This top guy is crazy!

Time flies, and a month and a half has passed since Cheng Cheng participated in "Chasing the Wind".

The hype has died down. Although there are still some memes and mentions on various platforms, they are insignificant in the face of the endless stream of new hot topics.

The internet revolution is a constant cycle, with new waves pushing out the old, and it doesn't linger on any one event for long.

In the past month and a half, Wushan TV has made up its mind and is working hard to restart "Chasing the Wind: Side Story".

They use various marketing accounts to release smokescreens such as "high audience demand" and "still facing difficult internal decisions," constantly testing and provoking the market and audience's reactions.

Meanwhile, Shinhwa's "Ace vs Ace" has also been approved. Although it has not been officially announced yet, it has been spotted by the media with a keen sense of smell through the activities of several celebrities, attracting the attention of a large number of netizens.

The fact that Jiang He and Liu Yidan's schedules were revealed and they were photographed entering the Myth Building one after the other further confirms the rumors.

Netizens joked that Jiang He and Liu Yidan only participated in a variety show with Cheng Cheng and then received new jobs, saying that they should inherit their career luck.

At the end of September, Cheng Cheng and Nilu Kezi went to Xinjiang Province.

Cheng Cheng's trip to Xinjiang Province was as an invited guest to attend the Xinjiang Province Cultural and Tourism Development Conference.

The reason for inviting Cheng Cheng is that the White Snake Film City he built has become a national model for cultural tourism.

Nilu Kezi was also among the guests, as she is currently a prominent figure in Xinjiang's entertainment industry and an artist under the Shinhwa label. She was invited along with Cheng Cheng.

Nilu Kezi has had a good career in recent years. Although she can't compare to top actresses like Yan Gou'er and Wen Lian, she has reached a point where she can't advance any further in the Chinese entertainment industry, even surpassing Dilraba Dilmurat in her previous life.

Furthermore, with the globalization of mythology, Nilukezi's development in Japan has also been very successful.

She has now become a regular at Japanese fashion shows, participated in many popular Japanese variety shows, and made cameo appearances in Japanese dramas, gaining a large following in Japan.

Aside from Cheng Cheng and Jiang Nan, he is arguably the most popular Tianxia artist in Japan.

With foreign countries supporting domestic development, Niluqizi's status has become even more exceptional.

Of course, more works are also what Nilukezi is pursuing now, but she needs an opportunity. After all, she is currently focusing most of her energy on fashion shows and variety shows, and her acting skills have fallen behind. It's not something Cheng Cheng can just push away.

This cultural and tourism conference in Xinjiang Province presents a very suitable opportunity.

The leaders of Xinjiang Province want to replicate the model of the White Snake Film and Television City. They asked Cheng Cheng to create a film or television series based on the cultural landscape of Xinjiang Province, which can then be developed into a tourist attraction. Alternatively, they can create a film or television series based on existing attractions.

Cheng Cheng actually has works in his repertoire, such as "My Altay".

Both the novel and the TV series "My Altay" were phenomenal successes, arguably the most famous Xinjiang productions of its time. Unfortunately, the protagonist of "My Altay" is a Han Chinese girl.

It presents the minority cultures of Xinjiang Province from a fresh perspective of an outsider.

For example, the TV series depicts the customs of herders' migration and winter slaughter, and this "gaze of the other" naturally carries the poetic beauty of cultural collision. If Nilukezi were to be cast as a local girl, it might directly weaken the uniqueness of this observation and sever the cultural interaction between the Han and ethnic minorities.

Therefore, Cheng Cheng immediately ruled out the project "My Altay".

After ruling out "My Altay", he thought about it and realized that he really didn't have any other XJ works that had broken out of the mainstream.

Actually, there's a reason for this. Just like in the previous life, the majority of Tianxia's population is Han Chinese, which leads to certain differences in culture, lifestyle, and way of thinking with Xinjiang Province.

If film and television works simply showcase "exotic customs," it is actually difficult for them to truly "break out of their niche," and there is also the language barrier, making it no different from watching American or British dramas.

The clever thing about "My Altay" is that it unfolds from the perspective of a Han Chinese girl. In the previous version, the government also tried to do the same, leading the production of a true Xinjiang drama, "Anarhan," and even casting Dilraba Dilmurat in the lead role, but it still failed to make a splash and received a low rating on Douban.

After much thought, Cheng Cheng decided to adapt it himself.

This is the first time he has adapted a work without an original source.

In the hotel room, Cheng Cheng sat in front of his laptop and typed. A title appeared on the blank document:

The Scenery Here

"The Scenery Here" is a work by the writer Wang Meng from a previous life.

It is considered a landmark work in modern literature on the theme of Xinjiang province, and it won the Mao Dun Literature Prize for 15 years.

The main story takes place in a rural area of ​​southern Xinjiang in the 1960s (based on Yili), revolving around a "grain theft case" and connecting the lives of villagers from multiple ethnic groups, including Han, Uyghur, and Kazakh.

Because of the difficulty of adapting it, the original work is a long novel with a total word count of 700,000 words, and it is a work from that special era, so no one has touched it.

However, the timeline review is relatively lenient, and since Cheng Cheng knows where the second red line is, he still plans to give it a try.

He plans to write the novel first, and then adapt it into a screenplay.

After typing the title, Cheng Cheng began typing furiously on the keyboard, words flowing from his fingers:

"Yes, almost there, just a few more hours. Is this your first time visiting Yili? That's wonderful! It's such a beautiful place!"

At that moment, the bathroom door was pushed open from the inside.

Nilukezi came out wrapped in a white bath towel.

Her long, wet, curly hair cascaded over her smooth shoulders, and water droplets occasionally slid down her graceful neck and disappeared into the edge of the towel.

Beneath the bath towel, a pair of shapely, long, and taut legs were faintly visible as she moved.

She walked behind Cheng Cheng, leaned down slightly, and her damp hair almost touched Cheng Cheng's earlobe. A warm, moist fragrance reached Cheng Cheng's nose.

She looked at the screen, her deep, exotic eyes filled with curiosity.

Her red lips parted slightly, and she read aloud:
"Yes, almost there, just a few more hours. Is this your first time visiting Yili?"

She turned her head, looking at Cheng Cheng with surprise and delight, her tone filled with natural joy:
"Boss, are you writing a story about Yili?"

“Hmm.” Cheng Cheng, still staring intently at the screen without turning his head, said, “Let’s finish writing the novel first, and then adapt it into a TV series.”

As they spoke, Cheng Cheng typed several hundred more words.

Looking at his profile, Nilukezi was somewhat infatuated.

She squatted down, crossed her arms, placed them on the armrests of Cheng Cheng's chair, rested her chin on her hand, and looked at the content that Cheng Cheng typed out. She read as much as Cheng Cheng wrote.

Tired of squatting, she simply sat down on the ground and continued to tilt her head and stare intently.

Sometimes, Cheng Cheng would touch her head while typing. (End of Chapter)