When the opening theme of the anime hit 230 million views on Bilibili, this cultivation anime adapted from the novel of the same name by author Er Gen is setting off a new wave in the Chinese anime field. Different from, which tells a story of a commoner's counter - attack, the cultivation world constructed in is a philosophical maze about “Going with the flow makes one ordinary; going against it makes one a celestial being”. The animation production team, with top - notch production that burns millions per second, has pioneered a new paradigm of Eastern cultivation aesthetics in the field of 3D animation.
The Dimensional Leap of Cultivation Narrative
The visual translation of the original text in the anime is amazing. When Wang Lin was practicing in the Hengyue Sect, the production team used particle effects to construct the trajectory of spiritual energy flow, transforming the originally abstract text description into a visual energy map. When the protagonist uses the “Extinction Finger”, the ink - style shockwaves bloom layer by layer in the 3D space. This visual deconstruction of cultivation skills gives traditional Xianxia (仙侠) elements a cyber - punk future sense.
In terms of character creation, the anime breaks through the flat settings of traditional cultivation themes. The old monster character Situ Nan in the original novel is given more dramatic tension in the anime. The setting of his primordial spirit inhabiting the protagonist's body creates a schizophrenia - like narrative similar to through the camera language of dual perspectives. This in - depth exploration of the spiritual dilemmas of cultivators makes the work break free from the cliche framework of leveling up and fighting monsters.
The production team's visual reconstruction of the cultivation system is highly innovative. When Wang Lin enters the land of the ancient gods, the scene design combines Dunhuang murals and Cthulhu elements. The huge human - faced statues retain Eastern mysticism while injecting post - modern deconstructive aesthetics. This breakthrough visual expression makes a pioneer in the innovation of cultivation anime genres.
The Cyber Reconstruction of Eastern Aesthetics
The scene design of has hidden mysteries. The cultivation cities on the Suzaku Star have an architectural style that combines the eaves of the Tang and Song Dynasties with the metallic texture of interstellar warships. The floating talismans are like flowing data codes. This visual grammar that blends the ancient and the modern coincides with the narrative logic of the cultivation civilization's leap from an agricultural civilization to an interstellar civilization.
In terms of action design, the production team creatively combines traditional martial arts with quantum physics. In the peak duel between Wang Lin and Teng Huayuan, the trajectory of the sword qi presents the topological structure of quantum entanglement, and the energy ripples excited by the collision of magic weapons imply the principles of fluid mechanics. This scientific cultivation combat system makes it possible to interpret Eastern metaphysics with modern physics.
The symbol system in the anime constructs a unique semantic field of cultivation. The “Dream Path Technique” taught by Situ Nan draws on the mathematical models of and , and each cultivation stage corresponds to a different hexagram in the . This symbol system deeply rooted in Eastern mysticism makes the cultivation process a philosophical practice of deciphering the cosmic code.
The Modern Deconstruction of Cultivation Civilization
The cultivation system in is essentially a modern fable. Wang Lin's transformation from a mountain village boy to an anti - celestial cultivator implies the process of individual alienation in the upgrading of civilization. The repeatedly appearing “Return to Mortality” plot in the anime is actually a reverse thinking of cultivators about technological civilization. This deconstructive reflection on the cultivation civilization gives the work the depth of existential philosophy.
In the narrative of civilization conflicts, the production team constructs a metaphorical system through visual symbols. The DNA double - helix altar in the ruins of the ancient god race implies the potential connection between the cultivation civilization and genetic engineering; the coexistence of mechanical wreckage and cultivation magic weapons on the extraterritorial battlefield implies the deconstructive threat of technological explosion to the cultivation system. This narrative tension of civilization collision endows the work with a grand epic pattern.
The reconstruction of traditional cultivation values in the anime is full of post - modern meaning. When Wang Lin says “I don't need to cultivate to be a celestial being”, the camera cuts to the mortal village destroyed by cultivators. This exposure of the violent nature of the cultivation civilization is actually a profound critique of technological worship. The production team uses the perspective of cultivators to complete a cross - time and space inquiry into the modern dilemma.
In the current rapid development of the Chinese anime industry, the boundary - breaking of lies not only in its excellent production level but also in its successful elevation of the cultivation theme to the height of philosophical speculation. When Wang Lin has a cross - time and space dialogue with a quantum physicist while comprehending the way of returning to mortality, this work has broken through the shackles of genre anime and become a thought experiment field for Eastern civilization and modern technology. On the track of cultivation anime, is reconstructing the spiritual dimension of Chinese anime with an anti - celestial momentum.
