Dharma protector: maturity is a plague, and speaking is a privilege.

Light films have always been willing to advertise. I saw the news of the Great Protection Dharma a long time ago. Several fixed-file posters are ridiculously beautiful, and they stand out among all kinds of inferior children's animation posters.

however, I am a bit of a fan of animation. I have no feeling for Japanese cartoons and prefer products from European and American companies. In my mind, the peak of Chinese-made animation is "Chinese style" to the extreme of "wreaking havoc in Heaven", "fantastic Tam of Heaven" and "Nine-Color Deer". I don't like domestic commercial animation which tends to be Japanese style after the new millennium as a whole.

the "return of Great Saints", known as the milestone of "Guoman", gave birth to a large number of tap water, and I was not one of them. I can't even watch the beginning of "10,000 years later," which declares "eighteen prohibitions." Today, some people have come to leave private messages calling me a traitor; although "Big Fish and Begonia", which has been sharpened for 12 years, has mixed reputation and support, I don't like it.

so when I saw the early promotional materials of Dharma Protection, I was also worried that this animation, which focuses on "adult" and "ink style", would play more "superficial kung fu".

especially after watching the trailer, I feel that this may be another work of chicken ribs with a lot of thunder and little rain. From the trailer, the human setting is too simple, the scene is not fine, and the violent contents such as beheading and execution are also somewhat superficial, and isn't "PG-13" the "ordinary public level" of the United States? "there are no scenes of rough and continuous violence, there are generally no nudity scenes, and sometimes there are scenes of drug abuse and swearing." refer to Avatar.

after watching the screening of Dharma Dharma with such ambiguous expectations, to be honest, I didn't expect it to be so much more than expected. It can almost be called "amazing"-

said that "almost" is because the overall character shape and dialogue design of the film tend to be more extensive, and there is a sense of Japanese and fixed vision everywhere.

but the painter is conscientious. Many ink scenes are very beautiful, and the effect of the big screen is not the slightest bit better than the stills and predictions released by the official. When watching the film, several girls around me kept praising, "Wow!" Beautiful! "

and what is even more unexpected to me is that in my opinion, the best thing to taste in Dharma is the plot and the whole setting.

"the unintentional political prince went on a trip, but mistakenly broke into a remote town with hidden tricks, and the great guardian of kings for generations sought the Lord, but broke through the shocking conspiracy handed down from generation to generation."... "

believe me, the film is much more interesting than this dry, drama-free introduction. You can go to the cinema by yourselves.

so what on earth is this terrifying "conspiracy"?

the following spoiler alert!

there is a big black peanut hanging over the town where the prince broke into by mistake, hence the name "Peanut Town". The townspeople feed on ant monkeys, a local specialty, light lamps day and night to incense, and are extremely unkind to outsiders.

in the process of searching for the crown prince, the Great Guardian with a staff in hand found that the flower stranger, who was about the same as a normal person in appearance and could speak consciously and thoughtfully, turned out to be the "livestock" raised by Lord Ji'an, who was in power in the town. and the ant monkeys used by flower strangers as "food" are their cubs before pupation.

every autumn, these flower strangers are collectively "harvested" and taken out a highly poisonous black stone from their brains as a biochemical weapon of the court.

this sounds excruciating enough, but Gian's means of controlling flower strangers make people think deeply-

forcing their common mother, Big Peanut, to be in mid-air through lamp oil and incense, forcing flower strangers to be isolated from their mother, losing their root self-consciousness and becoming wandering walking corpses.

use posters and stage effects to "create gods", engage in "idolatry", imperceptibly make strangers dislike their original appearance, and put on false eyes and lips to imitate the appearance of "gods".

A powerful mercenary Rodin was invited to deter strangers by force with a high salary, making them afraid of "authority" and unconditionally obeying the arrangement of "God".

because speaking is a "privilege" of God, it deprives strangers of their right to speak and avoids the "unstable factors" that may be caused by conversation and intelligence gathering.

spread rumors that the "ghost mushroom", a symbol of flower stranger maturity, is a plague, inciting flower strangers to fear their kind, willing to watch their kind being slaughtered and indifferent.

make use of the characteristic that flower strangers will forget their memories after pupation, make flower strangers mistakenly think that the same kind that is different from their own is a kind of food, raise flower strangers with their dead cubs, and train "executioners" from flower strangers to carry out shooting, to achieve the lowest cost of "industrial production".

on the other hand, the "processing" of the black stone is completed by a "third party" who has nothing to do with the flower stranger, which avoids the internal disturbance of the flower stranger.

generally speaking, it is omnidirectional three-dimensional fascism.

however, compared with the Jian adults who just follow the ancestral motto and follow your orders to raise and harvest strangers like chickens and dogs, the most frightening character in this film is undoubtedly Xiao Ming, the grandson of Jian who is harmless in appearance.

unlike my grandfather, who does not regard a stranger as a human being, Xiao Ming never calls himself a "god". He has a personal acquaintance with Xiao Jiang, who is a stranger of flowers, and knows more about his "livestock" so that he does not regard himself as a threat. so it's easier to get information about them. He also kept a stranger as a "pet" and instilled in him the idea that "you can only get a sense of security if you let others fear you", isolating him from his kind and becoming his puppet and eyes and ears.

taking advantage of his friendship with Prince and Xiao Jiang, he directed and starred in "Brotherhood", while the real intention was to win the trust of the prince and leave the hereditary "farming".The official position of "factory director" became the national teacher of the prince. It is even possible that Xiao Jiang nearly fell off a cliff and was lucky enough to be rescued by the prince.

this is too much information.

after reading it, I was still wondering if I was distracted and missed something, and I had the impulse to brush twice-

for example, how the cubs under the production of big flowers in the sky are unknowingly transported to the ground to make food. For example, why did Daejeon fall into a deep hole in the ant nest and have hallucinations?

the Great Protection Dharma, also known as the Black Peanut of the Great Protection Dharma, shows that this is a big game of chess, and there is a lot of foreshadowing left in the film--

what is the origin of Rodin, the pointy bodyguard, and his breast-burst concubine?

what is the origin of the great protection method with its power generation function?

what is the difference in utility between the bluestone in Xiao Jiang's brain and the black stone in the brain of ordinary flower strangers?

what will the prince do when he ascends the throne to deal with the people of Peanut Town who are about to rebel?

when I thought of this, I trembled and checked the nonsensical information about the director and screenwriter of this film. It turned out that it was the flash touch of the flash era, only to find that the story of the Great Protection Dharma was premeditated.

in the 2014 Biography of Mr. Miao's Fire and laughter produced by Gudong Animation Studio, which never belongs to Sifan, the embryonic form of "Great Protection" has been seen faintly, but it is a short film after all, and the scene is much more elaborate than a feature film.

the protagonist who flies through the eaves and walls is like a Dharma fan. The "ghost" with one eye and long arms can also be seen in the shadow of Hua Sheng and Gian's personal bodyguard Rodin, as well as familiar elements such as an old man with a white beard and a round cute bird.

"Great Protection" continues the obsession with the concept of "fear" in the "Mr. Miao" series. The weakening and detailed adjustment is probably designed to save production costs on the one hand and cater to the preferences of the current audience on the other. Comparatively speaking, I still prefer the overall style of short films.

but on the whole, the rhythm of Dharma is appropriate, the painting style is moving, and the plot and setting are complete, which is already great, and from the obscure mapping meaning of the content, it is not too much to say that "people who PG- can think".

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so even if I have to watch Li Bingbing and Jackie Chan's radio and television patch "our Chinese Dream" before watching the feature film, I can still say happily--

although this is not an xx country, what we can say is very limited. But in recent years, there have been innuendo films such as "Donkey gets Water", "I am not Pan Jinlian" and "amnesia Village"-now there is "Great Protection," and maybe there is a hermit inside radio and television. even if Xiao Jiang falls, flower strangers will wake up one day.

write at the end

I notice that the main point of debate is whether the resistance of the stranger, in the end, is of positive significance. Some people think that flower strangers tear off their false eyes and mouths and dare to resist power, that is, it represents "enlightenment" and is the embodiment of progress; others think further, and flower strangers after "enlightenment" still choose to kill each other, and resistance is just the beginning of a new round of tyranny.

in my opinion, it all depends on the mentality of the audience at that time and the point of view of the plot setting. Of course, we can choose to believe that human beings can never escape the selfishness, greed, stupidity, and hostility rooted in human nature, that history is nothing but a repetition, that mankind has never really made progress, and that there is no point in pursuing goodness and beauty. and the truth and all the answers that people have exhausted the efforts of the whole group may not exist. I think so too. In the ending of "Donkey gets Water", Jia Jia goes to Yan'an to join the eldest brother. I don't think that symbolizes hope.

however, even though I firmly believe that human beings as a whole are always moving towards inevitable self-destruction, those who are detached from "inferiority" and who know the evil of the world in their hearts, but still insist on being kind to others, pursuing the truth and creating beauty, always make me stubbornly choose to shelve my disappointment in human nature. I don't think what they do is futile.