How can “Journey to the West”, rebroadcast more than 3,000 times, become a common memory of young people again?

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It seems that every once in a while, the 86 version of “Journey to the West” can always be on the hot search in various unexpected ways. Along with related hot searches, many people became “Levinhoek” looking for related classic lines and plots, starting rounds of “memory killing”.

As China’s first mythical TV series, the 86th version of “Journey to the West” freezes the collective memory of several generations of people. During its airing in 1986, it created a viewership myth of 89.4%. The popularity has not diminished for more than 30 years, and the number of rebroadcasts is as high as that More than 3000 times. At present, the drama is still ranked first in the film and television dramas based on Westward Journey theme and even mythological theme with a high score of 9.6 on Douban.

Facing this classic work 39 years ago, people are not only keen on digging out its past, but also deconstructing it artistically with modern aesthetic trends. Even the young people of Generation Z who don’t know much about this drama have joined the carnival of remembrance through a variety of emoticons and UGC works.

It can be said that the 86 version of “Journey to the West” has maintained the strong cultural influence that it should have as a classic work, whether it is from the circle coverage or the diversity of content topics. An unforgettable common memory of post-90s and even post-00s.

Today, this common memory is being awakened in a brand new way by “Glory of the King”. On October 8, “Glory of the King” officially announced the linkage with the 86 version of Journey to the West, once again pulling players back to the memory killing through digital content.

86 Edition “Journey to the West”: Dare to think and create, create classic memories of the times

Be loyal to the original and be cautious in refurbishing-this may be the key to the classics of the 86 edition of “Journey to the West”.

If measured by current standards, it may be difficult for most people to agree with this sentence. After all, the 86 version of “Journey to the West” is not without flaws. Especially in special effects shooting, due to the lack of corresponding software and hardware, the actual special effects characters produced are quite rough, and the traces of synthesis are also very obvious.

As a result, there was a view that the 86 version of “Journey to the West” became popular because of the very few domestic TV drama resources at the time and the lack of entertainment culture in the objective environment that eventually made a generation of classics. But from another point of view, perhaps it is precisely because of the limitations of this era that the 86 version of “Journey to the West” has become an epoch-making innovation at that time.

“Dare to think and dare to create” is the creative concept that the main creative team has always adhered to. For example, in terms of performance, the 86 version of “Journey to the West” not only innovatively combines the performance style of traditional opera and TV language, but also makes the entire art presentation more vivid and diverse. He also invited the talented opera bones to join, in order to make the role live.

Such investment has also made many classic passages. For example, in the interpretation of the plot of “Four Saints Test Zen Heart”, in order to interpret Ba Jie’s desire to be the son-in-law after seeing the three daughters of “True Love and Pity”, the actor Ma Dehua The use of a “hand-eating” detail to show it not only highlights the character’s overwhelming psychology, but also shows his covetous nature of female sex. And this scene has become a classic material created by countless netizens in the future.

In fact, in addition to performing well in place, the 86 version of “Journey to the West” is also quite bold and innovative in the adaptation of the lines and plots-on the basis of following the original work, it breaks away from the original model expression, and instead emphasizes the “human touch”. In the end, the story of Journey to the West added more fireworks.

For example, the famous line of Hong Haier, which has been spread countless times by young people-“Are you the rescuer invited by the monkey”, is the result of “processing” by the creative team.

In the original book, the original words of Hong Haier when he was against Guanyin Bodhisattva were “Are you the rescuer invited by Sun Xingzhe”, and the team is based on this in order to more intuitively highlight the distinctive character of Hong Haier, the second generation of “Dandy Demon” Modified. In just a few words, the character image becomes more three-dimensional. The lines and sentences are refined and full of human touch, but they are not out of the ordinary. To a certain extent, they are the embodiment of the language and culture of that era.

From front to behind the scenes, the main creators also spent a lot of attention on the details of shooting and post-production. Not only did they combine traditional folk music with electronic music in the musical dimension for the first time, they created the classic opening song “Yun Gong Xun Yin”. And add classic soundtracks and other innovations of the era that have never been seen before in each scene.

Moreover, in order to show the scene of the original “Journey to the West” to the greatest extent, in 1982, Yang Jie led his team to travel to most of China for field collections. In that era when traffic was scarce, the 86 version of “Journey to the West” took the audience to appreciate the famous mountains and rivers in a real-life way. Isn’t it a kind of dare to imagine and create?

It is the magical pen that dared to think and create everywhere, which created the collective feelings that belong to the Chinese people. With the passage of time, the charm of the 86 version of “Journey to the West” has not faded, and it still remains in the memory of every generation of Chinese people.

In the digital age, inherit classic culture through innovation

For everything, innovation is not absolute. It will have its own limitations due to different times. After past innovations become today’s classics, they may face a “cross-generation” crisis.

From the perspective of the development trajectory of “Journey to the West” IP, it developed from the initial literary development into operas, TV series and other forms. Every innovation in form is to adapt to the ever-changing era. The success of the 86 version of “Journey to the West” is precisely Thanks to the innovation at that time. And in this fast and efficient digital age, the 86 version of “Journey to the West”, which has existed for more than 30 years, has to face the “cross-generation” test.

Nowadays, the mobile network has almost covered our lives. The priority of media such as TV is gradually replaced by smart devices such as mobile phones. The 86 version of Journey to the West, which uses TV as its main communication channel, lacks direct communication channels with Generation Z. The changes in the environment have objectively increased the difficulty of dissemination of the 86 edition of “Journey to the West”. The reason is that in the past 40 years, “Journey to the West” has a relatively small span of innovation.

As the associate director of the crew Xun Hao said: “I think “Journey to the West” should enter the environment where young people live, instead of being trapped in the frame of the story (our time), (in this way) it has vitality.”

In the face of the crisis of the digital age, many excellent traditional cultures have introduced the old and brought forth the new in a way that fits the times, such as launching a film and television strategy and launching physical products. Among countless ways, the 86 version of “Journey to the West” chose to use the game format that young people like most, and joined hands with “Glory of the King” to create two skins, Monkey King and Zhu Bajie, which once again entered the eyes of young people.

Looking back on the past, not sticking to simple engravings, is the mystery of the 86 version of “Journey to the West” that keeps pace with the times. This is also reflected in “Glory of the King” and has become the bond of cooperation between the two.

For example, in the image design of Sun Xingzhe, “Glory of the King” refers to the classic image of Monkey King in the yellow robe and tiger skin in the TV series, and on this basis, it restores and innovates the style of the king, such as adding “Grandpa is here.” The classic mantras of characters such as where the monsters escape, as well as some iconic actions, are designed to further express the charm of Monkey King in the play and give it modern digital features.

In addition, the official also uses the popular online Westward Journey popular emoticon pack as a prototype to make the same fun game emoticons and magical actions implanted in the game. During the production process, the skin design team also visited the crew of the 86 version of “Journey to the West” and received a lot of professional guidance.



“King of Glory” also boldly linked the opening song “Yun Gong Xun Yin” with China Sky Eye, and re-arranged it. By intercepting the symbolic numbers in “Journey to the West” and collecting the corresponding pulsar audio, it created the universe version of “Yun Gong”. “Gong Xun Yin”, let modern technology tell the romance of classical myths for the first time, activating the Westward Journey IP different from previous imagination.

The method of “King of Glory” continues the rigorous and innovative styles of the past cultural and creative styles. On the one hand, it strives to dig deeper into the external characteristics and internal value of the characters in the 86 version of “Journey to the West”; on the other hand, by conforming to the aesthetics of modern young people, Realize the digital reproduction of character characteristics and values, so that classic culture can better penetrate the game circle.

In communities such as station B, after the release of “King of Glory”, the related video has more than 3.5 million views, and it was ranked first in the hot search on station b that day, which objectively aroused young users to the 86 version of “Journey to the West”. s concern. In other words, “King of Glory” actually acts as a bridge between players and the 86 version of “Journey to the West”.

From the perspective of cultural inheritance, “Glory of the King”, which has been cultivating new cultural creations digitally all the year round, is actually quite similar to the spirit of “Dare to Dream and Create” of the Yang Jie team. In their respective eras, both through their own innovation, let more people’s perception of classic culture no longer stay in the past, but based on the present. This is not only a tribute to and inheritance of the classics, but also a social responsibility.

Based on cultural self-confidence, awaken the common memory of Chinese people

It is not an exception to relive the touch of the 86 version of “Journey to the West” in the game like this. In the past two years, “King of Glory” has specifically standardized a content line for things that Chinese people empathize with. Its significance is to awaken the emotional resonance of each other through insight into the common memories of Chinese people in different fields.

In addition to the skin of Journey to the West, “Glory of the King” is also in the three fields of art, martial arts, and sports. It has collaborated with Dunhuang culture, Bruce Lee IP, and national table tennis player Ma Long to create corresponding content, making these “common memories” more. A form of digital expression.

Taking sports as an example, the broadcast data released by station B showed that in this year’s Tokyo Olympics, table tennis players received the most attention, with 41 hot searches, 53 videos with more than one million views, and 210 million views.

Behind the popularity, on the one hand, it reflects the huge economic and social value of table tennis as a “national game”, and on the other hand, it also shows the deep collective feelings of the people for table tennis. And this resonance of national sentiment and the historic glory of Guoping will eventually be recorded and passed on forever as part of the digital content of “Glory of the King”.

In addition to sports, the earliest attempt of “Glory of the King” to open the window of “common memory” can be traced back to the second cooperation with Dunhuang Academy.

Dunhuang culture has always been called the art museum of the Eastern world. Stories such as the legend of flying to the sky and the nine-colored deer are also derived from the Dunhuang murals. However, due to thousands of years of time and man-made influences, Dunhuang murals and sculptures are facing the risk of disappearing. Under such circumstances, “Glory of the King” is dedicated to appealing to more people to understand and inherit through the “National Memory” series.

But the question is, where is the confidence of “King of Glory” in doing so? I think it should be the growing cultural self-confidence of the Chinese people.

Cultural self-confidence is more basic, broader, and deeper self-confidence, and it is also a more basic, deeper, and more lasting force. Although it originated from the recognition of Chinese excellent culture in the bones of Chinese people, from the perspective of communication, it also needs to use better methods and carriers to express it.

When the excellent Chinese culture is re-examined as a trend, cultural self-confidence will take root in various fields: for film and television, it may be manifested as the creation of “The Wandering Earth” of Chinese science fiction; for variety shows, it may be manifested as maxing out The “Tang Palace Night Banquet” of social media; for “The Glory of the King”, it is represented as the entire “National Memory” series.

Compared with traditional forms such as performances, games that are highly popular and can generate topics most with young people are often more suitable for bridging the gap between cultural generations and inheriting classics. In this regard, “Glory of the King” sees it very clearly.

Over the years, “King of Glory” has been using the digital format that young people like to bring the traditional Chinese culture closer to the players. From “Meet Flying” by Yang Yuhuan, who has inherited a thousand years of Dunhuang, to the Mengqi “National Treasure Panda” that highlights the charm of Sichuan Opera, to the star of Li Bai’s only authentic “On the Balcony Post”, and “Blessings of Love” in collaboration with the classic Yue Opera.

Based on cultural self-confidence, “Glory of the King” realizes a “review” of various excellent cultures with the help of “national memory”, and brings artistic imagination to the ground through digital carriers, and its traditional and profound cultural temperament can resonate with the pulse of the times. , And finally embedded step by step into the broader cognitive circle.

Walking in the forefront of practicing cultural inheritance, “Glory of the King” continuously blends with cultures and ideas in various fields, producing wonderful chemical reactions. Later, it will also cooperate in-depth with the Sanxingdui Museum, which represents the ancient Shu civilization, and continue to serve as a bridge between traditional culture and modern culture. In the process of helping the classics to become popular again, “Glory of the King” will also try to further create Chinese cultural symbols that can influence the world, and continue to build more “national memories” that make people confident in the digital age.

This Article is curated from Source and we only provide the English version of the Story.

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