In "Return to the Ruins of the South China Sea", the "Iron Triangle" is a close friend, a partner, and a lover, and perhaps the reason why they are not defeated is precisely because of such a close relationship. For many viewers, it is not easy to see three people gather again. When the desert, the worm valley, the snow-capped mountains, and the deep sea all walked together, it was in response to that sentence, and companionship was the most affectionate confession.Author |Xiao Heng, editor|Afba.
The combination of deep sea, monsters, and "ghost ships" is attractive enough in itself, not to mention the return of the "Iron Triangle" and the "going to sea" together.
As soon as the drama "Return to the Ruins of the South China Sea" was launched, a familiar taste came to the face. After a hot pot banquet with cups and lamps, Hu Bayi (played by Pan Yueming), Shirley Yang (played by Zhang Yuqi), and Wang Fatzi (played by Jiang Chao) seem to be in danger before they are full. Entrusted by the archaeological team Professor Chen, they are about to go to the Coral Spiral Sea to explore the place of return to the ruins and find the national treasure "King Qin's Bone Mirror".
The play continues the tense and exciting narrative rhythm of the same series of IP works, accompanied by the deep ocean and lost civilization, presenting a number of deep-sea beasts such as Dayong Sha, Sea Stone Flower, Sea Snake, Giant Octopus, and Shark Man, showing the fantasy and unknown of the underwater world. From this point of view, "Return to the Ruins of the South China Sea" is not only a hardcore adventure drama, but also a deep-sea monster film full of oriental elements, so much so that some netizens said that the character of Gu Chai in the play is China's "Sea King" if rounded off.
"Return to the Ruins of the South China Sea" was updated for 14 days after Tencent** was launched, and officially ended on December 10. When the "Iron Triangle" came to a new place, and encountered new characters and new clues that "each had his own heart", subtle changes also occurred between them, bringing different perceptions.
Although the underwater special effects of this part are sometimes dramatic, and the emotional changes of the characters are a little confusing, for many audiences, it is not easy to see three people gather again. When the desert, the worm valley, the snow-capped mountains, and the deep sea all walked together, it was in response to that sentence, and companionship was the most affectionate confession.
Liezi Tang Wen has a record, "In the east of the Bohai Sea, I don't know hundreds of millions of miles, there is a big gully, but there is a bottomless valley, and there is no bottom under it, and the name is called the ruins." Legend has it that it is a bottomless valley in the sea, and it is said that the place where the world and water converge, which is where the "return to the ruins" is. The vast underwater world, full of unknown journeys, and ancient legends shine into reality, the adventure of "Return to the Ruins of the South China Sea" focuses on the ocean.
The sense of fear often comes from the unknown, and the sense of oppression in the deep-sea scene itself is a "BGM" with its own thriller, and some netizens joked that they suffered from "deep-sea phobia" after chasing the drama. Indeed, when you step into Coral Temple Island from the "Iron Triangle", this sense of fear mixed with mystery has already begun to permeate - the hot and humid tropical climate, the islanders who speak strange island languages, the treacherous prophecies, the "ghost ship" that no one dares to use, ......It's all about suspense.
In the face of these unknowable situations, Hu Bayi still showed calmness and unfazed behavior, and Wang Fatzi also treated the upcoming adventure in "Poor Mouth and Poor Teasing Poverty", but Shirley Yang's heart was a little more strange and cautious. The relationship between her and Hu Bayi has been subtly upgraded, breaking the hearts of the characters in the previous IP dramas of the same series, which is worth savoring by the audience.
Since the "Iron Triangle" took Uncle Ming, Ruan Hei, Gu Chai and Duo Ling to drive the "Trident" into the sea and go to the Coral Spiral Sea, this adventure has officially begun.
Different from the "revolutionary friendship" of the "Iron Triangle", although everyone else is in the same boat, everyone seems to have some ulterior secrets in their hearts. Ruan Hei knew the strangeness of the "ghost ship", but he was still willing to risk his life;Uncle Ming's "hospitality", as well as the unknown purpose of the two companions, Ma Zai Dali and Ah Hao, while facing the fear of the unknown in the deep sea, also has the darkness and hidden heart of human nature, which greatly enhances the exciting impact of the expedition.
Of course, because of the large number of deep-sea fantasy scenes involved, the special effects are the highlight of the entire "Return to the Ruins of the South China Sea", and the entire crew is also dealing with water every day. Pan Yueming once said that he was "soaking in the water all day" during filming, and Zhang Yuqi described the scene at sea as "the feeling of being on a pirate ship all the time".
According to the information that has already been disclosed,The main creative team dug a nearly two-meter-deep soil pit in the studio to solidify and build a special-shaped pool nearly 100 meters long, and at the same time, embedded the water circulation and wave-making system, and then built more than ten groups of underwater scenes in the pool, so as to overcome the visual effect problem of the contact surface between the scene and the water.
On the other hand, more than 90% of the whole drama needs to be produced with special effects. In the case of the fire scene of the hull**, the special effects artists are responsible for solving the scene of the interaction of the seawater, the picture of the hull ** and the fire and smoke, as well as the atmosphere processing such as storms and fog, and then forming the secondary interaction effect of the seawater, the hull fragments and the sea surface, showing the broken hull that falls and floats on the surface of the seawater, and is still on fire and smoking.
In short, shooting, setting, and post-production are very "money-burning", but only when the effect is full can the audience have a more sense of substitution, and can it truly reflect the scene of the deep sea returning to the ruins.
Some people say that "Return to the Ruins of the South China Sea" is like a work that combines domestic adventure themes with traditional Chinese monsters. It doesn't seem to be an exaggeration, there are so many kinds of exotic beasts in the play that Pan Yueming described it as a "seafood war" in the filming special.
On Earth, the ocean covers about 71% of the earth's surface, but humans have only explored 5% of the ocean, and it is unknown how many secrets and unknown creatures are hidden in the vast ocean. And the thrilling scenes presented in "Return to the Ruins of the South China Sea", as well as every action scene with the beasts of the deep sea, make the audience have more reverie.
The first to appear is the "Great Bunsha", which resembles a turtle instead of a turtle, and is a deep-sea monster the size of a ship. In the play, the ancient ship that suddenly appeared in the surging wind and waves, the bloodstained deck, in the confusion of everyone, through Uncle Ming's introduction, I learned that this is a marked blood ship, and the visual collision and weirdness brought by the "big hugging sand" hunchback ancient ship are displayed at the same time, and the sense of oppression is full.
In the cabin of the Trident, the battle against the sea stone flower is a particularly wonderful atmosphere play, the bed cabin itself is a cramped claustrophobic space, hung with rune curtains, and the sea stone flower hidden in the shadows, terrifying, and fantastic, is evaluated as "a section to see with bated breath", and the design of the double line story here is also very unique. The scene of the sea snake chasing after the "Trident" in the sea, and the scene of the "Iron Triangle" fighting a giant octopus in the deep-sea bed cabin with the bottom turned are also good.
Studies have shown that humans are born with a fear of darkness, waves, the deep sea, and giant objects, which is a trait engraved in genes and an ancient habit that has been retained in the course of evolution. The scenes brought by "Return to the Ruins of the South China Sea" have arranged all the above-mentioned horror points without landing.
For example, the thrilling battle with the mermaid in the play. In the land of the ruins, Wang Fatzi's "hand" woke up the sleeping merman, triggering the attack of this race on the "Iron Triangle" and the entire expedition team, and seven or eight people faced a huge number of sharks that kept attacking, and they were in danger.
As a mysterious creature with a fishtail in ancient Chinese legends, the mermaid is not uncommon in folk legends and ancient literature, and its artistic image is as famous as the "mermaid" abroad. It is recorded in "Sou Shen Ji": "There are sharks outside the South China Sea, and the water dwells like fish, and they do not waste their weaving achievements." His eyes weep and they can produce pearls. ”
In addition, the magical beasts in "Return to the Ruins of the South China Sea" have a lot in common with the descriptions in "The Classic of Mountains and Seas", and the fusion of folk monsters and modern adventures has undoubtedly brought a series with exclusive oriental characteristics.
As the "iron triangle" that lasted for many years, Hu.
Eight. 1. The trio of Shirley Yang and Wang Fatzi seems to have brought a kind of inheritance, in which there is not only the same adventurous spirit, but also the friendship of sharing weal and woe and mutual trust.
Although in "Return to the Ruins of the South China Sea", the relationship between Hu Bayi and Shirley Yang escalated, which made many viewers not quite understandHowever, the "righteousness" infiltrated in the play is still the core of the three people's "life if they are together, and death if they are divided", which is an indestructible spiritual belief and exudes a Chinese-style sense of collectivity.
Of course, this spirit is formed by long-term cooperation, and the audience likes the unchanged setting of the "Iron Triangle" in the series, and it is also the worship and hope of this "heroism", and the recognition of this unchanging courage of cooperation.
In the play, there is also a very interesting scene, in the face of Shirley Yang's worries, Hu Bayi admits that he has an adventurous spirit in his bones, this sense of contradiction has not been fully highlighted before, "friendship" continues to "love", and the upgraded emotion even becomes the "bondage" of continuing to take risks, which also intensifies the test for them.
In "Return to the Ruins of the South China Sea", the audience also sees a kind of growth that is different from the previous in the same series, not only adventure, but also the characters have a more complex emotional outlet. This kind of change is also continued from the play to the outside of the play, Pan Yueming once said: "'Hu Bayi' has brought me too many thrills and adventures that are impossible to experience in real life, and it has also invisibly stimulated the adventurous spirit in my bones." ”
Looking at the interview scene of the main creator of the crew, you can also feel the continuation of the friendship of the "Iron Triangle". For example, in an interview with **, Zhang Yuqi directly said that in "Return to the Ruins of the South China Sea", he reunited with Pan Yueming and Jiang Chao's "Iron Triangle" combination, and they still had a tacit understanding, and the three of them were very cordial on the set, "already like a family".
Today, the "Iron Triangle" is a close friend, a partner, and a lover, and perhaps the reason why they are not defeated is precisely because of this close relationship. This kind of Chinese-style "heroism" is not the impulse and monopoly of one person, but the determination to "fight monsters" together and upgrade by relying on strong tacit cooperation and trust.
For the audience, the tacit understanding of "Iron Triangle" is emotional, and they have walked through it with the characters, whether this is the last part or not, at least the feelings are still the same.