For example, series dramas such as Bad Man, The Journey to the West's The Moon at Qin Dynasty, and other animation films such as The Return of the Great Sage, The Big Fish Begonia, Nezha, The Legend of the White Snake, The Charm of the Wind, etc. Their fascinating stories, exquisite and beautiful pictures and lyrical interpretations really make people fondle them.
But I am a perfectionist, and I am still not satisfied with these wonderful national romances, so I have to find fault with them in order to make them develop healthily and prosperously in the future.
This paper takes the protagonist's Golden Finger as an example to talk about some shortcomings I have seen in China.
At present, most national romance novels are adapted from online novels or online comics, and online novels, like online comics, have a core concept of "golden finger", that is, the protagonist has the ability, magic weapon or resource advantage that others do not have, and it is precisely because of this that the protagonist can start a life model or create a brilliant growth process in the plot development. Based on this, with a good sense of substitution, we can achieve the good-looking effect of novels or comics, and let readers have YY spiritual satisfaction.
However, this writing mode is not a serious writing mode, and the biggest problem lies in the unreasonable logic of plot development, which even makes readers doubt the far-fetched writing.
To be clear: I don't object to the existence of "Golden Finger", but I just hope that "Golden Finger" will play a more reasonable role in the development of the plot.
Take Li Hu's two works "Fighting the Sky" and "Fighting the Sky" as examples. At the beginning, the protagonists were all losers. Thanks to some external force or help, they have grown into top masters through constant criticism and upgrading, which has opened the life-opening mode, won the admiration of people around them and even the mainland (country), won back their beauty, and completely became the winners in life.
Such a story, of course, is exciting for readers to read, imagining that they are the protagonists, reaching the peak of life and career in the process of hard work, and having an unparalleled perfect life.
Stories such as Lord Snow Eagle, Where I Eat Tomatoes and Douluo Mainland written by Tang Jiasan Shao are also the opening modes of the protagonist. For example, Tang Sanren, the protagonist of Douro Continent, is impeccable in design and has not encountered any major setbacks in the process of winning the title of Douro.
From a serious point of view, such a story is actually unattractive, because even if there is a strength gap that cannot be ignored, the protagonist's victory over his much stronger opponent is too smooth after all, and it is suspected of lying!
By contrast, it is much better for Ruosen to paint the series of "Bad Men". Li Xingyun's biggest "golden finger" is the team, that is, "getting the word helps more". This mode of overcoming difficulties by team is much better and more reasonable than the open mode without setbacks. In the play, Li Xingyun's martial arts is not unique in the villain series. Although Li Xingyun is very competent and diligent, after two seasons' efforts, he has reached the level of a great position. However, there is someone outside, and one day behind him, he is often beaten by fat; Thanks to his charm, he attracted a group of brothers and sisters to join him, otherwise he could not have survived three episodes.
Another advantage of this kind of plot processing is the twists and turns of the story, the fascinating charm, and even the greater possibility of plot expansion. Just like the end of the third season of "Bad Guys" and the death of the bad handsome Yuan Tiangang, there is still a lot of room for the follow-up story to spread. No wonder someone asked, "We are seventy or eighty years old, are we still chasing bad guys?".
The influence of Mr. Jin Yong's first novel, The Book of Revenge by the Sword, is not as good as that of the trilogy, because the story lacks twists and turns; Mr. Jin Yong's "Sword with Royal Blood" also has the suspicion that the protagonist's life is open and unimpeded, so her appeal is far less than that of the "trilogy of shooting and carving". This is the meaning that "golden finger" is not easy to use.
The frustration and gaffes of the protagonists in the story are essential in their growth. Only in this way can the protagonist's character or ability grow and mature, and the process of becoming stronger is logical. This is the catalyst for the twists and turns of the plot, and it is also the driving force for the growth of the character.
I don't object to the existence of "golden finger", and I don't object to trying to make readers have a good sense of substitution in the reading process and achieve YY effect; On the contrary, I agree that these are necessary and necessary components of story art works. However, I think that only by letting Golden Finger play a reasonable role and combining the fascinating plot can we achieve the ideal effect.