What do you think of the TV series "Cloud Pasturing on Kyushu Sea"?

The long-awaited "The Story of Hai Muyun in Kyushu" (hereinafter referred to as "The Story of Hai Muyun") finally started broadcasting. After fourteen episodes, this paper attempts to make a brief comment on the play from the aspects of narrative structure, exterior and interior distribution, actor performance, shooting details and so on.

The play adopts the traditional narrative method and unfolds the plot with time and cause and effect as the logic. The story begins with a fortune-telling monk breaking into the Shuofeng Department of Hanzhou with the secret of extinction. The story of herding clouds at sea begins, and the conventional linear narrative features are clear and clear. It is suitable for telling a single story, but the story structure of the court struggle, minister struggle and kingship struggle among the three leading men in Kyushu mainland will only make the story monotonous if linear narration is adopted, and the divided plot will completely become an accessory of the main line. Of course, this has something to do with the limitation of the original description of the split plot relying on the main line. On the other hand, the existing magical epic works all take the main plot as the core and adopt a nonlinear and fragmented way. Multiple lines go hand in hand. Constantly changing narrative nodes to describe the protagonist, with the tension generated by the interaction between the gripping split plot and the main plot to achieve its epic sense and artistic appeal.

Compared with the traditional "green-screen drama" and "silhouette drama", the opening scene shows the producer's sincerity and respect for the audience. Unfortunately, the grand location became an excessive picture and decoration divorced from the plot, game CG and Song MV under the inexperienced post-editing, and the director's stingy setting of the number of actors also made the scene lose the role of setting off the epic sense of the plot. Shuofeng tribe is like a small village, with dozens of people, tribes and tribes. The struggle between civilization and barbarism turned into a small fight. Such meanness is not only divorced from the plot itself, but also the stingy lineup has plummeted compared with the epic feeling that came into view at the beginning. Compared with the magnificent exterior decoration, exquisite and luxurious interior decoration and beautiful landscape, we strive to create a light and shadow setting with texture and atmosphere. Unfortunately, Daduan Imperial City only looks inside and doesn't look outside. There is no bustling market, no citizens who live and work in peace and contentment, only the luxurious palace of the bustling imperial city, and only the fine works can't see the epic.

Bian Xiao summed up the following reasons for the failure:

Reason one: it violates the most basic laws of novel and any plot creation.

This rule is that the background setting of the novel must serve the conception and theme of the novel. It's not a question of chicken or egg. This is a problem that only bones can rely on meat. A novel works, first of all, to determine the idea, according to the idea to determine the core plot, and then through the setting of the world outlook to enrich the core plot, in order to serve the idea. Kyushu series creation violated the basic principles of novel art creation from the beginning. It first established a world similar to Kyushu, and then let a group of authors do their own jobs and weave its geography and history-this is simply impossible to achieve. An author must set a history for his thoughts and characters, which must be unique and incompatible with other histories. When a group of artists with different demands are forced to compromise each other on a given continent, it is the uniqueness of art that is sacrificed.

Reason 2: Exaggerate the sense of mission and responsibility of one's own cultural inheritance.

The reason why the series "Stories of Floating Clouds on the Sea" was launched is because the initiator thinks that the western fantasy system is developed, but China has no corresponding works to compete with it. At the beginning of the birth of Kyushu series, there was a sense of mission and responsibility that was exaggerated by itself and passed down by culture. The concept of "promoting China culture and creating China's fantasy works" in Cloud on the Sea is no different from a leader who told the writer at the beginning that "everyone should cooperate with the construction of socialist spirit". The intangible requirement for an author to participate in Kyushu's creation is to keep up with western fantasy works and promote China culture. No great writer who achieved classics started with "promoting Chinese culture". Even if they do have a sense of mission to culture, this sense of mission can not be achieved by singing hymns. Criticism is the meaning of a writer's existence. The starting point of Lu Xun's creation is his reflection on China culture ―― he is too dissatisfied with China's cultural wife, so he has such a strong tearing passion. If things are unfair, they will be loud. Writers who really want to express themselves are all painful, stimulated and struggling, but they still refuse to compromise-"They will never give up after committing a thousand felonies."

Reason three: nonsense

The film Livestock of the Sea was rejected by the TV station, and the original director came out and cried bitterly, saying how hard we worked, how well we did, how deep our stream of consciousness was, how superficial the audience was, how cruel the market was, and so on. Any setting, any dialogue, any shot-especially a long shot that costs money-should serve the characters, and the characters should serve the thoughts. Without intention, there is no character; Without characters, there is no plot; Without ideas, characters, and plots, how can you attach yourself to beautiful pictures, huge investments, awesome cass, and tear-jerking music-if the skin does not exist, how can you attach your hair? Where do ideas, characters and plots come from? -must be derived from the artist's unique creation. The famous movies and TV shows in history must be works of art with strong personal color of the artist, which can show the artist's profound insight.