The most eye-catching event in the domestic entertainment industry recently is the simultaneous launch of "The Legend of Sword and Fairy 4" and the renamed "The Legend of Sword and Fairy 6" - Pray for the Future.
The broadcast of these two dramas not only sparked a fierce debate between game fans and actor fans, but also exposed the deep-seated problems of domestic Xianxia dramas.
Since its launch, the "Fairy Sword" series has been a representative work of domestic Xianxia dramas and is deeply loved by the audience.
For example, the love story of Li Xiaoyao and Zhao Linger in "The Legend of Sword and Fairy 1".
and Xu Changqing and Zixuan, Xuejian and Xi Yao in "The Legend of Sword and Fairy 3", all of which challenge and reflect on traditional values.
These works not only provide a rich entertainment experience, but also have deep cultural connotations and emotional depth.
However, the latest releases of "The Legend of Sword and Fairy 4" and "The Legend of Sword and Fairy 6" seem to deviate from this route.
First of all, there are obvious problems with the plot structure of these two dramas. The story of "The Legend of Sword and Fairy 4" relies too much on chance events and coincidences, lacking authenticity and depth.
Some of the key turning points in the play seem to have been arbitrarily arranged rather than rationally deduced.
The Legend of Sword and Fairy 6 relies too much on superficial character settings and routines, and lacks an in-depth portrayal of character relationships and growth.
The emergence of this situation is related to the changes in the domestic Xianxia drama market.
With the development of the market and the changes in the audience's tastes, domestic Xianxia dramas have gradually changed from national entertainment to products that serve specific fan groups.
This change has caused Xianxia dramas to lose their wide appeal and become a form of circle-based entertainment.
At the same time, Xianxia dramas are also completely ancient puppets in the creation of texts, which are contaminated with the common problems of domestic ancient puppet dramas, such as the coincidence of overflowing scripts, industrial saccharin, low characters, and exaggerated performances.
The Sword and Fairy series is successful because it provides an entertaining experience while also providing a deep cultural connotation and emotional depth.
However, "The Legend of Sword and Fairy 4" and "The Legend of Sword and Fairy 6" don't seem to be good enough in these areas.
The storylines and character settings of these two series largely ignore the core ethos of the Sword and Fairy series, which is to ** a deeper level of humanity and freedom by challenging traditional moral and social structures.
Instead, they're more caught up in the shallow aspects of popular entertainment, without digging deep into the potential of the characters and stories.
The performance of "The Legend of Sword and Fairy 4" and "The Legend of Sword and Fairy 6" reflects a common problem faced by domestic Xianxia dramas.
Excessive pursuit of visual effects and superficial dramatic conflict neglects the development of story and character depth.
This trend leads to the far-fetched plot and the superficiality of the relationship between the characters, which fails to really touch the hearts of the audience.
The relationship between Yun Tianhe and Han Lingsha in The Legend of Sword and Fairy 4 occupies a lot of space in the play.
But their interplay is based more on superficial interactions and plot drives than on deep emotional and character development.
Similarly, the relationship between Yue Qi and Yue Jin in "The Legend of Sword and Fairy 6" also lacks depth and credibility, and is more like set up to cater to the audience's expectations of romantic love.
From a broader perspective, this situation reflects a trend in the domestic TV drama market to over-pursue commercialization and entertainment, while ignoring the artistic value and cultural connotation of the work.
In order to cater to the tastes of the market and specific audience groups, many TV series have begun to adopt a patterned production method, sacrificing the originality and depth of the story.
This not only undermines the value of TV dramas as cultural products, but also limits the possibilities for their artistic expression.
The performance and controversy of "The Legend of Sword and Fairy 4" and "The Legend of Sword and Fairy 6" are actually the epitome of the problems existing in the development of domestic Xianxia dramas.
If domestic Xianxia dramas want to stand out in the long-term competition, they need to return to the development of story and character depth, and rediscover and present the charm and value of this unique cultural genre.
Only in this way can domestic Xianxia dramas truly attract and impress the audience and become an indispensable part of the TV drama market.