On the afternoon of May 22nd, “Fox Spirit Matchmaker: Red-Moon Pact” held an advance screening in Beijing. Five specially invited experts, along with media representatives and 300 audience members, gathered to watch the exciting first two episodes of “Fox Spirit Matchmaker: Red-Moon Pact” on the big screen.
They engaged in in-depth discussions with the executive producer of “Fox Spirit Matchmaker: Red-Moon Pact” and senior vice president of iQIYI, Dai Ying, as well as directors Mai Guanzhi and Du Lin.
The five experts were Wang Yichuan, Vice Chairman of the China Literary Critics Association; Kang Wei, Editor-in-Chief of China Art News; screenwriter Song Fangjin; renowned director Lin Nan, known for his expertise in fantasy genres; and Li Yinghui, an expert in filigree inlay and lecturer at Zhejiang International Studies University. Li Yinghui was also involved in the prop production for the series and shared the rich history of filigree inlay craftsmanship with the audience, highlighting its clever application in the show.
The experts provided immediate feedback and shared their impressions and evaluations of “Fox Spirit Matchmaker: Red-Moon Pact.”
Wang Yichuan: Embodies the chivalrous spirit of traditional Chinese culture
I've had limited exposure to fantasy dramas in the past, so I came to watch the show today with curiosity. After watching, I feel I've gained a lot. The main characters in the drama embody the important chivalrous spirit of traditional Chinese culture. Whether they are foxes or humans, they emphasize righteousness, love, and goodwill. Although the story has just begun, the chivalrous spirit of the characters has already been thoroughly demonstrated.
The elements of intangible cultural heritage in the drama also left a deep impression on me. The costumes, accessories, and many scene decorations of the main characters reflect the inheritance of Chinese intangible cultural heritage. These embellishments may seem external, but they actually contain traditional etiquette, ethics, and psychological structures, revealing a continuation of tradition in contemporary times. Behind traditional objects lies traditional etiquette, ethics, psychological structures, and traditional concepts.
Kang Wei: Chinese Colors Reflect Traditional Cultural Expression
After watching these two episodes, I'm deeply impressed. My first impression is the presentation of “Chinese colors.” In recent years, “Chinese colors” have frequently appeared in TV variety shows, theatrical dramas, and film works, serving as an important medium for excellent traditional Chinese culture. In “Fox Spirit Matchmaker: Red-Moon Pact,” a series of colors such as red, cyan, gray, white, and black not only create visual impact but also represent the underlying character settings, demonstrating an understanding and expression of the connotations of traditional cultural colors.
The second unexpected aspect is how well the show balances comedy in such a fantasy genre. There are moments that make us smile knowingly, but it never crosses the line into being overly oily or slick; it strikes just the right balance. The seamless integration of fantasy and comedy into the plot and characters was quite surprising.
The creation of spectacular scenes is essential for fantasy dramas, and whether this creation is successful greatly affects the audience's viewing experience. “Fox Spirit Matchmaker: Red-Moon Pact” has explored many ways to create spectacle, which has indeed had a significant impact visually, psychologically, and emotionally. The combination of this spectacle with the narrative rhythm, structure, and focus is impressive.
In “Fox Spirit Matchmaker: Red-Moon Pact,” the narrative structure between humans and spirits is interwoven. Essentially, there isn't much difference between humans and spirits; both have emotions, and both have distinctions between good and evil. Through the interwoven narrative between humans and spirits, the creators have expressed concepts of righteousness and evil as well as emotions.
Lin Nan: Courageous Move to the Big Screen by iQIYI
I've known about this series for about three years now, when it was still a concept, and I was really looking forward to it. This drama is particularly suitable for virtual production because it was the first work by iQIYI to use virtual production technology. At that time, virtual production was not yet mature, and many industry professionals were still exploring its functions and usage.
While I was excited, I was also worried because I didn't know what to expect. However, genres like “Fox Spirit Matchmaker: Red-Moon Pact” are particularly suitable for virtual production. In technology innovation, the biggest fear is hardware innovation. Once hardware is innovated, it will completely change the technology. Especially for virtual production, the specifications of LED screens are crucial. Even a slight improvement in visibility, dot pitch, or scan speed can make a huge difference in the final presentation.
After watching, I found that its visual presentation is closer to the original work, aiming for an anime-like atmosphere. Firstly, this visually enhances the completeness, and secondly, it strengthens the spatial expression and influence. Strictly speaking, it's not very friendly for TV dramas to be shown on such a large screen. When the screen is larger, any flaws will be magnified infinitely. During post-production and special effects production, the special effects company will ask if you want movie-level special effects or TV series-level special effects, and the prices are completely different. A series being courageous enough to be shown on the big screen is a sign of the producer's confidence.
I was particularly moved when I saw the short clips about intangible cultural heritage. I wonder if these elements of intangible cultural heritage will be further developed and magnified in the subsequent episodes and sequels, and if they will imbue these props or decorations with plotlines, magic, and emotions. This may make the promotion more beautiful; these are the true treasures of Chinese culture. Traditional fantasy is already a part of Chinese traditional culture, and the objects of intangible cultural heritage are also a part of Chinese traditional culture. Combining the two will not only be harmonious but will also magnify the beauty. By using works to convey more of the beauty of traditional culture, “Fox Spirit Matchmaker: Red-Moon Pact” is making a great effort.
Song Fangjin: “Fox Spirit Matchmaker” Sets the Record Straight on Two Counts
I've attended many movie and TV drama launches and product events, but this is the most grandiose series launch I've ever seen. Not only was there a large crowd and spacious venue, but they even brought the “Bitterness Tree” to the scene and scattered petals all over the floor. I was a bit worried when I arrived; with such a spectacular viewing ceremony, I wondered if the quality of the show could match up. After watching it, I was reassured.
Firstly, let's define this series. It sets the record straight on two counts: first, it rectifies the negative portrayal of fox spirits. Our evaluations and perceptions of fox spirits have been negative, but in this series, the world of demons is portrayed as beautiful, and fox fairies are depicted as righteous and compassionate.
Secondly, it rectifies the negative portrayal of the genre of Zhi Guai (strange and supernatural) dramas. Previous speakers have referred to this series as a fantasy drama, but I disagree. I think it's a very typical Zhi Guai drama, continuing the tradition of Chinese Zhi Guai literature from classics like “Strange Tales from a Chinese Studio.”
“Fox Spirit Matchmaker: Red-Moon Pact” has another special aspect. In the past, it was always fox spirits entering the human world, and we judged them. This time, there's a significant innovation: a human enters the world of foxes and views humanity from the perspective of foxes, shedding light on some of the human emotions.
There's a theory called holographic universe theory, which suggests that if you plant a willow branch, it will grow into a willow tree because the branch contains all the information of the tree. After watching these two episodes, I feel that from the perspective of holographic universe theory, I am looking forward to the entire series.
Li Yinghui: Astonishing Craftsmanship Passed Down Amazes Contemporary People
The craft of flower silk inlay has a history of more than two thousand years. It used to be passed down in the imperial court and was involved in creative products until 1989. Now, we hope that through this series, more people can learn about the craftsmanship passed down by ancestors and promote its inheritance.
When we received the task of filigree inlay, time was tight. We immediately made two sets of molds. Now, one of the masks is already on display in the exhibition hall, and many people who have watched this series find the mask very stunning.
Of course, we put a lot of thought into the design. Its structure is a small fox mask, including the lines on the top, which simulate the shape of a fox's face to depict the direction of the feathers. Then, each section of the six-character lines is filled with the texture of fur. Including the use of gemstones, sapphires represent wisdom and courage, which aligns perfectly with the message we want to convey. The position of each stone also holds great significance, but I won't reveal it here; it will be unveiled in the series.