the difference between the dream and reality, and will treat the dream as reality, and the reality as a dream: in this case, the magician Doraemon, who took out the four-dimensional pocket with the "take something leather bag" he accidentally picked up, used the props, but did not make everyone feel violated.
This tells us that virtual works do not reject imaginative ideas, but must have a suitable "identity" in order to be well accepted by readers.
The protagonist of the famous pseudo-science light novel writer Hayama Toru's "Nine Articles of Ability" uses some wild ideas to deal with the problem of gods and monsters, such as using a fiber to launch a large monster composed of light escaping from the seal into space, or using the allergy principle to make the death row prisoner who has been blessed with immortality infinite allergies. This kind of thing is certainly not useful in a novel full of myths and monsters, but if it is used by a "0 ability person", it will make the plot rational at once, and even make people think: Shouldn't it be like this?
In "Dream Three Musketeers", when everyone still knows that Doraemon is a cat-shaped robot, Doraemon uses props to "violate the peace", and when everyone only knows that he is a magician, they feel that "the magician should be like this." ”
The picture shows the scene of frozen water elements
Also worth mentioning are Princess Shizuka and Shizuka Elves.
First of all, Princess Shizuka, Princess Shizuka is facing the situation of marrying a silver swordsman, unwilling to marry someone who has never met, Princess Shizuka jumped off the building to escape + dressed as a knight + rode on someone else's horse and ran.
In the current ACG works, there are many women dressed as men, and it is rare for such a princess with a story. Moreover, this is a work from 1994, but it makes people feel very realistic and close to the reader's three views. Don't say that the princess herself will run away too out of context. If everyone is in line with the background of the times, rolling hooves and wheels run over, everyone should go to the documentary. What's more, it is precisely because in the harsh background of the times that there is a character who will rebel even so, but it is more real. After all, the harsh era was made by the countless rebels who added up to become the "era of the past"
The idea of the female audience: running well, I am not willing to do it
Male audience thoughts: If I were a woman, I would run away
The escaped Shizuka saw the Silver Swordsman Nobita for the first time: "Fortunately, I ran away."
Slipped away
Shizuka elves are not Shizuka, but shizuka's face. Equivalent to a novice guide, responsible for guiding Nobita into this world. She made the same behavior as Birdman, which can be called a "dimensionality reduction strike". This also makes this work one of the few final showdowns in the Doraemon series that only Has Nobita, Shizuka, and Doraemon.
To put it simply, the elf ran out of the dream world and told Nobita: You have fun, you have finished playing the machine level, but the people in the dream world are going to be finished!
Let's not say that Nobita immediately expressed his determination, humanitarianism in hand communism plus body is not afraid of death to fight with the Demon Emperor (Nobita soaked in dragon Khan, a chance to resurrect, but was killed by the Demon Emperor once). Nobita, who knew that Doraemon's pocket was gone, retreated, the elf said to them. "There's always a way."
Is this elf bad? When it was not clear whether the dream death was a real death, Nobita and Doraemon were sold. But can she not sell? She has to be a wave of villains for her own world. This is the embodiment of the realism of action to the work. As mentioned earlier, the villain is so shrewd that the villain. Decent people are unscrupulous for something, so they are not only decent, but also more realistic people.
Flat characters → three-dimensional characters
Those plots that can withstand discussion and characters who can withstand nostalgia are intertwined with good and evil, and there are endless plots and means. (For example, the "Statholm dilemma in Alsace", which we often discuss), is called "excellent virtual work" to this extent. Because it is "realistic" enough, in reality, it is the intertwining of good and evil, and the means of planning are endless.
summary
This article is a lot of nonsense, in fact, it is just a shock after simply revisiting this childhood classic. Looking deeper, almost every novelty in this 1994 work has emerged in the current acg works, becoming a new creative trend round after round.
Whether it is the "summoned waste wood warrior" or the otherworldly bridge where the moon is a balloon and the guide is a poisonous tongue and waste. Or the personality princess who became a swordsman, unwilling to swing the sword at the innocent dragon. Although many of these elements have been abused by brainless abuse, we can see that many works that use these classic settings to write good works, make good animations, and draw good comics appear.
Of course, the discussion of virtual works is not without scale, and of course, this article is not likely to set a standard for the huge topic of how virtual works can be more realistic. Just to put forward the details that make the author feel wonderful in this "Three Musketeers", and make some analysis. In fact, the more you analyze, the clearer it is that the Japanese ACG is standing on the shoulders of what kind of giants, and has the ACG industry that seems to be a mess that is now endless, but every time there are fine products, it will make people or passionate, or moved to tears, or laugh at the ACG industry, right?
Finally, there is a tragic detail of Fujiko's Three Musketeers: The Demon Emperor knows that the chosen swordsmen are endless, and even if he defeats the swordsmen, he will not change this ending. The world is reset every time, but in the box it doesn't choose to leave the box—at least from the animation, he can do that. He eventually chooses to be killed constantly, to constantly confront the brave with insidious means, and to conquer kingdoms that he may never conquer. Isn't this the protagonist on another level?
"Because I'm the Demon King"
Maybe it is precisely because of the existence of such small details that people will be moved and feel that they are really alive and well, right?
This concludes this article, thank you for reading. And hope that all the works mentioned in this article will make you interested in seeing.
Thank you eggplant