What is "Xianxia"?
"Immortal" is the table, and "chivalry" is the inside.
However, "Xianxia IV" only touched the skin of "Xian" and ignored the core of "Xia".
I saw that the male protagonist's lips were slightly open, as if he had swallowed a mouthful of saliva, as if he had been hungry for a day and saw food, and he couldn't wait to take a bite. Seeing this scene, what emotions do you guess the male protagonist is expressing? 
Hunger? Expect? Or do you like it? It's not, this is the male protagonist expressing his longing after seeing his mother's body. It's a TV series"Sword and Fairy IV".The famous scene of the performance overturned. There are many performance scenes like this "donkey's lips are not on the horse's mouth" in the play, such as the heroine's facial features flying around in order to show her agility, or the blind acting skills of the second female protagonist anytime and anywhere. So much so that as soon as the show was launched, it was frantically complained by netizens for "ruining the classics", some people said: "You guys watch the new drama here, I'll go and relive "Fairy Sword One" again 100 million times", and some people said: "Sweaty, can't you wait for us to die before filming?" ”
In fact, "Sword and Fairy IV" was boycotted by the whole network at the beginning of the project, and it was once on the hot search due to the issue of "tearing up" in the early days of the launch, but it still attracted the attention of some Sword and Fairy fans. But how much I looked forward to it at the beginning, how collapsed I was after reading it. 
The collapse of "Sword and Fairy IV" is mainly in three aspects:First, its own quality is worrying; second, compared with the original game, it is "off topic"; The third is that compared with the previous two parts, it is subversive and destructive. The theme of "Sword and Fairy IV" is "Seeking Immortals". The male protagonist Yun Tianhe grew up on Qingluan Peak, which is far away from the world, and after his father died, he lived alone for many years. By chance, he got acquainted with Han Lingsha, a thief who broke into his parents' tomb. The two didn't know each other, and then decided to go together and go down the mountain to find the past of Yun Tianhe's parents. In the process of exploring the rivers and lakes, they got acquainted with Shouyang Qianjin Liu Mengli and Qionghua ** Murong Ziying. The four of them started a journey to find immortals in the Qionghua School of the Immortal Cultivation Sect, and after seeing the pickled noodles of the Daomen, they came to the truth of "if you want to seek the Immortal Dao, you must first cultivate humanity". The adapted "Sword and Fairy IV" weakened the "chivalrous confrontation" line on the plot and replaced it with industrial saccharin. Soon after the first meeting of the male and female protagonists, there were a series of operations such as kneading the face, ** turning in circles, etc., sprinkling sugar for the sake of sprinkling sugar, which completely broke the "affection, stop etiquette" in the original work. 
The script is weak, and the actors' performances are jerky, which leads to most of the characters in the play being far-fetched and torn. In the original work, the male protagonist Yun Tianhe has never seen anyone except his father, and this kind of innocence away from the world constitutes the charm of the character. can play the male protagonist Chen Zheyuan, but put itYuntian River's innocence turned into a fool, focusing on an "undefended": one second ago, he was angry because Han Lingsha broke into his parents' mausoleum and caused the tomb to collapse, and the next second he happily followed Han Lingsha down the mountain. After coming down the mountain, he first didn't know how to pay for food, and then he showed the Wangshu sword in his hand to others like a fool. In terms of plot development, this character is just like thatLack of subjectivity and reckless behavior, all I thought about in my mind was "my father said" and "Han Lingsha confessed". This kind of intelligence-reducing treatment greatly weakens the charm of this character. 
Except for the four members of the main group, the other characters are reduced to exist to drive the plotTool manTake the head of the Qiongshan faction, Shu Yao, as an example, this character has mediocre qualifications in the original work but is jealous of her ability, in order to prove her ability, she wants to help the Qionghua faction "soar" at all costs. Her obsession is in "me", and her inner demon is in "Tao", which is a typical "career brain". But in the play, this character has become a "love brain", suffering from gains and losses for his junior brother Xuanxiao. The play not only changed the character design, but also revealed many shortcomings in production. The special effects are seriously cutout, and most of the scenes are studio shots of rockeries and fake water, with occasional real scenes exposed, and mixed with goofs shots, so that in the process of advancing the plot, a little exaggeration and plastic texture are revealed. 
There are a total of 10 games in the Sword and Fairy series. Among them, "Immortal Four" is a well-deserved NO1。Fairy Sword fans once voted on the game's popularity on Tieba, and "Fairy Four" ranked first with 50% of the votes, known as "After Fairy Four, there is no fairy sword", which shows that this game is in the hearts of players. "Immortal Four" has a magnificent meaning of life:Life is just a big dream in the void, Shaohua is only a blink of an eye, only the way of heaven is constant, and the reciprocating cycle has not changed. In the end, Yun Tianhe paid a tragic price while saving the common people and ending the grievances and fate with the Qionghua faction. When the player reaches the end, he will follow the protagonist and experience a kind of sadness that seems to be another world. This is the essence of "Immortal Four". can be adapted into "Xianxia IV", but it fell from the clouds to the ground and became a farce. In addition, with the first two adaptations of Zhuyu in front, "Xianxia IV" has doubled this disappointment. As we all know, "The Legend of Sword and Fairy" broadcast in 2005 and "The Legend of Sword and Fairy III" broadcast in 2009 have long become the tears of a generation and are veritable classics. But back then, the two dramas faced no less controversy. Game fans don't buy it, thinking that the TV plot is out of the game, complicating the relationship between the characters, and the special effects are also complained about as "rotten, rough, and fake". But after the test of time, they showed their enduring power to move people's hearts, and they won 91 and 90 Douban high score. 
The success of "Sword and Fairy III" lies in its balance and grasp of the word "Xianxia". Yao Zhuangxian, the "father of the fairy sword", once made a classic explanation of this:"The word immortal represents Zhao Ling'er, and the sword represents the rivers and lakes, and represents martial arts, that is, it represents a swordsman like Li Xiaoyao. ”"Immortal" is the surface, and "chivalry" is the inside, and the two constitute the underlying temperament of these two works. However, "Xianxia IV" touched the skin of "Xianxia" and ignored the core of "Xia". 
Li Xiaoyao in "Sword and Fairy One" and Sedum in "Sword and Fairy III" are typical ranger characters. They dare to speak, laugh, act, be anxious, and help the poor. They never grovel, whether they are facing a powerful person, a wealthy businessman, a patriarch, or an immortal emperor. The growth process of these two characters is essentially a process of loss. Li Xiaoyao lost his friends, lost his **, lost his lover, experienced the pain, and then asked the Sword Saint the sentence "Do you understand?" "Sedum lost his friends and relatives, and finally gave his life to the Emperor of Heaven, and experienced unspeakable pain. But "Sword and Fairy IV" weakens the charm of Yun Tianhe, but also weakens this pain, making the characters seem to have no faith except love. Even if he occasionally shows a little chivalry and kindness, it is just to build a stage to show affection, sadomasochism, and infatuation. 
This kind of adaptation of "heavy sweet pets and light martial arts" not only exists in "Sword and Fairy IV", but also exists in many Xianxia dramas. In the face of the creative environment where traffic is dominant and capital is supreme, people have long been reluctant to take a stage to go to the righteousness of the rivers and lakes, but are more keen to replace it with the "electronic mustard" of handsome men and beautiful women who talk about love. In the long run, the Xianxia drama will only be left with the shell of a "fairy", and the pleasure and sentimentality of "chivalry" will no longer be restored. Now, while denouncing "Sword and Fairy IV", we miss the first two films, not only these two dramas, but also the creative enthusiasm that dares to try and the era that is gone forever.