In the original time and space, the big fish was destroyed in the vast world view of the air, and the theme of the film was to show return and faith, but the director and screenwriter - that is, Liang Xuan - focused on the love triangle of Kun and Tsubaki and Yu's Mary Sue, and many bad lines disgusted the audience, making Gu Cancan feel as if Qiong Yao was involved in the screenwriting.

"Whose love do you think you receive? You are receiving the love of a god! He will betray all the gods to love you! Endure all the pain for you! This brings you happiness!"

"What I fear most in my life is to see you suffer."

"I really regret not holding you tightly last night......"

"You're as good to me as your brother."

In the movie, the feelings for Tsubaki are pure, but it does not mean that the audience can accept this kind of bloody lines, Gu Cancan prefers the silent feelings of spring breeze and rain, rather than talking about love, especially in the tone of big fish and begonias Ancient mythology, from mythology, and finally mythology, after integrating a large number of traditional Chinese culture, the mythological story brings a unique Chinese ancient style, and explores the oriental philosophy of man and nature, the unity of heaven and man, and the cycle of life and death, with beautiful Chinese painting style, wonderful and magnificent scenes, and careful details, but it turned out to be ruined on the plot story.

Big Fish and Begonia should be an excellent animated movie, even if the plot does not change too much, at least the relationship between Tsubaki and Kun and the feelings of Tsubaki should be reprocessed to become more natural, and those youthful campus-style bloody dialogues should be changed, if Gu Cancan operates, Gu Cancan wants to present the audience with a beautiful mythological story of life and death, nature, magic, adventure and love.

And there are actually a lot of foreshadowing in the big fish, such as why the rat woman wants to go to the world wholeheartedly, why the spirit woman wants to exchange life, is the god of the five elements in the village just the background, these can be expanded into separate stories, and the grand world view still has plenty of room for expansion, if the operation is done properly and the publicity is in place, it may be possible to develop a super IP like Marvel.

"Mr. Gu, I just told you about the story, in fact, I am holding a laptop, which has more detailed settings, if time is convenient, I want to give you a more detailed introduction to this movie." Liang Xuan looked at Gu Cancan with some expectation, Gu Cancan listened very seriously just now, and now she looked thoughtful, it was likely that she was interested in this story.

Liang Xuan has already found a lot of investors, but although the swallowtail butterfly has won many awards, it has only helped the other side to receive some jobs, and as for the people who have invested in big fish and begonias, there is no one.

The bonus obtained in the early stage has been spent on the production of big fish and begonias, and now it is stretched thin, if there is no capital investment, the current team is afraid that the birds and beasts will be scattered, after all, everyone has to eat.

Gu Cancan thought for a while and called Su Luo.

After a while, Su Luo came to Gu Cancan's office.

"Sister Su Luo, let me introduce you, he is Liang Xuan, the founder of the other side of the sky culture." Gu Cancan briefly introduced Liang Xuan to Su Luo.

Liang Xuan stood up a little nervously and shook hands with Su Luo enthusiastically, now Su Luo is a celebrity in the film and television investment circle in Beijing, and the amount of projects she handles now is tens of millions.

After Liang Xuan opened his laptop and showed Gu Cancan and Su Luo the story of the big fish and the original design of the characters, Su Luo also showed an expression of amazement.

Big Fish's painting style is similar to Miyazaki's, but it has its own style, and the Chinese-style design and attention to detail make Su Luo, who is a little literary, like it very much.

"It's remarkable." Su Luo sincerely admired, now the film and television environment in China is gradually picking up, but there is basically no news about animated films, I didn't expect that there was a team that made such an excellent worldview background and character design, the key is that this is not a re-adaptation of the previous story, but an innovation in the worldview, this alone is enough to make people admire.

When it comes to animation, the post-90s generation like Gu Cancan, the first thing that comes to mind is the animation series represented by the Wa Kingdom and the Moldy Country, for the impression of domestic animation, many people only stay in the bear infested and joyful impression, most people's childhood is almost difficult to find influential domestic animation, in a sense, domestic animation is absent from the childhood of the post-90s to a certain extent.

However, if it is a post-80s generation, for domestic animation, there are still a handful of domestic animations that are full of warmth in memory, making trouble in the sky, Nezha and the sea, Shuke and Beta, gourd baby, black cat sheriff, these domestic animations have accompanied the post-80s to spend an unforgettable childhood.

In fact, in the ups and downs of nearly 90 years of development, Chinese domestic animation has also had extremely glorious moments.

The world's first animation was born in 1906 in the country of mold, 20 years later in China there are four brothers surnamed Wan, they produced the first animation in China "Big Trouble Studio", it can be seen that the animation of China started very early, you must know that the world-famous Mickey Mouse was only born in 1928.

In 1935, the Wan brothers produced the first sound animation "Camel Dance" in China, which was adapted from the story of Aesop's Fables, and the successful development of the cartoon "Camel Dance" opened a new page in the history of Chinese art films, marking the beginning of the mature stage of Chinese animation, and a step forward from content to form to nationalization.

It's just that at this time, Huaxia's cartoons still imitate the style of the moldy country, and they didn't cause any big repercussions in Huaxia.

Wan Laiming, the boss of the Wan brothers, has realized the crux of the animation they made, that is, blindly imitating the moldy country, and there is nothing that really belongs to the Chinese people themselves. In the article "Gossip Cartoon", he reviewed this shortcoming: "In order to make the Chinese animation industry have unlimited vitality, it is necessary to take root in the soil of our own national tradition."

In 1941, Wan Laiming was inspired to shoot "Iron Fan Princess" by "Snow White", the first animated feature film in the moldy country. This painstaking animation feature is taken from the classical masterpiece "Journey to the West", which makes it obviously more able to gain the sense of identity of the Chinese people in the story, followed by the single-line flat painting mode of the animation of the moldy country, but the painting method of a lot of Chinese paintings, because this film is a black and white animation, in terms of drawing the animation background, it has a strong sense of ink and wash landscape, forming a distinctive national culture and art characteristics.

"Iron Fan Princess" almost unexpectedly caused a huge sensation, and was first released to Southeast Asia and the Japanese Kingdom, and Huaxia animation had an international impact, and even the Japanese animation giant Osamu Tezuka began to decide to devote himself to animation because of the infection of "Iron Fan Princess".

After the establishment of New Huaxia, Huaxia Animation experienced a period of learning Sulian, which made it difficult for Huaxia Animation to be influential during this period, although it had achievements.

Later, Chinese animators realized the need to create their own style, and they consciously returned to the expression of Chinese aesthetics.

In April 1957, Shanghai Fine Arts Film Studio was established, and the slogan of "Exploring the Road of National Style" was proposed, and the construction of the national style of Chinese animation began, and the animation "Proud General" produced by them became the founding work of the "Chinese School".

The protagonist general in "The Proud General" borrows from the overlord face in Peking Opera, the diners borrow from the harlequin, and the footwork of the characters is also from Peking Opera. Costumes, backgrounds, buildings, patterns, etc., are all manifestations of Chinese culture, the appearance of the general, the lifting of the ding, the shooting of geese, until the final "grinding the gun", can be found in the traditional Chinese culture and stories, in the general's hasty escape also used the ancient song "Ambush on All Sides".

This animation is only 30 minutes, the art style and music are full of strong national flavor, which makes the audience at that time not only refreshing, but also moved by this interesting story, and the good response has played a great role in encouraging the exploration of nationalization at that time.

1961-1964 by Wan Laiming, Tang Cheng directed "Havoc in Heaven" is a meticulously crafted masterpiece, first of all, under the charm of the original work itself, the image of Sun Wukong is very well shaped, and the animation performance is also shining, coupled with the abundant domestic animation talents at that time, the production lineup is unprecedentedly strong, it can be said that "Havoc in Heaven" almost represents the highest achievement of Chinese animation at that time.

In 1958, Chinese animators developed the first Chinese paper-cut film "Zhu Bajie Eats Watermelon", and then filmed the paper-cut film "Fisherman", "Jigong Fighting Cricket", "Golden Conch" and other films, absorbing the artistic characteristics of Chinese shadow puppetry and folk window flowers, and shaping the animation image vividly and plump. Paper-cutting, a unique type of Chinese animation, not only adds valuable wisdom and experience to the new technology of Chinese animation, but also carries forward the traditional folk art of China.

It's a pity that the next ten years of catastrophe followed, and the turmoil brought the golden age of Chinese animation to a low point, not only the subject matter was restricted, but the destruction of animation talents also made the development of animation missing a whole generation.

1979's "Nezha in the Sea" was the first widescreen feature-length animation in China. In addition to inheriting the national character of "Havoc in Heaven", the technology has also been improved to a certain extent, but the character design and interest creativity are obviously still the way of "Havoc in Heaven", you must know that the two animations have been separated by fifteen years, and the damage to animation in those ten years can be seen.

Fortunately, the success of "Nezha and the Sea" can be regarded as a shot in the arm for Huaxia Animation, and Huaxia Animation has ushered in a period of revival.

The direction of Chinese animation is to insist on absorbing nutrients from the tradition of Chinese national aesthetics and culture, such as the cartoons "Ginseng Doll", "Golden Conch" and "Fishing Basin" made of paper-cutting, and the cartoons "Little Tadpole Looking for Mother", "Pastoral Flute", "Landscape Love", etc., which are based on the Dunhuang murals, and the painting style draws on the Dunhuang murals "Nuwa Mends the Sky", and the "Fire Boy" draws on the Yunnan ethnic patterns, etc., all of which reveal the glory of Chinese national aesthetics.

In the feature films of Chinese animation, Chinese aesthetic elements are one of the labels of Chinese animation, such as the background painting of "Strange Tales from the Book of Heaven", which has the interest of the green mountains reflecting the green water creases in the pen of ancient Chinese painters.

For a long time, Chinese animation has become one of the most accomplished genres of Chinese films in the world, and Chinese animation people insist on absorbing nutrients from the essence of traditional Chinese culture, the core of the story is born out of nationality, and the beauty of culture is combined with the most classical romantic fantasy temperament, so many cultural masterpieces that are still remembered by many people have been born.

In the 80s, the level of Chinese animation was in the forefront of Asia, but there has been a lack of market-oriented operation leading to a slow trend in animation creation, and in contrast to the reform and opening up, a large number of foreign commercial animation was introduced into China, such as "Transformers", "Mickey Mouse and Donald Duck", "Astro Boy", "Smurfs", "Smart Rest", etc., foreign animation with its vivid characters, interesting storylines, sophisticated production technology quickly attracted the attention of Chinese children, This has brought a huge impact on the animation industry in China.

And because of the rigidity of the system, Huaxia Animation only has government investment, and then procured by the TV station, which directly leads to the fact that there is no more money injected into the animation industry at all, and for a long time, Shanghai Art Film Studio almost represents the entire Huaxia Animation, and the sluggish production cycle, the technical lag, the loss of talents, and the sluggish output, this series of problems have come one after another, which directly leads to the difficulty of Huaxia Animation to compete with the foreign animation produced by industrialization.

What's worse is that the Chinese people are most proud, the cultural inheritance that has a core position in Chinese animation has been gradually abandoned, and cartoons have played a young, naïve, and boring image in the consciousness of Chinese people for a long time.

Chinese animation is sluggish, but there are many animations with Chinese elements in the Wa Kingdom across the sea, such as Akira Toriyama's original "Dragon Ball", whose protagonist is the kind and martial arts Monkey King; Zilong, one of the protagonists of Masami Cheda's "Saint Seiya", is practicing in China; In Rumiko Takahashi's "Ranma", the father and son of Ranma and all the characters with transformation functions were "demonized" after falling into the hot springs in the hot spring town of China; Ogawa Yueji's "Little Master of China" simply tells the story of Chinese people in China.

This fully shows that Chinese culture actually has an incomparable charm, but we ourselves have gradually abandoned our own advantages and characteristics, but more and more towards the direction of young age and infantilization.

It is obvious that there are two problems that must be broken in order for Chinese animation to go on, the first is that it needs to find the genes of domestic animation, that is, its own language, so as to get rid of the stereotype of being young and improve its influence. The second is that animation must be profitable in order to attract more animation talent.

You must know that we naturally have many super IPs, such as the four famous novels, such as the Romance of the Gods, such as the Classic of Mountains and Seas. With its abundant imagination and romanticism, the predecessors have created countless cultural treasures, which in itself means a strong creativity and vitality, which is an inexhaustible treasure for our domestic animation.

Big fish and begonias are excellent works that have absorbed many nutrients of Chinese culture, but it is a pity that they have deviated a little.