Recently, the Reuters style of domestic Xianxia dramas has aroused heated discussions among netizens, especially "Fairy Sword 4" starring Ju Jingyi and Chen Zheyuan and the remake of "Fairy Sword 1" have been complained by netizens. Everyone generally believes that the shape of these dramas does not restore the game prototype enough, lacks texture, and is almost the same as the general ancient puppet drama modeling. What is the reason behind this?
The phenomenon of homogenization of domestic Xianxia dramas is not a day or two, and there are many reasons behind this. First of all, the scarcity of stylist resources. The number of well-known stylists in China is limited, and they are often in a state of continuous rotation, resulting in a lack of innovation in modeling design. Secondly, the psychology of the drama party. Once a certain style becomes popular, other crews will follow suit, resulting in a single style in the market. Finally, time and cost constraints. The filming cycle of costume dramas is tight and the modeling design takes a long time, so in order to speed up the filming schedule and reduce costs, the crew often chooses to simplify the modeling design.
Specific to the styling elements, we can see several outstanding problems. The first is the abuse of white, from frigidity to funeral style, white has become the top color of domestic Xianxia dramas, but too much white modeling has lost the characteristics of Xianxia dramas. The second is the semi-permanent gauze skirt, the standard configuration of the heroine of the Xianxia drama, although the gauze skirt is light and dreamy, the design is seriously homogeneous, and it lacks a sense of hierarchy and characteristics. Finally, there is the excessively plain hair, the semi-draped hair becomes the mainstream, and the headdress is simple and lacks features, making it difficult for the character to show his identity through hairstyles and headdresses.
Behind these problems are the various challenges faced by the crew and stylists. The lack of stylist resources, time and cost constraints, and the psychology of the drama party have all led to the homogenization of modeling design. And in the end, it is our audience who suffers, who expect to see new and unique styling designs in Xianxia dramas, but are often disappointed.
However, there are also some crews who are trying to break this situation. For example, the recently acclaimed "Long Moon Embers" has made a breakthrough in styling design, with rich colors without exaggeration, a strong sense of layering, and the headdress design is also in line with the characteristics of the character. This shows that as long as the crew is willing to invest time and cost, there is still a lot of room for improvement in the modeling design of Xianxia dramas.
The homogenization of domestic Xianxia dramas is a complex problem that requires multi-faceted efforts to solve. We hope to see more unique styling designs in the future, so that our audience can not only see wonderful stories, but also feel visual enjoyment when enjoying Xianxia dramas.
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