This director needs to apologize

Chapter 137 Player Packaging
Starting from forcibly crossing the river in the face of airplane fire, Li Weiwei found the unique rhythm of this movie and entered an invigorating state of watching the movie.

After meeting the third friendly force in the dense forest, the two protagonists, led by the latter, silently bypassed the enemy posts and camps. Isn't this the basic framework of the sneak game?
The subsequent plot confirmed Li's only suspicion. The disappearance of the sentry caused the enemy to raise their alert level, and the density of patrols in the woods suddenly increased.

As the game progressed, the designer provided DEBUFF to the players, which was also a typical setting for sneak games. Li Weiwei once again reaped the pleasure of the prophet.

Li Weiwei had completely assumed the role of a game player at this time, and he began to think with interest about what tricks the designer would create for the players next.

In the previous Crossing the River section, Li Weiwei had a certain tacit understanding with the "designer". He knew that this was a high-end plan that pursued the unexpected and was reasonable. He would not deliberately disgust the players, and certainly would not let the players go too far. easy.

The encirclement was getting tighter and tighter, and the vague enemy figures could already be seen in the field of vision. In the background, the enemy's gibbering nutty words could be heard. Li Weiwei knew that an important node of the level was coming.

The next moment, the third person in the team stood up and took the initiative to expose himself and lead the patrol that had closed the encirclement to another direction.

Li Weiwei learned from this that the solution to the level was not the common way of rising up and attacking Wushuang, but using NPCs to lure the enemy away to break through the blockade and carry out the infiltration to the end.

I don't know why, Li Weiwei felt a little disappointed.

Although he knew that all friendly NPCs in the game other than the protagonist were tools that could be thrown away after use, the duo's decision to give up after a simple goodbye still left him feeling a little unsatisfied.

He always felt that the designer who had a close connection with him should not stop here at the end of the level.

The human voices in the background gradually faded away, the woods returned to silence, and on the big screen, the two protagonists continued to march silently, one behind the other.

Suddenly, the staff officer at the rear turned around and looked up slightly in the direction he came from.

The photographer seemed to be startled by the staff officer's sudden move. The camera suddenly zoomed in, covering the staff officer's entire face.

The ice-like condensation on the originally resolute, tired, and vigilant face instantly melted away, leaving unspeakable pain and regret in his eyes.

As if specifically to respond to this change in expression, rapid gunshots and explosions broke out at this moment, breaking the momentary silence.

The camera is like a frightened child, reflexively "hiding" behind the staff officer, and then reappearing behind the staff officer's shoulder, guiding Li Weiwei to look at the source of the sound.

The increasingly dense sound of gunfire and the thin smoke at the top of the tree crown told Li Weiwei that the friendly force had been discovered.But he still insisted on moving, and his purpose was naturally to draw the enemy troops further away.

The sudden piece of wood returned, revealing half of his body beside the staff officer. He turned his head and asked with a worried look, "Brother Qin?"

The staff officer remained motionless and did not answer. It was not until a few seconds later that the sound of gunfire in the distance completely silenced that he pursed his lips tightly and squeezed out an answer through his teeth.

"Stop looking and let's go!"

Li Weiwei let out a long breath, freeing his mind from the trembling state and returning to the mentality of a player.

As a senior gamer, Li Weiwei is a relatively old-school player who focuses on gameplay and gameplay design and is not very interested in the emotional shaping of characters.

He believes that games are not a suitable carrier to carry the plot, and their character creation is inherently segmented and fragmented. Rather than being moved by the characters in the game plot, players are moved by the emotions and time they invest in it.

In short, it's just self-impression.

Of course, Li Weiyi also admitted that there are indeed some games that have made great achievements in shaping emotions, and he himself has been impressed by them, but the number of high-quality games is too small to change his overall evaluation.

However, the scene just now shocked him deeply.

If the scene where the counselor turns his head is regarded as a cutscene in the game, then he must admit that this is a wonderful performance that not only offsets his previous faint disappointment, but also achieved effects beyond his expectations.

In addition, it still conforms to his imagination of a "designer". The final ending is reasonable and the emotional outburst is unexpected.

This also further strengthened his inherent cognition. The emotional saturation presented by real actors is not something that the current CG technology can match. In terms of character creation, games are still far from the level of live-action film and television dramas.

However, he then thought wildly, if it were a real-life role-playing game, wouldn't it be possible to get the best of both worlds?
It seems that it still doesn't work. Let real people appear in virtual battle scenes. The sense of dissonance that ordinary players can't stand, maybe only hardcore players with bad taste can accept.

Probably only AVG games starring real people can meet the requirements. They only perform performances but do not fight. The core gameplay is limited to multiple choice questions.

Li Weiwei was very proud of his genius idea and decided to tell the group of friends about the idea after he returned.

If Chen Yiming knew, he would definitely give Li Weiwei a big thumbs up.Because this kind of game really appeared in the previous life, and it became very popular, creating a whole new game category.

Not only did the game company make a lot of money, but even the [-]th-tier actors who appeared in it were brought to the second-tier in one fell swoop, and they were immediately promoted.

Using games to create stars can still be copied in batches, which shocked many brokerage companies in the entertainment industry.

In the same scene, Pollack, an industry expert, interpreted the scene from a completely different perspective than Li Weiwei, a player.

If the passage on Highland 589 only made him feel a little bit, then after the curtain call of Skirmisher Edamame, Pollack was able to make a final conclusion in advance.

This is a battlefield road movie. The protagonists move forward, meet along the way, say goodbye along the way, and forget along the way. In the process, they change the world and are changed by the world.

Having read countless films, he made a prediction based on this. Next, the protagonists will encounter new companions in the road and encounter new survival crises until they complete the highest task preset by the script.

He was also touched by Duan Yining's superb performance on the big screen, but he couldn't help but feel sorry for the actor, because he was destined not to be the real protagonist and would surely burn out for the transformation of his fellow teenagers.

Pollack became increasingly interested in the film's director, the young Chen.

Battlefield + Highway, this sub-genre of road movies, is not new in itself.

During the interwar period in the 30s and [-]s, there was the British film "The Little Yellow Flower of Verlaine", which tells the story of a horse's combat experience throughout World War I. It is considered to be the earliest battlefield road movie.

In 1952, after the end of World War II, Maoist director Brzezinski's "Donets", which tells the story of a soldier's journey home by boat, was hailed as the highest masterpiece of a battlefield road movie and won the Palme d'Or at Cannes that year. Grand prize.

The core of road movies is actually to satisfy people's curiosity. In essence, the protagonist himself is the photographer, who guides the audience to experience what they see and hear along the way.

The single point of view is an inherent flaw of road movies. The only object that the director can dig deep into is the protagonist himself. Other characters on the road can only leave silhouettes, and the bonds between the characters can only be superficially touched.

It is also for this reason that after experiencing a short period of glory, battlefield road movies quickly lost the favor of directors.

If you want to shoot a road movie, there are countless customs and beautiful scenery around the world, and you can also add elements of love that will never go out of style. There is no need to waste your energy on the battlefield.

If you want to make a war movie, the grand narrative should have an epic-level panoramic battle presentation, and the private narrative should have the struggle of human nature in extreme circumstances. The perspectives should be more diverse, and the characters should be more comprehensive. The road theme is stuck in the middle, which is really embarrassing.

Now, after many years, a Chinese director has come up with a new concept of a battlefield road movie, combining this lost theme with one shot.

There is no talk of revival or rescue, because "1951" still has not gotten rid of the inherent flaws of road movies, but after being "packaged" with a one-shot shooting method, it did bring a different movie-watching experience to Pollack.

Single perspective?Then simply be single to the extreme, use a one-shot method to completely fix the perspective around the protagonist, and forcefully magnify every change of the protagonist.

Weak connections between people in the Tao?Then simply push their bond with the protagonist to the extreme. Separation is eternal farewell, and leaving is death.

After two extreme transformations, battlefield + highway has its own advantages. In the extreme environment of the battlefield, no matter when, where or why people die, the audience will not feel abrupt.

The endings of the previous two paragraphs are handled in different ways, but the core logic is the same.

Whether it is the visual presentation of witnessing enemy planes bombing Highland 589 from a distance, or the auditory presentation of the sacrifice of skirmishers who only hear their voices but not see their bodies, it is through the performances of the two protagonists that they reverse the situation in a way of "not dying before their eyes". Describe the death of people in the Tao.

When Pollack thought of this, he suddenly realized something and jotted down a sentence in his notebook.

"By combining long shots with emotional montage, the time and space limitations of the subjective perspective are expanded, which is a genius creativity."

Pollack is more interested in the subsequent plot. So far, the second protagonist, the consultant, who has more mature acting skills, plays the leading role in the emotional montage.

The young recruit, the first protagonist, has not shown much performance yet. He only played a little role in the scene of crossing the river. The emotional connection between the protagonist group has developed, but the growth arc of the first protagonist is still in the climbing stage.

He is looking forward to how the director of "1951" will arrange the next plot.

If the protagonist's growth is shown only after the sacrifice of the staff, the structure of the script will be a two-player relay model. This kind of treatment will undoubtedly be rough and low-level.

At this time, Pollack felt an inexplicable confidence in his heart that the young director would not let him down.

(End of this chapter)