How to evaluate the scriptwriting level of Legend Sword I and swords of legends II?

If I want to choose between Gu Jian I and Gu Jian II, I must be a staunch Gu Jian Party. Why? Because "Gu Jian I" has a higher degree of completion, and it is a closed work (although it has been criticized by many people for deleting the plot, it does not affect its degree of completion), while "Gu Jian II" is a pit or a series of pits, which has not been completed. There are commercial reasons for this failure, such as digging holes for online games; There are also technical reasons, such as changing the main pen; There are also some specific reasons that I can't understand as a player.

What is digging a hole for online games? Let me give you an example. As a male sophomore, Xia Yize has nothing to do with the main line. Why did he join the team in the first half? It's because of the heavenly soldiers and generals. What do you want the heavenly soldiers to do? In fact, the game does not say that players can guess whether to save their mother or save themselves. In fact, this reason is far-fetched and the second half of the mystery of the device was revealed, which means that there is nothing wrong with him. He kept in touch with the team as an aunt's boyfriend, so there were so many shows of love in the later period, right? There is also a plot that is independent of Xia Yize, and the main line is his Igu. Moreover, we are familiar with this scene. People who have played Gu Jian No.1 are deeply impressed by the plot of releasing Tian Yong City in Baili Tusu. These two paragraphs are basically the same, but the endings are different. To put it simply, Yigu kept Xia Yize alive and unsealed Baili Tusu to die.

Therefore, when playing Gu Jian II, it is inevitable that it is a bit dramatic here, and I feel that the story is not compact enough and the tension is not enough. It's the second half, and I'm still doing these things that have nothing to do with the main line. I didn't know until the OL test. Oh, it turned out that it was for the needs of OL to insert a Xia Yize. This may be an effective trick in business, but as a work, it is detrimental to the integrity of Gu Jian II.

The overall structural balance of Gu Jian II is very poor, much worse than that of Gu Jian I ... just like one is Laochai Steel Association and the other is Lahu Steel Association. Lao Chai is a composer who became a monk halfway, and the works written by Steel Association are top-heavy, while Lah is an academic, and the works written by Steel Association are very balanced. This unfamiliar piece of music can be ignored, just understand the meaning.

Let's take a look at the big structure of Gu Jian I first. Generally divided into three parts, the middle part is the story of Guluwan-Leiyunhai-Dragon Palace. The first part before Gulu Bay was mainly paving and unfolding, and Longkong Palace returned to the end. Although lengthy, it is very compact and does not deviate from the main line. In the atmosphere, the first part foreshadows tragedy in a relaxed and happy way, the middle part of going out to sea is dominated by joy and fantasy, and the third part is completely gloomy and tragic. The atmosphere and plot content are unified. Fang Lansheng and Xiangling will be cute in the first and second films, but they are all serious in the third film. Finally, the farewell of Qinglong Town and Yu was very impressive. I don't know the truth, but I just smiled at the sky and asked, "How can a little girl cry well?" Xiangling is not just a lovely little girl. She cried two lines, for Baili Tusu's unsealing and for her feelings with Fang Lansheng. Everyone is strong, but Xiang Ling's crying is heartbreaking. The atmosphere at last is very good.

In contrast, Gu Jian II. In fact, Gu Jian II had a very, very good start. The man and the woman met by chance, boarded a strange ship, flew and traveled. This is a good start, worthy of the word stunning. But it's not bad to say top-heavy. The big structure is like this, which is scattered and not well divided. It is roughly divided into two parts. The first part is to find clothes and then die; The second part is to seek the truth. You can also draw a middle part, that is, the story of Le Wuyi's confession of his brother, which is a little out of line but also has a certain relationship with the main line. As I said before, the Xia Yize line is difficult to insert, and basically the plot of Xia Yize has nothing to do with the main line. Jionji peeps, Taihua Mountain is easy to bone, often interrupting the main line and destroying continuity. If Gu Jian is a main line that kills the Soviet Union in a hundred miles, and Fang Lansheng is a secondary line, then Gu Jian is the main line of Wuyi in Ichijyo Raku, and a secondary line is enough. One more Xia Yize is really redundant and too scattered. I have analyzed Xia Yize's "Night Projection" before (see here: those hints and metaphors in Gu Jian II), but even so, it is not the reason why non-main lines can occupy a lot of plots, especially in the second half.

I remember that when No.21was listed in Gu Jian, everyone started to brush Weibo almost at the same time. At the end of the second half, Xia Yize was cursed at the Weibo. I remember a blogger's name was changed to Xia Yize's lifelong black. Some scold him for wanting to be emperor, some scold him for being too tired of Ruan Xiu's love, and so on. But these are only superficial phenomena. Why does everyone bother this character in unison? It has nothing to do with looks, temperament or behavior. In fact, because he is not integrated into the main line, he is redundant. Everyone may have vaguely felt it.

But it's not just Xia Yize. In fact, why Xia Yize Line can occupy the plot like this is also because the main line of Lewuyi (that is, the main line of thanking clothes) is weak. I feel that Gu Jian is in the second half, desperately stuffing into the main line, lest the plot be unclear and wordy as hell; However, in the second half of Gu Jian II, there are not many main lines. In addition to Xia Yize's lines, there is a plot that has nothing to do with anything. Of course, this is also found in Gujian No.1 Middle School, just like Jinjiao scissors, but you didn't use it in the right place, and it's the end. You're still joking, ruining the atmosphere and the structure. So that when I returned to Guangzhou from Zhou Mu, I thought there was a long story behind, but I didn't expect it to be the end of the upper-class moon city after Wushan.

There was a netizen who analyzed Gu Jian's second play on the Candle dragon Forum before, but that was because he didn't master the method of hiding the protagonist. Indeed, hiding the protagonist and the plot makes the plot of Gu Jian's second main line weak and the overall structure unbalanced. Obviously, it is about the content of the main line, but it must be alluded in such a subtle way (see the article on hints and metaphors mentioned above), and then when the circumstances are serious, I feel that the material is not enough and I have to fill it with something else. An extremely central plot like poisoning Xie Shen's duel actually didn't say a word, so it was very confusing. I don't know if anyone can understand this paragraph after two weeks (Zhou Mu certainly can't), but I haven't understood it. So is the story of Guangzhou's seventh day. Anything involving the main line is ambiguous. This is entirely a matter of the writer's pen power. It is because of poor writing that smoke bombs are used to confuse everyone. You can compare several debates between the leading group of Gujian No.1 Middle School and Boss, and there is nothing you can't understand. It is also possible that the creative team didn't have a clear and unified understanding of the main line and Xie Shen's problems, and they couldn't say it clearly, so they had to deal with it vaguely. I feel that Gu Jian II's plays were not written by the same person. I will talk about this later.

Besides the weak main line and too many sub-lines, the overall atmosphere of Ertanwei in Gu Jian is not harmonious. I don't know why the role of Le Wuyi is particularly unsuitable for sad dramas. Several sad dramas have made me very impatient. One is to donate poison to the heavens, the other is to die with clothes off, and the other is to die on the seventh day of July. Sad drama has poor sense of rhythm, vanity and no weight. I feel that every time something big happens, this boy begins to come back from the dead, which is extremely annoying, but soon he begins to be funny as if nothing has happened (you can compare the sadness of Fang Lansheng in Gu Jian No.1 Middle School, and there are not many lanterns floating on the other side after the death of Qin Shihuang's mausoleum and his second sister, which is not annoying, and you can see the growth of the characters)-in comparison, the tragic dramas of blasted into feather and Master Cheng are more moderate and weighty. When Guangzhou went out to sea, he met a very powerful businessman who was joking. In the atmosphere of the goddess' tomb, Le Wuyi is talking about Guanyin with a thousand hands, and Ruan is talking about pig legs. There is also Ruan Aien's drama, which is not often watched in the later period. I know that Xia Yize's lines need to be brushed with a sense of existence, but they are really out of tune. It was not until I went to Liu Yue that this line of people really got into the role. That's why the leading group is so scolded. Everyone thinks they are just a bunch of troublemakers. Who do you blame for not even taking part in the play?

When the structure is finished, let's talk about characterization. Gu Jian's soul is Baili Tusu, and Gu Jian's second is Xie Yi. Everyone should realize this, right? Belle Tu Su is beautiful and lifelike. Everyone can understand his words and deeds, and there is nothing he can't understand. Including his final choice to unseal and dispel his soul, he didn't suffer for the sake of suffering, but realized his destiny and acted according to it. All creatures are safe all night, enemies with bare hands and saving clear snow are incidental, and the most important thing is that "this matter begins with the separation of the soul of Prince Yangqin, and Ouyang Shaogong and I will eventually end ... cut off this karma". At this point, Bai Li Tu Su has completed her self-awareness and understood "Who am I" and "Where am I going", so there is a final "Although I have regrets, I have no regrets". His firmness, courage, benevolence, and no complaints are all firmly supported. So this role is very powerful.

I never liked Xie Yi, and I always thought that Xie Yi was a product of God. In order to create an idol, all the good attributes are piled on him to avoid his weaknesses, so that many of his behaviors are contradictory and unclear at all-this is the cause and effect of the fuzzy main line. So this role gives me an unreal feeling and can't impress me. In order to write this article, I carefully combed the story about Xie Yi. In fact, he didn't have many plays. Generally speaking, Xie Yi and Shen Ye are in tandem. But is this really the case?

The setting of the moon city is very complicated. Let's simplify it. The core of the contradiction is: should Moon City be saved? Shen Ye, of course, stands in the position of salvation, so his behavior conforms to this position. But Xie Yi has never made a clear statement on this issue-the screenwriter told him to avoid making a statement. Judging from the plot, Xie Yi wants to have both, and save Floating Moon City without sacrificing the people in the lower world. Therefore, he not only has the confession of "one person, one city" and "not hearing from each other at this time", but also has the instruction of "brilliant and precious life". The problem is that you can't have both. Only one party can be selected. This is a sign of self-ignorance.

Xie Yi's search for Excalibur also has two explanations. One is that he wants to use Zhao Ming to deal with the devil and destroy the plan of sinking into the night, so he actually chose "not to save the moon city"; The other is that he cooperated with Shen Ye to find the Excalibur and help Shen Ye implement the plan. He chose to "save the Moon City and sacrifice the people". Judging from the direct conflict between Xie Shen and Shen Ye to transform Xie Yi into the seventh grade, Xie Yi should be the first idea. Because if Xie Yi wants to cooperate with Shen Ye, Shen Ye doesn't need to use this tough means.

Then, the act of thanking clothes actually shows that he gave up his people in June city, and "one person, one city" is just a joke or just his personal obsession. However, in his attitude, he made a gesture of unwilling to give up, which aroused a kind of pity like the father. This is the contradiction in Xie Yi. I can't be moved by such a character. I interpret his unwillingness to choose as cowardice and evasion. Even if Xie Yi later became the seventh day and was tied to Yuecheng, it was Shen Ye's strong push, not his intention. I can't see power in Xie Yi. In addition to escape or escape, did he take the initiative to undertake one thing? But Shen Ye made a choice for his people. He did dirty work and took responsibility. In contrast, I think Shen Ye is really a man.

To sum up, in order to maintain the glory of Xie Yi, the screenwriter prevented him from expressing his position on the predicament, which led to the characters' unclear self-knowledge and lack of internal strength. No matter how gentle and gentle he is, no matter how compassionate he is, no matter how golden he says, he can't impress me.

Besides, why don't you make it clear about the night of donating poison? I guess on the one hand, it is to avoid being explicit, and on the other hand, it is to thank the master for his face. In the game, Xie Yi's suppression skills and spells are fantastic. If Lian Le meets an opponent who is stronger than himself, he can muddle through by suppressing skills, but Xie Yi easily loses in front of Shen night, which is outrageous. Therefore, creating gods is risky, and you must be careful when posting gold.

Their structures and characteristics are compared. Let's talk about some lace things. Lace is harmless, but it can reflect the writer's style and strength.

Let's talk about emotional drama first. Just like characterization, Gu Jian I's emotional drama makes me feel more real. Suppose Fang Lansheng and Xiangling are right. They are as old as high school students, and the way of falling in love is something teenagers often do. Fang Lansheng's shame in front of Xiangling, or Xiangling's eyes were only Tu Su's brother from the beginning, and then he gradually got used to having a fool around. All this seems to remind people of some past events when he was young, perhaps experienced by himself or people around him. What impressed me most was what Fang Lansheng said to himself when he jumped into the crack in the sea of thunder clouds. "I took Xiangling's hand, even if I died, it wouldn't be too bad." . Well done! Who hasn't fantasized like this!

One of the emotional scenes in Gu Jian Erli that I admire very much is the one in Shanghai. In fact, the whole Shihai is great. Gu Jian II is really good at 1/3. It's been wrong since I came out of Xie Yi. I strongly suspect that the main pen was changed in the middle. Where's the good news? Don't Le Wuyi want to buy Kirin from Tuhang Jin Zhen, Tuhang Zhen said? Say this thing "can make lovers love each other forever." What a wonderful sentence! The seed of love, a boy and a girl, is ignorant, but the beholder is clear. Tu Hangzhen's words hit the hearts of the two men, which not only showed their dark feelings at this time, but also showed Tu Hangzhen's sophistication and smoothness as a businessman.

However, the author who followed the stick obviously had poor writing style and few tricks. Many emotional scenes in the back are related to falling. Taoyuan Xianju first met and fell; In the quiet lake at night, different feathers chat, and it is autumn; The collapse of the goddess' tomb is another fall. Always so depraved, the image of the leading group is ruined, and I feel particularly reckless and unreliable. Especially when De Nguyen first met, it was very uncomfortable. At least one is a prince and the other is a goddess. Can't people be elegant? You can't have physical contact without falling, and you can't write an emotional play without physical contact?

I think the reason why the emotional drama is not well written is that the emotional drama in Gujian No.2 Middle School is basically redundant, but the so-called official candy distribution has not promoted the plot. Of course, if the sugar is good, it is also very tasty and eye-catching, just like the story of the sea city I mentioned earlier. If you don't send it well, it will be boring. Le Wuyi and blasted into feather each have a main task, even if they don't fall in love, they all have to go to Yuecheng. Ruan's feelings are mainly related to Xia Yize's demons, and as mentioned earlier, the Xia Yize line itself is out of the main line, so it is redundant. The core plot of Gu Jian II is Xie Shen and Xie Le. So I once said in Weibo that there were too many corrupt officials in Gu Jian, and some people said that there were many emotional dramas in Ruan. What's the use of more? It's all lace, and it doesn't affect the main line. In fact, regardless of BG or gay feelings, if you write well, I am willing to appreciate it. It's boring to be gay for gay's sake and distribute candy for candy's sake.

Then talk about the shaping of some small people, Gu Jian II is also anticlimactic. At first, there were a series of great little people, especially in Shihai. Dwarfs are kind, toads are golden, and mice are golden. They are all very lively and lovely. But looking at the last few, I have two biggest opinions. One is the boss who sells boats in Guangzhou. The author who wrote this paragraph is definitely not in contact with businessmen. He never bought anything wrong. How can a businessman sell expensive things cheaply, or sell them to children who go out for the first time like Le Wuyi? It's outrageous, this kind of thing will only appear in young people's YY. There is also pity for jade. As I said before, the role appeared at the wrong time, and it was still very funny in the end, which is one of them; Secondly, this joke is really vulgar. I know this is a satire on someone in reality, but it is worthwhile to make such a vulgar part of your game in order to argue with such a person. It's thoughtless. Then there will be a DLC sea moon. Really drunk.

I'm tired after writing so much. Let's sum it up.

There should be a major change in Gu Jian II's script. Xia Yize line may be added to OL.

There is also a need to change the author in the middle, and the style is not uniform. The main author is tender in writing, shallow in experience, and still needs experience. It may also be because of the first article that the script has been changed, and the ideas of the creative staff are not unified, which leads to many serious injuries in the script, unclear main plot and unreliable main characters.

Gu Jian II changed the screenwriter, and other reasons led to the poor completion of the script, which affected the expressive force of the game. Later, Gu Jian made a TV series, and the University of Technology left, including the story of the OL outbreak, which was based on the unattractive theme of Gong Dou, and many things were developing in the direction I didn't want to see. Will the future Gu Jian follow in the footsteps of today's fairy sword? I still hope Gu Jian can grow up with Gufen. If Gu Jian starts to position itself as a juvenile game, it's time for me to say goodbye to it. Look forward to better performance of Gu Jian OL and Gu Jian III!

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To add another point, Gu Jian II abused death in shaping Xie Yi, making it cheap. People can only live once and die once. Gu Jianbai's death filled Tu Su with shock. In order to emphasize the uniqueness of his death, he even added the setting of becoming a lonely soul and a wild ghost, which made his ending even more tragic. But in Gujian II, the player saw Xie Yi, who lived twice and died twice. He used the "two worlds" to take two diametrically opposite paths-once to suppress and betray June City, and once to become a killer for June City. When Xie Yi died of donating poison, it was really shocking and people were looking forward to it. He died here. How can the play go on? But afterwards, Xie Yi, as a memory, as a "soul" and as a phantom in the celestial apparatus, constantly appeared and disappeared, so that his death gradually reduced his weight. The original sad feeling has turned into the boredom of "why come again", and even the scene on the seventh day reappears as the image of dying soon after undressing, which is not fresh and shocking, and will only make people feel disgusted.

Hiding the protagonist will be very effective if it is used well. Obviously, Gujian No.2 Middle School did not make good use of this technique. Hiding the protagonist is to let the audience gradually spell out the image of a complete character according to various clues, such as Rebecca in Butterfly Dream. But the image of this character must be distinct and unified to be convincing. Xie Yi's image is fragmented and full of contradictions. People are not like people (no one can live twice), leaving players with only a pile of fragments and endless brain supplements. I really can't say that this is a convincing character image. As the core figure of Gu Jian II, Xie Yi failed. Although he is very popular with players, it mainly comes from his appearance-artist, dubbing, music and some beautiful lines. However, only the plot, which can't stand careful scrutiny, is a figure with no inner appearance.