Chapter 68: Remake of Journey to the West

Losing to a student...how is it possible...don't you have any dignity?

The teachers in the teaching and research group sincerely felt that Jia Wenyan was worrying too much.

What are the specifications for the establishment of Yongan College? Those who can sit in this conference room are all capable leaders of various intangible cultural heritage inheritance.

At the very least, he must be a core inheritor trained with all the strength of the master.

Looking around, everyone here has practiced hard for more than ten or twenty years. (Jia Wenyan: Let me check my history of several hundred years (Spiritual Dimension).)

No one feels that there is any possibility of making mistakes.

They do not deny that some gifted children may come up with some particularly eye-catching designs in a flash of inspiration. But the problem is that no matter how good their designs and ideas are, it is difficult to turn them into reality without a foundation.

If such a person really appears, they are perfectly happy to personally help students perfect their work.

As for a "monster" like Jia Wenyan, her entire body from brain to hands is so outrageous that it crosses dimensions (Jia Wenyan: Actually, it does cross dimensions).

Not to mention the problem that only occurs once in many years, if a second Jia Wenyan really appeared, their first reaction would definitely be to call home to check on their own master.

Occasionally, a genius would be so famous that smoke would come out of his ancestral grave. As for someone like Jia Wenyan, let alone the ancestral grave, she might even burn down the old house.

They are very confident in their abilities, and they even hope that a few geniuses will emerge among their students to help them take the lead in the competition in various majors.

Everyone looked at each other, and each of them stared at the topic that best suited their own skills in their memory.

It was like a scene from a spy movie, and Director Tang, who was "standing" at the door as punishment, instinctively wanted to escape.

"That Jia Hall... Dean Jia, I have conveyed my message. It is up to you to handle the following matters."

Tang Feng: "Oh, by the way, there is one more thing. If possible, you better hurry up and decide on the settings of the various quest monsters in Journey to the West."

"Didn't Mr. Zhen of Zhenxin Animation recruit a large number of interns from the School of Fine Arts and Animation of Xian'an University in order to achieve annual updates?"

"What I mean is that you can apply this idea. Once you have defined the characters, you can assign the production of each chapter to major domestic animation companies and colleges."

"Our goal is to do our best to create this animation IP that best represents Donghuang culture before the Suzhou-Hangzhou Asian Games."

Jia Wenyan: "So the higher-ups are planning to use the Suzhou-Hangzhou Asian Games to attract traffic?"

Jia Wenyan rolled her eyes and decided to outsource on a large scale after setting the tasks. This would be an extremely crazy decision in any creative field.

But when I think back to the past, this idea doesn't seem to be entirely unreasonable.

Normal creative themes may not be suitable for too many people to know because of confidentiality issues. But Journey to the West is different. It is a super IP that is suitable for all ages in Donghuang.

From nursing homes to kindergartens, everyone in Donghuang who can remember things knows the story of Journey to the West.

Therefore, since the story was well known to everyone, they could try outsourcing with the main purpose of optimizing the picture. She also remembered that Zhen Shuwang had mentioned that after "The Story of the Stubborn Stone" created a box office miracle of 4 billion, many investors this year turned their funds originally placed in the mainstream film market to the animation industry.

It’s not just because it’s hard to come up with anything new with traditional films.

The current reserve of actors alone is a big problem.

In the current film market, national-level actors who are capable of carrying the box office often have stable capital cooperation. As for other actors, let alone whether they can carry the box office, just the fact that the actors themselves can control themselves is a big deal.

In comparison, although the animation industry has a relatively long production cycle, it is also more stable. Especially with the popularity of "The Legend of the Stone", at least in the next few years, the public will pay attention to and have expectations for newly released high-quality animated films.

To the extent that, for a time, countless capital from the film and television industry poured into the animation industry.

Many domestic animation companies have received relatively good investments, but such a torrential influx of resources is not always a good thing.

For example, in the recent radio and television review, as the reviewer of production and release, they have indeed seen a lot of high-quality filing applications after this year.

But the problem is that compared to those high-quality works, there are more market chaos that are just filling in the gaps or even purely intended to "cheat investments."

The country is very optimistic about the potential of the animation industry, but it is impossible to really allow the market chaos to spread, so the optimization and remake of the Journey to the West IP is a very good opportunity.

The quality of classic stories is guaranteed, and with the blessing of cultural aesthetics from a group of intangible cultural heritage skill elites at Yong'an College, as long as the outsourced unit has made some achievements in technical capabilities, it can complete the work assigned by the superior unit well.

In this way, as long as there are enough high-quality units participating, it will be possible to release this remake of Journey to the West before the Asian Games.

In other words, this project itself can be said to be a promotional project during the Asian Games.

Jia Wenyan was making simple calculations in her heart.

As a Donghuang native, she is very clear about the audience of Journey to the West.

Journey to the West itself is an IP that is very suitable for animation. Given how exciting its story is, as long as the graphics are innovated sufficiently well, there is almost no need to worry about any ratings issues.

But if we want to make it before the Asian Games during the Mid-Autumn Festival, we need to produce enough content to support at least weekly updates.

They have to decide on a good enough character design in the shortest possible time.

At least until they determine how many companies are capable of meeting their standards.

Don’t underestimate the main characters of the Journey to the West part, which is just Tang Monk and his disciples and a few key monsters in each episode.

But if they were to remake the story of Journey to the West, they would have to face the absolute male protagonist "Monkey Brother" and the production of the key chapter "Havoc in Heaven" later.

"Havoc in Heaven", just the two words "Heavenly Palace" are enough to give people a headache, not to mention the heavenly soldiers and generals in the Heavenly Palace.

The meaning of the above is very clear. Even the monsters have to be optimized to the level of "The Story of the Stubborn Stone", not to mention the gods.

Yang Jian, Nezha, Tota-bearing Heavenly King Li, Thunder Goddess and Lightning Mother, as well as Tathagata Buddha, and the "foreign aid Guanyin Bodhisattva" who appears most frequently in the whole play.

To put it bluntly, the workload of the first few episodes of Journey to the West is the first "chasm" that will really make countless animation workers bald.

Thinking of this, Jia Wenyan did not hesitate any longer, but directly searched the catalog of Journey to the West on the electronic blackboard behind her and said:

"The first few episodes of Journey to the West..."

"The birth of the stone monkey, the immortal demeanor of Bodhi Patriarch when he became Bodhi's disciple, and the subsequent chaos in the Dragon Palace of the East China Sea and his transformation into the Monkey King, these important moments, each of the key characters and scenes must be perfectly presented."

At this point, Jia Wenyan used her electronic pointer to tap the big screen as a reminder and said, "I won't talk about the various stages of Wukong's image. Whether it's his natural agility as a stone monkey or his enlightenment after becoming a disciple of Bodhi Patriarch, they are all very important points."

"I know that the most classic image of Sun Wukong is the Monkey King's golden armor, but we are all in the same industry and should all know that compared to that kind of gorgeous stacking, how to create texture in the simple "wild stage" is our most difficult design level now."

"So now we have to do our best to complete this stage of image design as quickly as possible."

"As for the rest, I have a few simple requirements. For the Huaguoshan part, we can use real-life beautiful scenery like Zhangjiajie or the Miaojiang rainforest, but for the East China Sea Dragon Palace and the Heavenly Palace, these two scenes must be designed with the grandeur that a palace should have."

"Especially for the part about the Dragon Palace in the East China Sea, my idea is to have a more innovative design for the Dragon King of the East China Sea."

"In the original Journey to the West, the Dragon King of the East China Sea chose to offer his treasure because he was afraid of Sun Wukong's strength. For this reason, the image of the Dragon King has been treated in a rather cowardly way in various animations we know of."

"But I hope to design some different angles in the new works."

"The original novel used this part of the description to highlight the power of Sun Wukong with limited words, but I think that as the king of a region, the Dragon King of the East Sea should at least have some integrity as a king."

"We can see that most of the current Journey to the West animations have designed the dragon kings to be more afraid of Sun Wukong, and most importantly, in order to highlight their identity as "dragons", many works have portrayed them as a bit too "demonized."

"It is true that the dragon race has cultivated into human form, but the dragon race is, after all, among the immortals. I hope this part can further optimize the image of the "dragon."

"We can further describe this part of his story, for example, it's not that he didn't have the strength to fight, but because he knew that if a war really broke out in the East China Sea, countless lives in the East China Sea would suffer a disaster comparable to a catastrophe."

"His gift is both a recognition of Sun Wukong's ability and a blessing to the people of the East China Sea."

"I plan to design the East China Sea Dragon Palace to be a place similar to where immortal cultivators can test their own cultivation."

"The "demon race" recognized by the Dragon King can obtain their own secret treasure or magic weapon in the Dragon Palace."

"We should arrange for Sun Wukong to fight with the Dragon King of the East China Sea on the surface of the East China Sea before he enters the Dragon Palace. Then he should enter the Dragon Palace under the guidance of the Dragon King of the East China Sea."

Jia Wenyan: "There must be a scene where Sun Wukong fights the dragon body of the East China Sea Dragon King. The design of the dragon element must be done well."

"Remember, the Dragon King of the East China Sea is a god, not a demon."

Audience: "Understood. I will design a set of dragon scale armor that is stunning enough."