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I have always had a slightly extreme view that the Legend of the New White Snake over-beautified Zhao Yazhi's "elegance" and Ye Tong's "childhood". It was just that the relatively scarce era magnified the influence of Ye Tong's disguise as a man. Calling this innovation seems to be a disparagement of innovation. Regarding tradition, it is not just the skin, as if there is any essential difference between being a human or a demon in ancient and modern times. When everyone brings up Li Bihua's Green Snake, it is not a new saying. Regarding "modernity", sometimes it is just a taboo and evasion of people in the past, not something that is said now. It did not exist at that time, otherwise why would they shout "preserve the laws of nature and eliminate human desires".

There must be human desire before you can destroy it.

Otherwise, it would be like a good cook cannot cook without rice.

In the three so-called Chinese-style White Snake animations, when Xu Xian was still called Xu Xuan, loving her was a demon, and the idea was indeed derived from some vitality, and "Origin" retained the plot of "On the Snake Catcher", and quite a few references to classics such as "a harsh government is more ferocious than a tiger". Didn't the article say, "There is a Jiang family, who has monopolized the benefits for three generations." It made me, a Jiang, feel very familiar. So a little change makes a big difference. When "Origin" sought attention because it thought it deserved more box office, it did have some confidence in the entanglement of tradition and modernity.

In "The Rise of the Asura World", Xiaoqing and the masked man finally settle on the deep sisterhood, which catalyzes the plastic sisters to fall in love. I personally agree with this, because there is indeed a contradiction and competition between the White Snake and the Green Snake, and there is tension. It's just that those days were full of cyberpunk and wasteland style, and "The Rise of the Asura World" happened to wade into this muddy water, which was unfortunate in terms of viewing experience. After all, when you were seeking attention in "Origin", the cover at the door was: Chinese style.

"Floating Life" is responsible for connecting the past and present lives, from the Broken Bridge to the grass theft and the Jinshan Temple, which is a complete return to tradition and a tribute to the classic story. The only difference is the addition of some noisy supporting roles, such as a sweet or salty mount for Fahai, a rat demon, a fat crane who protects the fairy grass and a stand-up comedian champion, the brother constable - however, these are also leftovers from animated films around the world.

There is no problem with the basic appearance, it is a conscientious production, but the weak point is the advancement of the story itself. When there is no better idea, "Floating Life" chooses to be more literary and humorous. This choice is very similar to "Inside Out 2". When there is no way to bring about an idea that goes beyond "Brainstorm" itself, the safest approach is to enrich the "emotions" and return to "adolescence", a common issue without national boundaries.

There is no doubt that Zhao Wenzhuo influenced the director of "Floating Life"

What kind of beginning and what kind of ending become less important. If the stylist is not restrained, Fahai in "Floating Life" will be a bit dangerous - his slender and fit body is very close to Zhao Wenzhuo in "Green Snake", and when he and Xiaoqing were on a blind date, he took off his shirt to show his long waistline. They love each other, they fight, they make people sigh and sigh, and the desire and jealousy that are evaded in the middle are rich and dangerous areas. It doesn't matter whether it is top-heavy or not. What is important is the process, the body in the middle, which symbolizes the process of an encounter.

The audience who went to the theater to catch snakes had their own preferences. Those who went to see it on the night of the Qixi Festival release may have gained the most, because "Floating Life" will become a huge background and emotional embellishment. As for whether the conscience of the Chinese animation film has been new or old after the third film, it is not the focus of most audiences. When director Tian Qinxin adapted "Green Snake", he emphasized that the two snakes wanted to change from coiling and lying down to thinking and hibernating, until Gong Linna shouted: Fahai, you don't understand love.

Monks are also human beings, how could Fahai not understand love? It’s really easy to sing while standing.

Xiaoqing, who has only practiced for 500 years, replied shyly: I am full of waists. The deeper meaning of this sentence is that the story of the Legend of the White Snake is still worth talking about, no matter how small or large it is, and it is not just the White Snake, especially the Green Snake, Fahai, and even Xu Xian. When a person falls in love with a demon, he cannot just say "Lanruo Temple" or "use your true heart" to get away with it. Even if you are a demon or a fairy, you are also a human being.

When talking about desire, it is slightly lower-level, which makes it look avant-garde; when talking about feelings, it is clear that the upper-level path is where the feelings go. In the third film, it suddenly returned so thoroughly, which obviously feels that popular movies, especially animated movies, over-emphasizing Xiaoqing, who has more drama, is a dangerous choice. At this moment, ensuring the safety of the principal is indeed the basic temperament of many Chinese and foreign movies.

By the way, let me commemorate Mr. Yuan Kui: Safety first. (Jiang Nannan)