This star is going to the moon

Chapter 283 Guo Fan meets with Dumplings and Feng Ji; all three are "idea kings"! (Seeking monthly votes)

"This 'Blade Wolf' leader's weapon is called 'Red Tide'? Is this an Easter egg in 'Art of War: Red Tides'?"

"Yes."

"It's really clever to realize Sun Wukong's transformation ability in such a way; it's very game-like."

"you flatter me."

"This fight scene is great, very intense. Are 100,000 heavenly soldiers really that exaggerated? I actually wanted to have a larger battle with even more people in 'Ne Zha 2'."

"Coincidentally, I also designed a large-scale battle scene with many fighter jets in 'The Wandering Earth 2', as well as a scene of thousands of meteorites falling and close-in weapon systems firing indiscriminately."

"This kind of scene is difficult to design; if done well, it's a classic scene; if done poorly, it's a disaster..."

Guo Fan and Jiaozi were having a blast playing "Black Myth: Wukong," and Feng Ji was also having a great time providing commentary.

Most importantly, they chatted while playing, and talked about a lot of things, each gaining a lot of useful information from other sources.

Lu Yun was more focused on the game, because he discovered that the current "Black Myth: Wukong" was somewhat different from the one he played in his previous life.

For example, the invisible wall issue he complained about before, Feng Ji and his team actually found a way to solve it.

They simply used rocks or trees to block the way, but the blocking technique was quite good.

They drew inspiration from the "latticed window" design in garden architecture, turning the air wall into a "solid wall," but with windows opening in the wall so that players can see the scenery behind it.

However, compared to the square and round regular windows of garden architecture, the "leaky windows" created by piles of rocks and trees are not very regular, but they just happen to complement the wildness of the mountains and forests.

Moreover, even with these cluttered windows open, the magnificent scenery behind them isn't wasted; players can still appreciate it because the purpose of opening the windows is to connect the spaces, but it clearly tells you that you can't go through them.

As for places that are not suitable for placing rocks and trees, you can install some fences. Small fences that can be broken can be passed through, while tall fences that cannot be broken cannot be passed through.

For places where there's really no way to put things, you'll have to build a cliff. If you get too close, you'll stagger and sway. If you don't retreat quickly, you'll fall to your death and be resurrected as a hair in the local temple.

In addition, there have been changes to the map instructions, with the main steps now clearly divided.

They redid the directional signs according to Lu Yun's ideas, and there were well-maintained torches and stone lampposts on the roads related to the main route.

In darker areas, lights are lit, and you can vaguely see the next firelight from the previous one.

This is clearly a road you often take.

The side quest routes all feature unmaintained torches and stone lampposts, which are more dilapidated, crooked, and do not emit light.

This is clearly a road that isn't frequently traveled.

As for those roads leading to remote and obscure corners, needless to say...

The reason it's considered a remote and secluded spot is because it's completely unmarked, leaving it to curious players to explore on their own.

After these changes, Lu Yun felt that the game map in this life was not 100% the same as the one in the previous life; it seemed to have a more sophisticated design.

Unlike the previous life, it's no longer about "excessive material piling up" and "flooding the market".

This made Lu Yun feel quite good, since 100% identical is not very interesting.

Guo Fan and Jiaozi had a great first time playing together. Feng Ji was very tactful and didn't ask for their help right away, not even during lunch. Instead, they continued discussing their work. Instead, Feng Ji offered Guo Fan and Jiaozi advice.

“The situation is very different now than before. All kinds of literary and artistic works must contain revolutionary ideas. Director Guo, if you want to create a grand narrative in your film, then you should read more of his works. The theme of your ‘The Wandering Earth’ should be closely related to the idea of ​​‘the great unity of the people of the world’.”

"Jiaozi, if you want to create a larger worldview in the second Nezha movie and also reflect the idea of ​​resistance, you can study more about the colonial history of imperialism, or the remnants of feudal history in China. I believe it can give you a lot of inspiration."

“What Boss Ka said is right. I was very inspired by the line in the Shadow God picture before, ‘This offering should be given to those who farm and harvest vegetables. If we eat it, they will eat less.’”

"That's really good. Our country's cultural interpretation of Sun Wukong has been constantly changing, from his initial rebellion to being given a revolutionary character..."

Listening to their conversation, Lu Yun once again exclaimed, "Cultural workers must be cultured."

They talked about everything from the great unity of the people of the world to the history of imperialism and colonialism, and then from the remnants of feudalism to revolutionary ideas. There are very few people in the arts and literature circles who can discuss these topics clearly.

Just look at the schools Guo Fan and his classmates attend: Guo Fan studied law, Jiaozi studied pharmaceuticals, and Feng Ji studied biomedical engineering.

All three of them entered university through hard work and the regular college entrance examination, and then switched to the entertainment industry after entering university.

The older generation in the entertainment industry mostly did not receive much higher education. For example, a famous director was originally a photographer, and he was good at taking pictures.

A famous director was a graphic design assistant who worked in the industry.

There's an even more direct explanation: because his father is a famous director, he is a great director.

Some directors are just slackers; they make films about the Three Kingdoms without researching the Three Kingdoms period, they make films about Dream of the Red Chamber without reading the novel, and they make revolutionary war films without doing any research...

The younger generation is better off, as the country has nine years of compulsory education. Some continue their studies after high school, while others simply finish junior high and stop, resulting in many celebrities being "desperately illiterate."

Guo Fan, Jiaozi, and Feng Ji are different. Whether it's their current conversations or interviews, their knowledge of literature, philosophy, art, politics, and history far surpasses that of those "Xth generation great directors."

Guo Fan is able to lead the writing of a million-word setting and script, Feng Ji is able to write lyrics with a very classical flavor, and Jiaozi also has a strong understanding of international politics and capitalism.

They are now discussing the adaptation of the original work and the original theme. The script of "The Wandering Earth" is very different from the original novel "The Wandering Earth", and even incorporates many settings from Liu Cixin's other works.

The story of Nezha is quite different from the original. The protagonist becomes a demon, but he has a happy family and becomes friends with the Third Prince of the East Sea.

The adaptation of "Black Myth: Wukong" is quite extensive, after all, it incorporates the word "black".

So the three of them shared a lot of the same feelings.

"Many people praise us, but many also criticize us for ruining the original work."

Even though Feng Ji's "Black Monkey" hasn't been released yet, this situation already existed in the previous "Dou Zhan Shen".

Hearing them say that, Lu Yun said, "Don't worry, the times are rolling forward, and various cultural products are constantly being innovated. Only by constantly changing and adapting to the new era can we maintain the vitality of culture."

"Even if the adaptation is bad, it's still a contribution, after all, the original work has been passed down. Not to mention, your adaptation is anything but bad, breaking all sorts of records."

Only after arriving at this point did Feng Ji begin to express his request for help from Guo Fan and Jiaozi, and Guo Fan and Jiaozi genuinely offered their assistance without even accepting payment.

However, they will not directly take over the production of the promotional video, because in their opinion, "Mr. Ka, this is your own work, you know it best, handing it over to us is actually a 'mistake'."

"So we'll teach you some techniques and give you a final check. You should create it yourself and present it to the audience and players so that they can feel your sincerity!"

(End of this chapter)