The new ＂Romance of the Gods＂ is not only a group of demons.

　　The new "Romance of the Gods" seems to be a far cry from the original, more like a "fan" work of the story of the gods. The picture shows the stills of the film.

　　Wang Yan, chief reporter of Wen Wei Po

　　Yang Jian and Su Daji were childhood friends, the woodcutter Wuji and Zhou Wuwang Ji Fa became one, the fox demon turned into a charming son, and the roaring dog’s previous life turned out to be a ghost girl Xiao E … … At first glance, these names are all "acquaintances", and it is not an exaggeration to say that people know the streets and smell them. You can look at the character setting again, which seems to be completely different from the original work, and more like the "fan" works of the story of deity.

　　The new TV series "Romance of the Gods" is being broadcast, and the ratings that have repeatedly broken 1% have made the popularity of this weekly drama overshadow many Japanese prime-time dramas in the same period. Embarrassed, with the high ratings, there are as low as 3.4 online ratings and huge controversy.

　　A "Romance of the Gods" has changed beyond recognition, whether to destroy the classics or update them, whether to create a new way or to make them up, and netizens are arguing over it. In the eyes of scholars, to solve two doubts, we must first clarify two questions in two ways: can the original work of the Romance of the Gods be a "classic"? If this new play is regarded as an original story of starting a new stove, will it be better?

　　There are many defects in the novel, but clever adaptation does not mean "streamlining while injecting water"

　　Yang Jian and Su Daji, who are brothers and sisters, are in love with each other. This alone has set off an argument on the barrage. Party A insists on "destroying classics", while Party B asks "Can the old version be called classics just because of preconceptions?".

　　Yang Xiaolin, director of the Film Research Institute of Tongji University, said cautiously: "The charm of the novel of deities lies in its attempt to combine the struggle between gods and demons with the evolution of human history, and its true and illusory temperament attracts film and television creators. However, around the adaptation of the story of the gods, I am afraid that there has not been a version of the film and television drama that can be called a model. " For example, the 90th edition of The List of Gods was called a "classic" because it opened the enlightenment of a generation about the story of Gods. However, no matter when the standard is used, the creation of the drama in aesthetics and overall pattern has left regrets, and the characterization is slightly thin.

　　Successive film and television transcoding can not change the "perfect version", which is not unrelated to the shortcomings of the original. Yang Junlei, a professor of Chinese Department of Fudan University, bluntly said: "Gods are not in the classic category. Compared with other ghost novels and historical romances, it has the following defects: ‘ Overhead ’ ; Compared with The Journey to the West, it is not bold enough. Therefore, the story of sealing the gods cannot be regarded as a true classic. " In a word, the original novel provides a complex inter-divine relationship, but it is not enough in "telling a good story" and "increasing the thickness of the role". As a direct result, there are many deities, but from da ji, who charmed the country and ruined the country, to Nezha and Lei Zhenzi, who attacked the Zhou Dynasty, the role is more functional than artistic.

　　The screenwriter of the new edition of Romance of the Gods clearly realized that the original work was huge but jumbled. In his words, "it’s like a fairy girl scattering flowers, throwing everything into the sky at once", which not only provides multiple possibilities for different versions of chapters, but also really tests the writer’s ability to reshape the story line, cut branches and plump characters.

　　The screenwriter chose the main line of Yang Jian’s counterattack. Take only one complex plot, which is a "smart" adaptation of the deity. But the description belongs to the description. As far as the first 22 episodes are concerned, Yang Jian’s juvenile awakening, Wuji’s ignorant wandering, Jiang Ziya’s street life, da ji’s harem road, the nine-tailed fox falling in love with the wrong person, Queen Jiang’s jealous wife, Prince Yin Jiao’s love affair, and her maid Lier’s confession … … Love, palace fighting, family ethics, etc. The original work is flawed, but the new story is condensed and watered at the same time, which has become a hodgepodge with a vague face.

　　Even if the inherent impression is put aside, the new drama is difficult to be self-consistent in lines and logic.

　　In the debate among netizens, there is a view that appears frequently: just treat it as another original drama. It seems that all the criticism suffered by the play is because it is too different from the inherent impression. The question is, aside from the original, is the new Romance of the Gods a good play? I am afraid the answer is not optimistic.

　　At a clan banquet, Du Yuanxi, who had already died, appeared among the worshippers. Jiang Ziya "forgot" to wear the new clothes made overnight for the banquet; Yang Jian hid behind the thin veil for quite a while and no one found it; The nine-tailed fox appeared in human form and talked with da ji, which was also ignored in full view; As for the fruits, gorgeous clothes, lipstick that can change color, and hair styles that can change in a blink of an eye, which should not have existed in the Shang and Zhou dynasties, they all point to arbitrary behavior, which tarnishes the impression.

　　There are also character settings and lines that are even more attentive than taking the road. Between Su Daji and the nine-tailed fox, there was originally one good and one evil, one for revenge and the other for soul intake. But as long as the plot requires, good and evil can be reversed instantly, and the fox demon advised da ji to be kind. Look at Jiang Ziya again. At home, he seems to travel back to the ancient contemporary warm man, talking sweet words and playing some tricks to make his wife and daughter happy; Walking out of the house, he returned to the vernacular lines, full of "providence", just like a master in the world. A character has two skins, and Yu Hewei’s good acting skills can’t make up for the sense of separation. What’s more exaggerated is that Jiang’s noodle restaurant was called "show" and "build momentum" by Xiao E; Jiang Ziya bickered with his wife, and her daughter came to persuade him. The line was "Children who grow up in a family where their parents don’t agree will bury the shadow of their lives".

　　In Yang Xiaolin’s view, whether it is adaptation or originality, the logical self-consistency of the work is very important. "Life logic, emotional logic and logical logic are indispensable, and the words and deeds of the characters must be under the same world outlook." According to this standard, the low score of the new Romance of Gods is not unjust.

　　In the final analysis, it is not the external story frame that directs the actions of the characters, but the endogenous motivation of the characters and the internal logic of everything in the world that promotes the development of the plot. On the other hand, in A Chinese Odyssey, the Supreme Treasure fell in love with Bai Jingjing, or fell in love with Zi Xia Fairy more sadistically. Why did the plot of subverting the original work become unpopular? Yang Junlei regards it as a new generation after the intergenerational transmission of classics. "The spiritual flash of the original work is not imitated in a rigid way of looking in the mirror, but tried and verified on the fully acting characters. Therefore, it touched many young people and shaped a new way of expressing love. "