Are Zhou Libo and Degang Guo better than Bean Chaplin?

Although urine point has many problems, it is not so boring. Everyone knows that the answer is obvious, but it is not easy to make it clear. From the beginning, Degang Guo's works lagged far behind the top two. This gap is not the gap between language and form, but the gap of thinking mode, which leads to the form integrity of the work is not at the same level. If you have ever tried to write a cartoon yourself, or paid attention to the logic of some cartoons, you will find that it is very difficult to build jokes around a theme, and there are many places where you have to turn very hard-for example, if you catch a homophonic or slip of the tongue, the topic will turn to other places. So we often see the name of a cross talk, but when we look at it, it digresses. For example, Miao Sheng's long-legged Oba forced us to change the subject in order to accumulate jokes. We may have been laughing, but after laughing, we have no impression of what this cross talk is expressing. What impressed me was an independent paragraph. In other words, the whole work is to show all these jokes, and satire or ridicule is just an accessory. In this process, "laughter" has become an end, not a means. In Zhuo's works (I don't really read Dou's works for the time being), it is to find a theme, such as dictatorship, such as industrialization, and then dig out those funny materials from this theme, each of which can make you understand the theme more deeply, even if it is not necessarily so funny. So this kind of work is very seamless in structure, and you won't feel far-fetched. When you finish reading it, you will be deeply moved by the theme and know that he is satirizing the dictator. As for the specific joke, you don't quite remember it. Here, "laughter" is just a means to express the theme behind it. This difference is similar to cooking. Guo first ate all kinds of vegetables, tofu, chicken, fish and duck. In order to use them all, he poured them into the pot and called them a hodgepodge. Zhuo first made sure that I wanted to make a Buddha jumping wall, then went to find out what ingredients the Buddha jumping wall needed and how to process it, and finally came out with a real Buddha jumping wall. In this sense, I think this is also the reason why many traditional cross talk lovers feel that the current cross talk works are not as tasty as they were then. If you want to ask me which is more interesting, I will miss Degang Guo and I will tell you clearly. But to say which crosstalk is better, I think Guo's works are hard to rank. In fact, I think even cross talk is hard to call a "work". Works are the product of independent themes and ideas. Now many crosstalk performers tell a set of jokes, adding, subtracting and changing countless titles everywhere. How can this be regarded as a work? There are only a few techniques to make people laugh, such as touching taboos and making contrasts. Technically, everyone is the same. Chaplin, Jim Carrey and Stephen Chow can stand out from the crowd, not by a bunch of jokes. As for Zhou Libo, there are ten thousand Wang Zijian between him and Degang Guo.