Chapter 490 New Shushan New Characters

Chapter 490 New Shushan New Characters

Chapter 490 New Shushan New Characters
The new "Shushan Swordsman Universe" written by Tsui Hark and the screenwriter department of Galaxy Group is currently only in the first stage, that is, from the time when several protagonists became apprentices to the famous sword fight in Ciyun Temple in the early stage.

According to Tsui Hark, they first went through the original novel of "Swordsman of Shu Mountain" from beginning to end, and also referred to "Swordsman of Shu Mountain Prequel" and "Sequel", extracting the experiences of each character and writing them into personal biographies.

Then the key events are extracted, such as the sword fight in Ciyu Temple, the magic fight in Qingluo Valley, the beheading of the demon corpse and the execution of the green robe, the Ziyun Palace incident, and the treasure hunt in Yuanjiang.

Then, we pieced together and adapted it based on the historical framework of the Ming Dynasty, and finally got this version of [Shushan Swordsman Universe: Phase One].

The first stage was set in the early years of Hongwu, when the Ming Dynasty was just established and the Yuan Mongols were expelled.

At that time, Emperor Hongwu had just ascended the throne, but the stench of evil on the land of China was swept away, and the mountains and rivers of the motherland were transformed.

With the change of dynasties, the demons and monsters that once wreaked havoc in the turbulent times began to cease their activities as the world improved.

Therefore, the court began to focus more attention on the martial arts world in order to clean up the world and consolidate the imperial power.

In this story context, Li Ning, a chivalrous knight nicknamed "Tongbi Shenyuan", fled to Sichuan with his daughter to avoid being hunted down by the imperial court. He happened to meet his good brother Zhou Chun, also known as "Flying Crane in the Clouds", who was living in seclusion there, and Zhou Chun's youngest son Zhou Qingyun.

In this way, the two brothers and their children lived in seclusion in Mount Emei, leading a very carefree life. They only went down the mountain occasionally to replenish the daily necessities that were lacking on the mountain.

Until one day when Zhou Chun brought Zhou Qingyun down the mountain, they happened to run into their former enemy "Multi-armed Bear" Mao Tai, which led to a colorful and magnificent story involving countless flying and ethereal figures.

“As for the main characters of the movie universe, we mainly set it to be five.

First up is Li Ning's daughter - the heroine Li Yingqiong. This character is not much different from the original novel and is still the leader of the "Three Heroes and Two Clouds", the master of the Ziying sword. She is born with a blood mole between her eyebrows, and is the reincarnation of an evil star. She is decisive and ruthless in character, and is devoted to the Tao. Unlike traditional fairy tales and ancient idol dramas, as the heroine she does not have any love scenes, so she can be considered a major heroine.

Moreover, because she has been wandering around with her father since she was a child, she naturally distrusts the Ming government, which is the core point of the story conflict.

Then there is Yu Yingnan, the second of the "Three Heroes", who was left alone in the open air since childhood. At the age of five or six, she was driven out by her evil aunt and fell in the snow. She was rescued by Master Guanghui of Jietuo Temple in the front mountain of Emei Mountain, who took her as his disciple and taught her Buddhism and medical skills.

Li Yingqiong and she met in the mountains. They were close friends with a deep affection and were as close as sisters.

She has a gentle personality and is beautiful and intelligent. Although she experienced many disasters in her childhood and had her bones frozen by cold and her bone marrow frozen, she is still humble and friendly to others, and is smart and intelligent, which often makes up for Li Yingqiong's shortcomings.

Fortunately, Li Yingqiong obtained the Ten Thousand Year Warm Jade, and with the help of the Nine Heavens Yuan Yang Ruler, elixirs and magic weapons, healed his old illness and became the master of the Nanming Lihuo Sword.

Yan Renying, one of the three heroes, is one of the male protagonists and the eldest brother of the Emei Shushan School. His master is the head of Emei, Miaoyi Zhenren, and his great-aunt is the Biwen Fairy Yan Yinggu. He is the best among the senior female fairies, with profound magical powers and high respect for Taoism. It can be said that he comes from a famous family.

He has fine eyebrows and tiger eyes, a heroic demeanor, a gentle temperament like jade, a calm and peaceful personality, modest and reasonable. His moon-white Taoist robe is always spotless. He is nicknamed "Jade Young Master". He controls a Milky Way Sword, and his sword energy is like a galaxy across the sky. He is the undisputed number one among the younger generation of Emei Sect, and is deeply trusted and respected by his fellow disciples. "

Tsui Hark introduced several major characters of the "Shushan Swordsman Universe". Wang Hao couldn't help but nod his head. He felt that these characters had very distinct personalities and characteristics, and each of them had some shadows from many works.

Of course, it cannot be said that the [Shushan Swordsman Universe] plagiarized other works, because it itself was adapted from "Shushan Swordsman", and "Shushan Swordsman" was the earliest book.

It can only be said that the novels of later generations such as Jin Yong, Gu Long, Ni Kuang, as well as various fairy-hero fantasy stories and games, have been more or less influenced by "The Legend of Sword and Fairy".

For example, Xiaolongnu sleeping on the rope, the Dragon Slaying Sword, Yang Guo's Magical Condor Heroes, the Shushan School in "The Legend of Sword and Fairy", all of these are influenced by "The Legend of Sword and Fairy".

"Qi Lingyun, one of the 'two clouds', is the daughter of the Emei Sect's headmasters, Qiankun Zhengqi Miaoyi Zhenren and Miaoyi Madam. She has great magical powers, deep blessings, and excellent roots. She is intelligent, sensible, and knows when to advance and retreat. She is extremely friendly to her fellow junior brothers and sisters, like an older sister.

What he controls is an invisible immortal sword, which has the essence of emptiness and illusion of Buddhism and the distinction between reality and illusion of Taoism. It seems real and illusory, invisible and colorless, and extremely magical.

As for the last "Yun", Zhou Qingyun, he is the son of Zhou Chun. He grew up in Mount Emei with Li Yingqiong, his father and Li Ning when he was young. He has a lively and naughty personality.

On the way down the mountain with his father, he met his father's enemy, Multi-Armed Xiong Maotai, and was abducted by him. He learned some magic tricks in the evil den. Although he was later rescued by the elders of Emei Sect and became a disciple of Zui Taoist, his temperament became more and more rebellious and he often behaved in a bohemian manner.

As for the Qingsuo Flying Sword he later obtained, it was the same as Li Yingqiong's Ziying Sword, which was used by the founder of the Emei Sect, Changmei Zhenren, to refine demons. When the two swords are combined, nothing in the world can be cut down."

Five people, three heroes and two clouds, three women and two men, are considered the core characters of the [Shushan Swordsman Universe]. As for the others, like Qi Jinchan, Miaoyi Zhenren of the Emei Sect, the Green Robe Patriarch, Wanmiao Fairy Xu Fei Niang... they are all supporting characters.

"Not bad!"

Wang Hao looked at the character setting and story background, nodded with satisfaction, and expressed his recognition of Tsui Hark and the screenwriter department's busy work over the past few months.

"From the looks of it, the focus of the story is on Li Yingqiong and Zhou Qingyun."

Wang Hao continued to flip through the setting collection and story outline in his hands.

“The only two male protagonists have different character settings: one is a handsome and friendly senior brother in the sect, and the other is a rebellious new junior brother.

There are naturally dramatic conflicts in the relationship between the two, but although they seem to be in discord, there is a hidden sense of brotherhood and friendship between fellow students.

As for the female lead, there are also differentiated settings. Li Yingqiong has a hot temper, while Yu Yingnan is tolerant. The two have a deep friendship, and their rivalry is also very interesting. This CP combination is good."

After sighing, Wang Hao looked at Tsui Hark with a strange look.

According to what he learned from some informal channels, Director Xu seemed to have some special hobbies and was particularly keen on stories between women, which he also showed in many of his own films.

The most famous ones, of course, are Joey Wong and Maggie Cheung in "Green Snake". In addition, there are Dongfang Bubai and Xue Chihiro in "Crouching Tiger, Hidden Dragon", all of which have this flavor.

Now, the relationship between Li Yingqiong and Yu Yingnan seems to satisfy some of Tsui Hark's bad taste. It's a pity that time flies and the beauty has aged.

If we go back 30 years, Brigitte Lin would undoubtedly be the perfect choice to play Li Yingqiong.

Now, where can we find people like Brigitte Lin, Joey Wong, and Maggie Cheung to create the "Shushan Swordsman Universe"?

Wang Hao's thoughts turned to the selection of roles, while Tsui Hark was clapping and sighing:

"Mr. Wang is truly worthy of his name. He saw through our creative ideas at a glance.

Regarding the story of [Shushan Swordsman Universe], in addition to the struggle between good and evil and the rivers and lakes and the court in the original work, we will also start with two minor characters, Zhou Qingyun and Li Yingqiong, and use their personal growth as another main line. Especially Zhou Qingyun, this character will be more complicated. His early experience in the Demon Sect and the struggle between good and evil are not only a personal transformation, but also involve the core theme of the confrontation between good and evil.

This way, the story is not only richer, but also appeals to a wider audience.”

"Yes, this setting is very tense!"

Wang Hao nodded in approval.

“His identity conflict and inner struggle can add more depth and complexity to the story.

The audience can not only feel his growth, but also see the complexity of the confrontation between good and evil and the multifaceted nature of human nature through his perspective.

Of course, in addition to the three heroes and two clouds, other characters cannot be ignored. There are many characters in the original novel "The Legend of Sword and Fairy", and there are still many contents and angles that can be developed.

In addition to the battle between good and evil and the growth of characters, I think the entire movie universe should also have a dark thread."

"What hidden thread?" Tsui Hark asked quickly.

Wang Hao thought for a moment and replied:

“I think the underlying thread should be ‘inheritance’.

Our Chinese immortal cultivation is different from Western mythology and has its own uniqueness.

The word "immortal" has always been a romantic pursuit unique to us Chinese.

Look at foreigners, what they want is to go to heaven after death. What is this? This is to rely on external things and pin everything on a higher level.

They clearly fear death and desire immortality, but they feel that immortality conflicts with entering heaven, so they devalue the desire for immortality as demons like vampires.

But we Chinese are different. Although the ancient emperors' pursuit of immortality was often accompanied by criticism, for thousands of years, long life, flying in the sky and riding the wind, and sitting and watching the green mountains without getting old have always fascinated countless people.

And in our mythological stories, there are also many stories about the spiritual practice from humans to immortals.

what is this?
This is a kind of progress, a leap, an inner pursuit, and also a vision and thought with a longer-term time span!

Since we are shooting a fantasy film involving the concept of "immortality", we naturally have to grasp the core and ideas that transcend time.

The sects of cultivating immortals have been passed down from generation to generation, carrying the high-spirited beliefs and missions of countless generations. Just like our country, although everyone has his or her own story, their destinies are closely linked, and eventually converge into a grand culture and nation, which is endless and has a long history.

Even now, we still sing the stories of the ancients and, like our ancestors, yearn for stories about "immortals" and even make them into movies and TV series.

Isn't this another form of spiritual practice and longevity?
Perhaps on a larger scale, our Chinese people are also the 'immortals' who have attained enlightenment."

"Hi~"

Wang Hao's ideas made Tsui Hark gasp, and the more he thought about it, the more interesting it became.

Yes, who said that “immortal” is just a person?
National practice, culture becomes "immortal"!
This is indeed an extremely special angle.

Tsui Hark said that this cultural heritage and the unique romance of "immortals" are indeed suitable as the hidden thread of the film universe.

However, the story setting is just the story setting. There is still a long way to go to transform the ideas on paper into actual works.

"We are currently preparing to perfect the content of the first phase of the work based on the entire story outline and character biographies. It is expected that there will be five to seven film works, and then a climax scene with a sword fight at Ciyun Temple as the main focus. This is the script work.

Then comes the image setting, which is more complicated than script writing and involves a greater workload.

In addition to referring to different scenic spots in China and designing the special natural landscapes in different places in the Shushan world, we also sought advice from experts in history, ancient architecture, and costumes from the Ming Dynasty and earlier, to design buildings and costumes that were in line with that era but also in line with the "Xianxia" elements.

In addition, since it is a fantasy film, the gorgeous spell effects, different flying sword control methods, and various magical treasures and formations all have to be specially designed to suit the characteristics of different characters as well as sects and camps.

There are also monsters, mythical beasts, exotic flowers and rocks. In the past, when China had special effects in this regard, most of them used foreign materials in order to save time and cost. They had a Western fantasy flavor and were more like orcs than monsters.

Therefore, we also have to find a specialized Chinese fantasy painter to design monsters and demons with a distinctive classical style that fits our culture based on the traditional "Classic of Mountains and Seas" and various ancient books as well as ancient murals and cultural relics.

The preliminary work in this regard still requires strong support from Xingguang Huancai and the availability of relevant funds.”

Tsui Hark put forward his own request.

Obviously, this time when he visited Wang Hao, in addition to reporting on the progress of the work on the [Shushan Swordsman Universe], he also came with the mission of asking for money, people, and support.

Wang Hao naturally would not be stingy about this.

Just as he had previously told Tsui Hark about the hidden plot of this film, if the [Galaxy Cinematic Universe] is the vision for the future in Chinese culture, then the [Shu Mountain Swordsman Universe] is the inheritance of the past in Chinese culture.

Both, one inside and one outside, one past and one future, are extremely important in the development strategy of Galaxy Group.

Moreover, he is not worried that the money will not be put to good use. Tsui Hark is not necessarily a 523, and the Galaxy Group is certainly not a makeshift team.

Today, their film industrialization system has already entered a mature stage due to the process of creating the "Galaxy Cinematic Universe".

Even for Tsui Hark's series of requirements, there were targeted departments within the company to provide appropriate solutions and results.

For example, the monster designs and architectural wonders with classical Chinese style that he needs can be borrowed from the "Ghost Blows Out the Light" series produced by Galaxy Pictures some time ago and now about to be broadcast.

(End of this chapter)