Frostbite is probably the most radio-friendly animation I've seen so far during my winter vacation.
Binghai War is a rare animation produced in the way of a series (the representative of this type of animation is the attack giant): the picture is excellent, the plot is excellent, the performance effect is good, and it does not rely on girl fights, cute girl party disputes, etc. to attract audiences , so the look and feel is completely different from ordinary fan dramas. Compared with the giants, the theme of the historical background is more appealing to me, so I even like this animation more than the giants, but in the end, I have to wait until the giants finish before drawing conclusions.
Since it is an epic, the shaping of heroes and the depiction of "fate" cannot be avoided. In the epic, the hero cannot be defeated by the enemy, so the hero can only succumb to fate in the end. Heroes such as Gilgamesh, Achilles, Odysseus, King Arthur, etc., all ended because of fate.
As for Ice and Sea Wars, Thors was the only hero in the first season. He is the ceiling of force in this work, and it is also a spiritual benchmark. He has values that are detached from that era. In the end, he died because of this, and the image of the hero was perfected. Around his death, the two protagonists of this work, Torfin and Asherath, also set the fate of the fetters, which became the core story line of this work. It was not until the death of Asherath that the two were able to relief. As for other story lines, the function of Asherat assisting Knut in seizing power is to reflect the changes of that era and add a stronger sense of historical depth to the plot; Knut's own growth and love for "love" The first line of discussion echoes Thorz's own understanding of the "true warrior", which is the embodiment of mankind's desire and pursuit for peace, happiness, and fraternity above the times; Asherath came to power through Knut. Protecting Wales, or even giving his life in the end, is a common "three-dimensional depiction" of characters, so many people also regard Asherath as the only protagonist of this work and their favorite character.
However, I'm not so fond of Asherat. The reason is very simple. With Thors as a contrast, Asherat's light is naturally dimmed a lot. Asherat was just a warrior trapped in that era, burdened by his own life experience, cognition and fate, and finally kept his promise to his hometown, but his methods were also hard to call a hero. Such characters can arouse my sympathy, understanding and even wonder, but they cannot really make me like them. He was an old man, born in old times and died in old times, as he claimed to be of Roman blood, the last echo of a bygone history, and that's all.
In this regard, Asherat is no different from the Vikings he hates most. In the time set in this work, the Viking Age has entered the twilight, and their centuries of looting, intimidation and threats to the whole of Europe are coming to an end. Compared with the era of the rise of the Vikings a hundred or two hundred years ago, they have always been robbing, burning, killing and looting, eager to exchange their bravery and sacrifice on the battlefield for fame and fortune in the world, and ascend to heroic spirits after death. This kind of value can be regarded as a kind of glory, and there is even a certain aesthetics of destruction, but it also bears a deep tragedy. They were born to fight, to rob, and their identification with themselves and their fellows was based entirely on violence, and they could not choose any other path. As a nation of warriors, is it not a curse to take combat as the ultimate goal and highest honor? If they can't get into Valhalla, where are they going?
Under such a premise, their existence and atrocities against other ethnic groups are not only infuriating, but also pitiful. Because their actions are essentially meaningless and only bring endless pain to themselves and others. They can't understand the meaning of love. Facing the love for "people" mentioned by the priest, they can't understand or accept it, because once they accept it, it means the elimination of their own value and the collapse of their concepts. Therefore, they can only stick to the honor of warriors, fight and die, and cannot escape their fate.
From the perspective of modern times, they are not only a group of evil people, but also a group of poor people. After the end of the Viking Age, they left only a few words of myths that were arbitrarily borrowed or even appropriated by contemporary popular culture, and the terrible memories of other peoples about them, and nothing else. However, their own existence cannot be proved by their own culture, but is completely assimilated by Christian culture; the way of warriors they used to be proud of is now only classified as pure violence and terror, without leaving any positive meaning. The Vikings also belonged only to the old era, and they finally, like the legend of Ragnarok, ushered in the destruction of their own world after a bloody battle, ending with a tragic ending.
And beyond the times, it is Thors. His bravery stayed in the old world in the name of the ghost of war, while the way of warriors he learned by himself went to Wenlan. That new world, on the land opposite the sea sought by Uncle Leif and Torfin, in the paradise on earth that Knut decided to build, and in all the fantasies and depictions of utopias of mankind throughout the ages, has become a part of the ultimate ideal of mankind. .
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