doesn't matter whether the story is good or bad, it all depends on how it is told. In fact, the villain's stupidity is not the problem, the inconsistency is the problem. We have seen all kinds of unimaginable villains in various stylized works such as Stephen Chow and Jackie Chan, but the audience will not question the villain's IQ and ability in this stylized film, because The stylized narrative will design a relaxed and pleasant atmosphere from the beginning, and the whole narrative process will also show the charm of the protagonist in a cheerful or romantic way. In such a narrative, empathy is not difficult, and the villain's mistakes are taken for granted by the audience.
In realistic works like "Night," the villains are often strong, cool, well-organized, and ambitious. Such character design should be very careful when they make mistakes, otherwise it is easy to fall into inconsistency, let the audience ask "why the villain is stupid", "how can I make such a mistake" and other questions, thus destroying the audience's empathy. In "Night" and many similar British and American dramas and various world-destroying movies, the main creator is not careful in making mistakes, but instead continues to amplify the strength of the villain, as if this will make the protagonist's victory even more grand. This kind of "obscenity" narrative has existed since ancient times and is commonplace. In my opinion, this kind of obscenity story is more suitable for stylized narrative rather than realistic narrative. But it is a pity that too many movies and TV series have made mistakes in the general direction of plot design. Realistically telling obscenity stories will always give people the feeling of "magical drama". "Night Shift Manager" is a typical example. example of.
Let's look at a positive example, Tinker, Tailor, Soldier, Spy. The story tells that the British spy organization Round Tower was infiltrated by the center of the Soviet spy organization, and a Soviet double agent, the Mole, entered the upper floors of the Round Tower. Aware of the problem, the British chief commissioned a retired old spy to dig out the moles. The whole story shows that the old spy is pulling the cocoon and looking for clues of the mole, and finally caught the mole with a net. Mole made no obvious mistakes in digging the mole, and he didn't leave the audience feeling stupid. The reason for all this is the high degree of fit between the narrative and the story, and the realistic narrative tells a very realistic story. The society in obscenity relies on intelligence and charm to crush opponents, while the society in reality relies on strength and interests to defeat opponents. Contrary to "Night", the old spy relies on the top of the British government, adapts to the weather, and rides the wind. On the contrary, the mole gradually becomes lonely, the information channels become more and more blocked, and finally becomes a turtle in a urn. The old spy is stronger than his opponent, and finally won the victory after hard work. Although the audience does not seem to have the heroic feeling of crushing the world in the obscenity story, the feeling of victory is more real and profound, because it is closer to the audience's own life experience. In "The Pot", the story of the Mole's victory is also told through memories. This story is equally true. Because of the decline of Britain's international status after the war, the British government and the Round Tower have become eager for quick success, and the Mole is in this general desire to get something for nothing. Emotions exploited bureaucratic loopholes to seize power, just as real and as credible. The characters of the mole and the old spy are vividly displayed in this real story, and their struggles and struggles also make the audience feel the same. The audience is not faced with unimaginable evil forces, but real laziness, fluke, diligence and persistence. From leaders, from colleagues, from subordinates.
I'm not belittling obscenity stories. The strong catharsis of a good obscenity story is real and rare. But a wrong choice of narrative like "Night" shouldn't be, and alas, such mistakes are all too common. The main creator always thinks that the stronger the villain is, the more touching the victory of the protagonist. This in itself is a lustful society, because the struggle in the world is a game of many individuals, and a person standing on the opposite side of many joint forces will usually be suppressed. collapsed. In fact, a person has the advantage of the right place and the right time, and victory is also achieved through bloody struggle, because the opponent - no matter how weak and lonely he is - will not surrender his own interests. I guess this is also the reason why these main creators continue to amplify the strength of the villains, because they think it is too natural to go down the river, and only going up against the current, or even up against the waterfall, is a story worth telling. The next bigger mistake is to choose to use a realistic way to tell this obscenity story in order to pursue the grandeur and epic sense in their obscenity, resulting in inconsistent character creation and a sense of catharsis obtained by the audience. weaken. Perhaps Le Carré stumbled this time, or perhaps it was the consistent and untimely revisions of the British and American screenwriters that eventually led to the failed "Night Shift Manager".
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