The fantasy fairy tale "Liuli" was not favored at first. Although the original work **"Liuli" is in Jinjiang Literature City**, it has won the fans of many readers. The author of *, Shiro Shiro, is also a "great god" figure in the field of Xianxia**. The fairy tale dramas on the Internet are a little tired, not to mention that from online texts to online dramas, they often fall into the dilemma of "buyer show" and "seller show".
Liuli" poster.
After reading it with low expectations, "Liuli" passed the watchability test. Xianxia drama fans have always been very tolerant of Xianxia dramas. After finding out that "Ruri" was acceptable, they spontaneously took advantage of it. "Liuli" has a bit of a dark horse flavor, and it is among the best on multiple data platforms. If you watch too many fairy tale dramas, you will find that the similarity is very high, but the audience is always so persistent. What is the main aesthetic pleasure in this?
Xianxia drama, to put it simply and rudely, is "immortal" + "chivalrous". This "immortal" refers to both gods and traditional Chinese mythological systems, which are a mixture of Buddhist culture, Taoist culture, etc. The story is set in an imaginary ancient world, with people, demons, gods, fairies, demons, and ghosts. The conflicts in the story are often conflicts between different "species", such as the human world and the demon world, or the fairy world and the fairy world. In the Demon Realm, the heavens will give the people here a great responsibility. Our protagonist is on a mission to maintain world peace.
"Chivalry" is a "hero" who cares about the country and the people in martial arts. The mission of the protagonist after becoming an immortal is to save the common people. Compared with martial arts, Xianxia is characterized not only by relying on the mythological system and having a more "networked" imagination, but also by its overall temperament being more "feminine".
Since the formation of fairy tale dramas, "deep sadomasochism" has existed almost constantly. Li Xiaoyao in "The Legend of Sword and Fairy", Bai Zihua in "Flower Thousand Bone", and Zhang Xiaofan in "Qingyunzhi" are all heroic, but they are also hurt by love, and even have to sacrifice themselves and love to be chivalrous.
In 2017, "Three Lives, Three Worlds, Ten Miles of Peach Blossoms" starring Yang Mi and Zhao Youting was a key turning point. "Immortals" are still there, but "chivalry" continues to retreat, and "deep sadism" has become the core theme. Since then, "Xianxia" has become "fairy". Of course, it is still necessary to save the common people (verbally or embellishment), and spend several lives mainly to fall in love.
Later fairy tale dramas are almost all in the worldview of "three lives and three lives". From "Fragrant Honey Sinks Like Frost" to "Dust", then to "Pillow Book", and now to "Liuli", the gods and goddesses intersect. The process of crossing the catastrophe is to fall in love with someone (or demons), be deeply hurt by love, abuse repeatedly, and finally get married. Although it is all love, only the love between Xianxia and Xianxia highlights the innocent love that travels through the world and reincarnation, so there is never a shortage of female audiences.
"Liuli" is also another qualified product produced on the "Xianqing" assembly line, but it also has "5% innovation". Although we see a lot of sadomasochistic affairs, usually the hero and heroine are abusing each other, you come and go, and men and women are equal. This time, "Liuli" focuses on torturing the male protagonist Yu Sifeng, and he will continue to do this for ten lifetimes. *, Yu Sifeng and the heroine Chu Xuanji fell in love with each other. However, looking at the adaptation of this drama, Yu Sifeng silently loved and abused them for ten lifetimes.
In the tenth life, Chu Xuanji was a Shura who went down to the mortal world and became the daughter of the mortal patriarch. She was born with a peculiar appearance, but she lacked the six senses, which meant that she was ruthless, ruthless, and unloving. Chu Xuanji, who doesn't understand the world, is innocent, pure and lovely.
Chu Xuanji (played by Yuan Bingyan).
Yu Sifeng is the ** of Lize Palace, ruthless, no desire and no desire, and the way of cultivation is ruthless and ruthless. He usually stays away from women and doesn't smile. As a representative of "beauty" (handsome, romantic) and "strong" (profound skills and promising future), Yu Sifeng is arrogant on the outside, but soft on the inside, and easy to fall.
Yu Sifeng (played by Cheng Yi).
Yu Sifeng and Chu Xuanji met. One is a pure and upright man, and the other is a girl who doesn't understand love so she has no sense of boundaries. Chu Xuanji always came to provoke Yu Sifeng. She blurted out all kinds of sweet words without blushing, and her heart chuckled. This kind of ambiguous behavior, she behaved innocently. The person who flirts is unintentional, but the person being flirted does it intentionally. After a few episodes, Yu Sifeng has broken the palace rules and shown a "deep friendship" with Chu Xuanji.
Chu Xuanji didn't mean to talk, but Yu Sifeng had already accosted.
This is where the abuse begins. Yu Sifeng was taken back to Lize Palace to receive the punishment of the Thirteen Rings of Purgatory. Whenever he can't stand it, Chu Xuanji is his faith. At the last moment, Yu Sifeng was still worried about Chu Xuanji, so he rang the bell. Unexpectedly, Chu Xuanji heard from the other end of the bell that he fell in love with the sixth senior brother. Yu Sifeng's heart was full of despair, and he had no choice but to put on a ruthless mask. If you fall in love again in the future, you will experience heart-rending pain. If the Lover's curse takes root in your body, you will surely die.
Yu Sifeng**.
When they met again four years later, Yu Sifeng was indifferent, but in the face of Chu Xuanji's endless teasing, he repeatedly expressed his disdain for his indiscretion. On the one hand, the pain caused by the attack of the ruthless mask, and on the other hand, the pain of his unrequited love due to wishful thinking, all of which were borne by Yu Sifeng alone.
Yu Sifeng suffers when he is in love.
Yu Sifeng became the latest spokesperson of "Beautiful, Strong and Sad". From Mei Changsu in "Langya Bang", Shen Wei in "Soul", Runyu in "Fragrant Honey Sinks Like Frost", to Wei Wuxian in "Chen Qing Ling", "beautiful, strong and miserable" has become one of the most popular characters. Why does the audience prefer this kind of male protagonist who is ** at every turn?
The first thing to see is that the premise of "beauty, strength and misery" is "beauty" and "strength". "Beautiful, strong, miserable" is just a new variant of the domineering president we were familiar with in the past. When the traditional domineering president is accused of being greasy, such characters are also trying to save themselves on the screen. Some have more middle-class temperament, while others begin to be insidious and find another way, "beautiful, strong, and miserable". The overbearing president has repeatedly fallen into a "miserable situation" and * more abuse.
Even if it is a "tragedy", it is necessary to sigh.
Inadvertently, "beautiful, powerful, tragic" magically blends with the aesthetic pleasure of tragedy. That is, seeing a beautiful and strong male protagonist suffering as a result of rebelling against the vicissitudes of fate arouses a sense of nobility in the audience and can rise to the spiritual direction of heroism.
Therefore, "beautiful, strong, miserable" is particularly flattering. His "beauty" can attract girlfriend fans, his "strength" can attract career fans, and his "miserable" girlfriend fans, professional fans, mother fans, and casual fans can all attract him.
The bitter rain of Qifeng is so pitiful.
However, if we really regard "beautiful, strong, and miserable" as the heroes of ancient Greek tragedy, then the praise of "beautiful, strong, and miserable" is too much. Mei Changsu has a certain sense of tragedy like that of ancient Greek heroes. This Qilin genius, who is burdened with a deep hatred of blood, devoted all his energy and sacrificed himself in order to clear up his family's grievances and for his family and country. But the "beauty, strength, and suffering" that comes with it, just as the "immortal hero" is transformed into "immortal love". Their abuse and suffering are mainly due to the inability to love each other for several lifetimes, from the narrowness of family and country to the love of men and women.
Although the level and style of the series has decreased, female viewers are still happy to pay. A beautiful and strong person will be tortured the most because of deep love. The more you torture him, doesn't that prove that he loves you more? So the audience felt pity for the tragic situation encountered by the male protagonist, but at the same time secretly hoped that the screenwriter's cruelty would not stop until the end of the world.
In the final analysis, the "beautiful, powerful, and miserable" in the Xianxia drama is just an advanced version of Mary Sue's fantasy, and it still serves the girl's heart.
Recently, I read Mao Jian's notes on the TV series "Winter is Coming". One of these discussions is not necessarily accurate, but it is interesting and instructive. It is said that the domineering general attack in the Tanmei TV series is the way in which the bourgeois rich second generation appears. Originally, the second generation of power and the second generation of wealth, who did not have a good image in **, could be aestheticized through the identity of the domineering general attack. From this point of view alone, "Beautiful, Strong, and Sad" is also another cultural expression of the second generation of the bourgeoisie. As long as you are "miserable" and "innocent" enough, the audience will happily "appreciate" her, understand and forgive your "blackness", and indulge in the fantasy that you will love her - but maybe you never will.
This issue is edited by Zhou Yuhua.