God must be veiled

The biggest feature of the three seasons of vulgar talk is the sense of mystery.

The female protagonist is the reincarnation of the evil god, but she does not know it herself, and has always lived as a "human"; the male protagonist is a werewolf, but he has another unknown identity, God's hound; Dorian Gray is an immortal noble, but he There are horrific portraits hidden in the chamber of secrets; Frakstein is a stitched monster, but he has fragments of memories, and he tries to retrieve his past self; demons lurk behind the "human" figures; and so on.

These characters have dual identities, one is revealed to the audience, the other is hidden, and only a few words are leaked, and the mystery is born from this. God must be veiled, beyond human beings, and invisible.

In the first three seasons, an Egyptian goddess, Ammunite, was highlighted. She is the invisible goddess, representing all the invisible things in the world. This is the subject of vulgar talk. Wearing a veil of darkness, these gods and demons were written about in a cheap horror magazine called Penny Dreadful, and you can look at their outlines for a penny.

And the Mexican version of sleazy, the mystery is destroyed in the beginning. The two goddesses, standing in the rapeseed flower field, had a seemingly meaningful conversation that was actually very shallow, and then the male protagonist was pushed away by the eighteen palms of the dead angel.

?

Such an important burden did you tremble from the very beginning?

Assuming there is no such beginning, click and cut. In the first episode, only the handprint on the male protagonist's chest appeared: his mother ripped off his shirt, revealing the handprint, saying that he was chosen by the angel of death.

I would think: woc is that a handprint? How can there be handprints? Who left the fingerprints? what happened?

Then, at a suitable place in the back, shake out the burden of the dead angel teaching the practice.

But it doesn't. It has to spread the plot into an egg pancake. Now when I watch this clip, the only thing in my mind is: The Eighteen Palms of Subduing the Dragon still leave a mark.

Here's another example: God fucking praying to the Angel of Death, asking her to appear, all the candles go out, and death is coming.

How can you let the god of death show his face at this time? She should be motionless in the dark, the camera only shows the silhouette of her beautiful crown, she is a god, not a human, and she has no mercy for living beings. Even if she did respond to a human call by chance, she would never speak to him as a mortal. Do you run over on all fours when your dog calls you?

At present, the quality of the new vulgar talk is not good. It not only occupies the name of vulgar talk, but also wants to shoot the story of the American gods, but the essence of both sides is lacking. Four is not like, hexagonal, there are better alternatives in either aspect.

If I want to see gods and demons dancing around like people, why don't I watch American gods? (Although it also rolled over)

Of course, there's only one episode out now, and I sincerely hope it gets better and better later, I really liked the previous three seasons.

After watching episodes 2 and 3, how should I put it, just emmm... The problem with this show is more serious than I thought. Big structure chaos + mediocre characters.

I really overestimated the writers. Now that I think about it, the first three seasons were so good because the writers borrowed classic characters and elements, Dorian Gray, Frank Stein, vampires, werewolves, demons and so on. The characters themselves are complete, complex, and unique, and they stand out no matter what scenario you put them in. The City of Angels is full of original characters this season. I really pulled it out and found it to be a mule.

On the other hand, is it possible that the screenwriter wants to use the ordinaryness of other characters to set off the uniqueness of Magda (Little Rose)?

This involves the problem of large structural confusion.

The classic opening structure of American dramas, the main line + a branch line. The first book of Binghuo (Original Game of Thrones) is this kind of opening. The newly appointed prime minister of the wolf goes south to investigate the cause of his adoptive father's death (the main line) + the dragon mother's humble restoration dream (the branch line). The main line is to investigate secrets (mostly investigations), which is powerful, attractive, and accounts for a large proportion. It can carry branch lines and will not confuse the audience. Once the audience feels chaos, they will abandon the play, so the focus of the beginning is to use a strong main line to hold the audience, and how the plot develops after that depends on their ability. China is now beginning to imitate this routine, such as the story of Yanxi Palace and Tiansheng Long Song.

The vulgar and weird talk about the city of angels is also the same routine on the surface, two lines, the newly appointed Mexican police officer investigates the grotesque murder case + the German Nazis repair the road. The problem is that these two lines are not divided into primary and secondary, five or five points, a hammer in the east and a stick in the west, I really don't know what it wants to do. I'm investigating the case. The Nazis came out to repair the road, and the road is repaired. ?

In my opinion, the easiest way to improve is to greatly increase the proportion of investigation lines in the first two episodes. The two lines are clearly connected (the victim was a former head of road works), which is entirely doable.

So why didn't the writers do this? I guess, because they highlight the role of Magda, the female demon, intentionally or unintentionally.

On the surface, this drama seems to be the beginning of the classic main branch, but it is not. All the plots are arranged around Magda. That's why the branch line "Mayor builds the road" is over-represented, and that's why the doctor's inexplicable line, so the opening chapter is the conversation between two gods in the rapeseed flower field. Arguably, Magda shatters the entire story structure. In other words, she is the protagonist of the story.

Problems ensue. Since she is the protagonist, the old main line and branch line are not established, and the real main line is "demon causing chaos between human races". But where is this thread? The main line must be clear and eye-catching, and the protagonist running on the main line must be firm and immersive. Once Magda becomes the protagonist, the structure of the story collapses, and the story is chaotic, boring, and slow-paced.

If the screenwriter insists on making Magda the protagonist, there are actually ways to improve it. Increases the presence of the dead angel. Magda is the protagonist, the Angel of Death is the antagonist, and the real struggle takes place between the two. The protagonist must have an equal opponent. This opponent is not necessarily a human being, but can also be a force or a concept. The protagonist tries his best to fight against it, so that the play will have conflict, tension, and climax. At present, the Angel of Death is simply not qualified for this position. I've only seen Magda's drag show, I've seen her play in the world, I've seen her instigating high-ranking officials to build roads, she's seducing Nazi doctors, she's beating up cops in Mexican clubs, she can do whatever she wants, what's the point? It's been three episodes, bro!

Alas, forget it, it's been three episodes, and it's hopeless. The protagonist is unknown, the main line is unknown, and the whole pot is simmering. farewell.