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“Pleasant Goat and Big Big Wolf: Bravely Entering the City of Four Seasons” is on the air, what’s your opinion?

Essay: “City of Four Seasons Bravely” Episodes 1-6

Pleasant Goat’s concentrated answer every six months is here again. This season’s story “Bravely Entering the Four Seasons City” brings a new setting instead of a story.
From the first episode, two media of mutual influence are given, one is a mythical story and the other is a drama rehearsal, and the concept of “adventure game” is inserted into the work at an extremely fast speed.


After all, Xihui’s narrative has embarked on a completely different path from Happy Superman. The latter has a vaguely visible main plot, and the plot itself involves a grand world view and narrative, while the former is closer to continuous secondary creation. Several Yangcun Guardian series have been recreated many times in different ways around the topic of dark energy. There are alien invasions, collection of fragments in parallel worlds, travel to the future, and adventures in different worlds, but all of these The narrative genre can all be boiled down to one thing, and that is the adventure game.

For adventure games:They (we) are just a group of elementary school students and a middle-aged man. The daily life (or the return at the beginning of the story and the end of the story) that is always mentioned in Xihui is to complete homework and take care of the family.

It is this gap between the “chosen one” and “ordinary people” that Xihui needs to balance.
According to Boiling Yangyang, with so many things along the way, it has long been confirmed that he is the chosen person (I am the protagonist in this season). But overemphasizing this setting will inevitably bring a sense of alienation to young animation audiences, so the need for “complete classwork” as the basic setting is constantly strengthened, and it becomes a daily routine that will be awakened every season of animation.

Adventure has become the new routine of the Xihui series, and the restored “normal life” after the adventure has gradually become an indispensable but not more inked background.


The second episode started to obtain equipment, taking a path of abandoning narrative and embracing adventure games, from the guardian stone (five points of blood) to the trial field, and then to obtaining equipment (it looks like wearing a holy cloth), the story The speed of progress can be said to be very fast. Compared with the Yangcun Guardian series in the same period, the first few episodes are still paving the way for the plot progress, or how can the game mechanism be so easy for people to quickly accept the setting.

Big Big Wolf then contributed a very standard meme of “Funny Manga Rihe”. This meme comes from “Journey to the West: The End of the Journey”. Even the modal particle “Jie Jie Jie” is exactly the same.

The facial expressions in the Xihui series are becoming more and more obvious. In addition to catering to the interests of children living in the Internet generation, there should be such exaggerated body movements to make up for the weakness of the characters’ flat expressions.

And Yan Yi, Tucao and nonsense are put in the adventure story, which becomes more harmonious. After all, any mature genre film will always be on the road of being funny and self-deconstructing until the end. Among them, the representative work of the brave adventure is “The Brave Yoshihiko and the Demon King City”, and the famous sentence in it is “I am a A poisoned blade,” said the killer, who licked the blade before killing himself.

In the few episodes of becoming a brave man and getting equipment, there are also a lot of similar nonsensical scenes.

Gaining strength, you can jump three feet high, but you don’t know how to fall.

The process of owning the Divine Bow is too simple, the 5 firs that need to be collected are put aside, and even the scene where the Divine Bow appears is just an old man preparing a tool for sawing wood.


Episodes 3 and 4 of the animation respectively describe the process of obtaining equipment for several other partners.

At the same time, we can see that when playing an adventure game as the main line of the whole story, the storytelling becomes easier. Whether Big Big Wolf gets three-headed flowers to turn into a staff, or Beautiful Goat gets an egg as equipment. They don’t need to tell why this thing appeared in this place, that is to say, they don’t need to trigger its logical possibility.

In short, it is to randomly appear and obtain equipment, and then accept this setting randomly. In many games like battle royale, the same is true, the equipment is scattered there, there is no reason for his appearance, his acquisition is not a specific character, and there is no need to unlock the story.

This is a very typical call of database consumption. It is not only reflected in calling similar characters, but also in calling similar equipment. In many games, we will find similar methods of obtaining new equipment, upgrading, and enchanting. the process of.

This will remind us that how people who live in the daily world participate in the process of adventure world must participate through the mechanism of the game. It does not need to find the relationship between the game world and the real world. There is no need to seek your own identity in the world of this game, because it has already been positioned, that is, the brave and the brave, as a precondition of political identity, are placed there innately.

With the change of this kind of narrative type, we can see the original driving force, and the change of psychological trends aimed at children of different ages and eras.

If the game does not involve children in all aspects, then the logic of using the game’s settings to tell stories will become more avant-garde, and it will be even more difficult to accept and understand. Just imagine, if it should be tired, the row was placed 20 years ago. For the Chinese children in 2000, it would be difficult for them to understand why they suddenly fell into the scene of fighting for no reason, and why they attacked the three-headed flower. Then why would it drop equipment.

But today’s children have no obstacles at all in understanding this genre, and one of the big boosts is mobile games. Although the country has implemented an anti-addiction system for minors, various mobile games are still flooding our lives. League of Legends, Glory of Kings, APEX, and the recently popular Goose and Duck Kill will either give out a large number of random skills, or give out a variety of merchandise and equipment available for purchase.

So the story can go on smoothly and bizarrely.


If we haven’t seen episodes 5-6, we might think that this story is highly similar to the previous level upgrades for killing monsters, but in these two episodes, it is impossible to bravely break into the Four Seasons City and continue on the road of being funny. return.

First, he discovered the back door to Monster City, and he could bypass the traditional RPG mode of Four Seasons City to improve himself level by level, and then he could directly meet the King of Shadows.

The protagonists don’t seem to want to take the established path of collecting illustrations (fragments) step by step in the 1990s, and finally confronting the boss with enthusiasm.

Then there is the monster guard in Monster City who strictly follows the social animal settings in modern society. As long as the off-duty time comes, he will never stay in his position again. This echoes that after Pleasant Goat became the new Poying Dawang, he had to continue to carry out social animal work.

Pleasant Goat suddenly enters a fantasy adventure land from the campus daily life of “doing homework in school” and “performing family dramas on stage”, and then grows rapidly, abandons the second grade, and falls into the middle school. Into the tediousness of modern life such as naming/cutting the ribbon/attending meetings, an anti-type adventure in another world becomes more post-modern through a hybrid setting.

Next is the Pleasant Goat who defeated the Shadow King by chance, and was soon controlled by the bracelet to become the new Shadow King.

From the story of “Dragon Quest” to the story of “The Brave Becomes a Dragon”, it means that the linear narrative of pre-modern myths and adventures has gradually become a circular narrative that resists historical development. The allegory of the brave man growing scales and finally turning into a dragon is said to have been popular in Myanmar for the first time. In the book “Finding George Orwell in Burma” written by American journalist Larkin:

Every year, the dragon asks the village to sacrifice a virgin girl. Every year, a brave young hero from the village goes over the mountains to fight the dragon, but no one survives. When another hero set out to start his journey of escape from death, someone followed him quietly, wanting to see what would happen. The dragon’s lair was covered with gold and silver treasures, and the man came here and stabbed the dragon to death with his sword. As he sat on the corpse, looking enviously at the gleaming jewels, he slowly began to grow scales, a tail, and tentacles, until he himself became the dragon the villagers feared.

There is also an animal version of this story, which is “Animal Farm” written by Orwell. In the 1950s, this book had been circulated in Myanmar for a long time, and was retranslated by the Burmese as “The Four-legged Revolution”. We all know that all ancient myths and legends have rich meanings of human experience, and many myth motifs also appear similarly in similar countries and civilizations.

However, in Bravely Entering the Four Seasons City, Pleasant Goat and his party will not face this political narrative of alternation between nationalism and dominance, but simply borrow the setting that if you defeat the King of Shadow, you will become the King of Shadow, so that the game can continue .

However, the setting of this game mechanism avoids the core problem faced by Xi Hui in another aspect, that is, the ethical problem of dark energy.

In the surging column half a year ago, I used nearly 6,000 words to discuss in detail whether the dark energy that runs through the Yangcun Guardian series has a physical existence:

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At the end of the story, a dark energy with independent expression ability appeared, and told the already blackened Pleasant Goat and Big Big Wolf that as long as it is sealed, they will fall into endless loneliness. At this point, the dark energy separates itself from the discipline of social ideology, makes itself clear again as an ultimate entity, and attributes all the causes of deterioration to itself. This approach makes it easier to trigger the kindness and tolerance of the protagonist team, and at the same time separates the signifier and the signified of the villain. All the evils of the villains have personal reasons at the beginning, and thus form their personal charm. But when dark energy is mentioned repeatedly, it becomes that as long as there is no advancement of dark energy, all the charming villains will cease to exist.
So is dark energy social or essential? This seems like a set of paradoxes. But it is not. After Hannah Arendt put forward the concept of “banality of evil”, her teacher Jaspers believed that this involves the issue of fundamental evil, that is, “because if a crime exceeds all criminal responsibilities, it will Inevitably there is a greatness—the greatness of the devil”. Therefore, dark energy has both the dual attributes of ideological disaster and real dilemma. As long as the silent giant of dark energy is defeated, “an imaginative solution to the deadlock in reality”[5]It will also take effect. For the “Yangcun Guardian” series, the story can only end here.
In short, if the “Guardian of Yangcun” series has opened up a new meta-setting that uses dark energy to intervene to change people, then “Wonderful Rescue” has raised this meta-setting to a higher level. It just focuses the perspective on a materialized dark energy with personal will, and expands the vision to a wider social operation, abandoning the design idea of ​​a jigsaw puzzle landscape. This also means that the Pleasant Goat and Big Big Wolf series has opened a new chapter, and those who have been changed do not need to ask whether they are real.

Dark energy is no longer a setting, but has become a demon rooted deep in people’s hearts. It has the meaning of mythology and sociology alternately formed. But in “City of Four Seasons Bravely”, it was dispelled in an almost spoof and child’s play way.

In the end, all the staff began to stage the third-rate vulgar plot of “using words to influence Pleasant Goat to wake him up”. After the warm sheep and the beautiful sheep put on the speakers, Big Big Wolf took out the manuscript and began to recall the past.

Tucao, nonsense, and breaking the fourth wall, these three seem to go hand in hand, as long as one of them appears, the other two will follow. After facing Pleasant Goat and becoming the King of Broken Shadows, the successive complaints and operations of the protagonists are very post-modern, and post-modern itself is a comedy that will never end.

“Pleasant Goat Go Bad Again”

“It’s no longer surprising, nothing new”

“Every time Pleasant Goat turns bad, I touch him with words”

Source: Zhihu www.zhihu.com

Author: Son of Wuhe

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There are 2 more answers to this question, see all.
Further reading:
What is the plot design of the animation of “Pleasant Goat and Big Big Wolf: Bravely Entering the Four Seasons City”?

Who do you think is the top fighting force in “Pleasant Goat and Big Big Wolf”?

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