Parents bombed “Chinese Strange Tan” and scared their children to tears, and netizens complained People’s Daily Online: Chinese-style concentrated show of imagination
An 8-episode series of animated shorts “Chinese Strange Tan” created by 11 directors revived Guoman’s momentum. Although only three episodes were broadcast, its total broadcast volume on the bilibili platform exceeded 50 million, and it even surpassed Douban’s weekly word-of-mouth Chinese drama list with a rating of 9.5.
While receiving good reviews from the entire network, some parents said that this cartoon “has been a bad influence on their children.” The parents said, “A cartoon is generally for kids to watch. When my son saw the first episode, he was scared and cried about the crow pretending to be a ghost, and he was scared and cried within one minute into episode two. Is this made for kids? Kids have definitely seen the shadows of childhood.”
For this Fengshen animation, People.com also stated this for the first time. In their view, this high-scoring animation is a concentrated display of Chinese imagination. Presented in front of the public in a nationalized manner, it should have won wide acclaim.
“Little Monster’s Summer” (hereinafter referred to as “Little”) and “Goose Goose Goose” (hereinafter referred to as “Goose”) and other stories, the title seems light and cute, but the plot is full of resistance. interpretation of the classic story, presented A kind of “everything must be paid for when you talk about everything” perfection. These two stories are both from traditional Chinese ghost novels: one is “monsters want to eat Tang monk meat” in “Journey to the West”;
Such “classic IP” allows creators to shift their focus from “what to say” to “how to say it.” Love and concern for him as a migrant child” and other storylines resonated with young audiences; the ending of “Goose”, does not show the seller’s keeping of secrets in the original work, but uses “you lost three geese” to mock the seller’s inability to distinguish between the real and the fake.
It is noteworthy that the creators project traditional Chinese philosophical thoughts such as “life and death”, “virtual and real”, “good and evil” into the works, showing the thinking about life propositions in traditional Chinese culture. For example, in the play “Little”, the demon pig ran to stop Tang Seng’s master and apprentice, but was beaten to death by Monkey King. When people were desperate, they immediately turned away. It is revealed that the demon piglet did not die, but was intentionally arranged by the Monkey King.
Behind this sense of fortune lost and regained is the ancients’ emphasis on “misfortune is where blessings rest and blessings are where misfortune rests”; for another example, in the play “Goose”, when the goose demon wishes to turn into a white goose and follow the salesman, When he went there, the salesman secretly speculated whether he would have a second heart because of what he had seen before .When the fox demon woke up, the goose demon disappeared along with the other monsters.
“The state of the world is exhausted and there is nothing in life without a goose cage.” Perhaps illusions and impermanence are the essence of the world, and the ups and downs of life are the eternity of the world; and in “Lin Lin”, trying to integrate into human Even if the little wolf Lin Lin could appear in human form, it would not be tolerated by hunters. The hunter’s narrow concept of being good or evil, human or demon, eventually led to a tragic ending in which only Lin Lin and his son remained facing each other across the river many years later.
At the same time, in terms of the narrative style of the work, the creator has also skillfully combined traditional Chinese aesthetics with contemporary aesthetics. For example, the environmental modeling of the Chinese painting in “Little” is fresh and healthy, making people feel like they have returned to childhood in their dreams; the artistic expression in “Goose” shows that the characters and the scenery are integrated, and the style is crisp and sharp.
Furthermore, subtitles in silent films hint at the inner secrets of the characters, and second-person narration powerfully presents the creator’s critical stance on the characters. And the abdication of the voice of the verses brings out various sound elements, whether it is the sound of the wind, birdsong, swallowing, yawning or the sound of drums and the rhythms of the various musical arrangements, all add to the strangeness of this absurd story. , Psychedelic colors, enrich and expand the imagination of the audience.
Paying tribute to the 100th anniversary of the birth of Chinese animation, “Chinese Strange Tan” not only inherits the charm of excellent national-style works such as “Havoc in Heaven” and “Tianshu Strange Tan”, but also highlights the exploration and innovation of creators in the new era. A concentrated exhibition of “Chinese imagination”. Currently, 3 episodes of this collection have been aired and received a high rating of 9.5 on the Douban platform! We look forward to the exciting presentation of the next story!
