Shulou(Shulou.com)11/24 Report--

As long as you can move, as long as you can.

"A man with no face again."

When clicking on the newly broadcast Guochuang animation "Ark of tomorrow: prelude to Dawn", I found that "Dao Ke Pagoda", which represents the player's perspective, is another blurred image. This is somewhat unexpected and reasonable.

You read it correctly, this is my face seems to be adapted from the two-dimensional game animation, with no face or mute as the "protagonist of the game", has become a kind of tacit practice.

For example, the protagonist of the animated version of Princess Link is "mute" and hardly speaks. This sets a big stage for the male lead's voice. After all, it is much more difficult to express his emotions only with "mm-hmm" than to say his lines directly.

I don't suspect that this piece of gold is fake, but I just think it can eat the Legend of Magic Girl Xiaoyuan (yes, this is a reverse animation adapted from Mobile Games). The characters played by the players are not even dumb here.

It's not even human.

It's not QB, it's Master. By the way, I didn't use the words carefully just now. Although I am not a human being, I am still mute. The animation of "Blue Route" is the cleanest. It directly omits the leading actor. As long as there are beautiful girls posting together, the commander's disappearance is not at all important. The same is true of "Breaking up 3rd" derivative animation "Vulcan's Dining Table". As a single episode with only five minutes of instant noodles, players just have to watch their wives cook off the screen.

Where is he, you ask? I looked out of the screen as a professional screenwriter who had participated in a lot of IP adaptations. If I were to judge, purely from the point of view of character setting, the image of this "protagonist" was very awkward, and it was Robert McKee who saw the extent to which he could throw "characters" onto the computer screen.

After all, the protagonist is the most important character in the work, and all narratives are created by TA. TA needs solid settings, sufficient motivation and strong character emotion to actively or passively promote the development of the story.

When the planner tells the screenwriter that the protagonist must be mute or a mysterious character who can't show his face, the writer's mood is probably …...

It is about the same as when the designer sees "please change it to colorful black".

Movie and television aside, from the point of view of the game writer, this setting is very reasonable. In traditional RPG games, the protagonist is an important carrier of the player's perspective.

The definition of the protagonist as "mute" is essentially to make players have a more sense of substitution when playing. This is the same as making the protagonist "amnesia". Wash the protagonist into a blank piece of paper, in the non-linear narrative, let the story develop in the middle and back of the worldview timeline, and at the same time give players the feeling of starting from scratch. In the development of the story, you can constantly uncover the previous history of the protagonist, laying out the suspense and revealing the truth, so that players can better experience the plot of the game.

A typical example is Link in the Legend of Zelda, where both amnesia and mute leap from one carrier to another, which is difficult in itself. QQ mobile games are faced with more problems than traditional RPG in terms of film and television: an endless stream of new characters and plots, new maps that suddenly appear when the version is updated, and taking care of audiences of different ages.

In the long-term iterative process, mobile games generally do not choose to concentrate on narrative, but are divided into chapters and modules, which is also adding difficulties to animation adaptation.

However, they all have their own solutions to these problems.

The animation of "Blue Route" simply gives up the perspective of "players" and focuses on the characters directly. Because of the particularity of the game, the consideration of film and television accounts for a large proportion in the preparation of the plot, so the protagonist itself is in the perspective of the bystander.

Princess Link is handled very well: it strengthens the characteristics that the protagonist is mute, psychologically young and needs to be taken care of, and even deliberately highlights it as a very eye-catching comedy in the animation.

At least my sleep quality is very good. I just updated the first episode of "tomorrow's Ark: prelude to Dawn". Instead of deliberately avoiding difficulties, it continued the setting of the Doctor in the original game: the hood covered most of his face and did not emphasize gender. I was worried about my health at first, I was still in a state of amnesia during the battle, and I couldn't figure out the situation at first. So at the end of the episode, when TA logs in to PRTS and begins to command the battle, it can bring the audience a passionate emotional feeling on the basis of the contrast.

The PRTS is so restored that my DNA has moved.

As a matter of fact, Dao Keta still has the face (if you don't believe me, brighten up and take a look) the boat has even done a neutral treatment to the doctor's voice. So, since it takes so much effort to create a reasonable "player perspective", why do game companies rush to the road of film and television adaptation?

2 this situation is not difficult to understand.

Game companies treat their hard-earned IP as a treasure. Most of the time, the purpose of animation is not to make a profit, but to broaden their IP boundaries, establish deeper emotional ties with players, and leave more positive impressions for the audience outside the circle.

In contrast, the mobile gaming of animation IP usually has a more specific commercial goal. As a result, the authorized adaptation of animation IP into mobile games often causes a variety of wind reviews, while the "reverse adaptation" of second-dimensional mobile games animated is all right. Even if the final product is not necessarily excellent, it is rarely offensive to the audience.

And how to convey the charm of the game itself in narrative and characters to the audience in the process of animation is also a technical task.

Ten years ago, when "Old second Dimension" mentioned game adaptation of animation, the first thing that popped up in the brain must be "classical" works such as "CLANNAD", "White Photo album 2" or "when the Cold Cicada cries". The visualization of AVG games is so taken for granted, after all, apart from the single gameplay of "click, choose, click", the massive and exquisite text of the original and the ups and downs of the plot itself are their biggest selling points.

Stomach: if you play games, you play games, so why drag me into the water? most video games need long-term narrative as the cornerstone of production. Therefore, when a two-dimensional mobile game decides to do animation, having a relatively rich plot can better ensure its creative space when it is animated.

The best example of this is probably Fate / Grand Order. Under the control of the mushroom, even if the scene is constantly changing, the main line is extremely focused with a sense of crisis, situational settings and the unshirkable mission of the protagonist. The hero played by the player (or Gudazi) has a strong sense of existence, not only has a face, but also can launch the most invincible skills of "mouth cannon". As a result, when adapted into the animation "absolute Warcraft Front Babylonia -", the producer only needs to restore the main line.

On the other hand, Shiro Wei, number one in pole vaulting, but even if "absolute Warcraft Front Babylonia" has a capacity of 22 episodes and only tells the story of this big chapter, the finished product also makes the audience complain that "progress is too fast."

Solid and dense content, the constant emergence of new characters and complex relationships like those in ancient Greek mythology (who is whose mother, who is whose sister, who is who himself? Coupled with the rapid progress of the plot and the turning point every few episodes, it does make people get lost in the labyrinth of different worlds.

And the classic "I kill myself" and "Princess Link" take a different path. For example, in the first episode, which lasts 23 minutes, in addition to explaining the background to the audience, all the remaining ink is focused on the characters of the protagonists and others and how they establish a friendly relationship. The whole animation is basically based on daily style, mainly about "laughing and fighting" among characters, and even some "sand sculptures".

I am not very weak, I just pretend that this has brought certain side effects to the new audience who have not played the game, and the loose plot structure will inevitably make the work be branded as "fan orientation". After all, at first glance, most of its situations do serve the characters.

As the saying goes, when a person starts to be stupid, people who like ta will find it cute, while people who don't like ta will only think it's really stupid. If the audience does not have a certain emotional basis for the characters in Princess connection, they may think that the adventurous daily life of the four is a little too young.

Although not very mature, but very cute, this is also the adaptation of the same two-dimensional mobile games, "Princess connection" and "absolute Warcraft Front-Babylonia" is very different. But in fact, it's not a screenwriter's problem. The difference in their style is essentially due to the different emphasis of the original game.

FGO plays the IP signboard, and most players will devote themselves to FGO, mainly for the wonderful plot behind the huge amount of text. Princess Link also has a way to push the plot chapter of the main line, but players are most interested in talking about companionship links such as "adopting a wife" (fetters to promote and unlock the exclusive dating plot) and the public war. This is why in the animation adaptation, one of them pays more attention to the plot narrative and the other pays more attention to the character relationship.

Everything is for the differential presentation of dating with his wife, which is not uncommon in the adapted animation works of QQ mobile games.

QR mobile games basically have the method of combat game. in animation production, it is the consensus of game manufacturers to make the battle scene more smooth and beautiful, and to play the game in a modern way. On the one hand, they want to make old players have a more sense of substitution, on the other hand, they want to attract new audiences to join the game.

Different from FGO and Princess Link, the core game of "Ark of tomorrow" is tower defense and strategy. In addition to the most basic staff collocation, players also need to consider deployment costs, the characteristics of the enemy and the particularity of the terrain.

The principle of animation to play the game is also reflected in the combat situation. The frail and amnesiac protagonist "Doctor", wearing a mask, stepped forward when the team was in trouble, making use of the special urban terrain, deployed agents on rooftops and alleys, and "surrounded" the integrated enemy with a very small number of people. In terms of strategy, a diversion was also used. when Amia stood on the roof and cast spells to attract everyone's attention, the rest of the officers rushed out to save the hostages.

Unexpectedly, this is just pretending to attack in order to retreat from such plot settings, which not only shows the characteristics of the game, but also makes the animation audience feel that the players are racking their brains to get through customs.

From a narrative point of view, animation finds a balance between showing the main line and highlighting the characteristics of the character. After all, group portraits are indeed the advantages of boat tours. In the first episode, for example, the animation opens the story by solving the crisis surrounded by the enemy and comparing the attitude of the hostages at the end (the setting here is quite counter-styled). For the debut of Amia and Durbin's image portrayal, but also let the audience get to the charm of the character. These two points make me look forward to the follow-up of the story.

In fact, in recent years, Eryou adapted animation works out of the street is not small. For example, the above-mentioned "Blue Route", the derivative of "Breaking 3rd", "the Dining Table of the Vulcan Goddess", and the 12-episode animation of the same name in "the Girl Front".

The decision to animate the Ark of tomorrow has been made public in 21 years and is now officially on the air. In September this year, the original God also released the news of animation cooperation. The animation of domestic second tour seems to have formed a new wave.

Players treat domestic two-dimensional mobile games adapted animation mood, basically like their mother's family to see their own children. It's like a joke that many Dao Ketta "can move" before the release of the Zhouyou animation. Players take the initiative to lower their expectations of "ridicule", more based on the feelings of the game Noumenon and looking forward to the state of mind of surprise. After all, at present, Guochuang animation is still in the growth stage.

Zhouyou takes the initiative to limit the animated plot between the first chapter and the fourth chapter of the game, tying the story to a controllable range, taking into account the capacity and rhythm of animation narrative, is a good new attempt.

The positive attempt of domestic second Tour animation shows that they pay more and more attention to the overall game quality. Compared with the first generation of mobile games with simple play and single plot, now the domestic second tour is more stringent on its own products. Because only by being more consistent in world outlook, plot and character setting, can the emotional connection of game-animation be better presented. The upsurge of animation of the second tour, such as "tomorrow's Ark" and "the original God", just shows that the domestic second tour has made great progress in creating a "common sense of players".

However, as far as I am concerned, I look forward to the adaptation of the domestic second tour animation not only to take care of the players, but also to become more and more mature and wonderful. Hope that in the future, more IP works can show their unique elegant demeanor according to their own game characteristics.

This article is from the official account of Wechat: game Research Society (ID:yysaag), author: Double

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