Summary of the Key Points
The article “Niulai,” which was created using the simple software SketchUp commonly used by civil engineers and has a rough visual style, has unexpectedly become a viral hit. The author compares it to “sand coins” that have outperformed “dark coins”—rough but genuine works of art that have defeated those films that forcefully impose their values on viewers, making them feel uncomfortable. The article criticizes the current chaos in the film industry, where entertainment has been turned into “online courses” and partisan political debates, breaking the supposed “lipstick effect” (a positive impact on consumer spending) during economic downturns. It also acknowledges the resonance “Niulai” has with ordinary people’s real-life experiences (such as being born into disadvantaged positions, opposing the “lying flat” lifestyle, and rejecting meritocracy), while reflecting on the potential for serious creative teams in the industry to be forced down a wrong path.
I. “Sand Coins” and “Dark Coins”: Two Types of Artistic Works in the Author’s View
The author uses two vivid metaphors to distinguish between these two types of works:
- “Sand Coins”: Rough but authentic works of art
The visuals of “Niulai” are described as having a “old ox-like quality,” created using SketchUp, a basic modeling software. The characters and themes (such as a character who is born unable to stand on his own and a mother who loves her children unconditionally) are relatable to ordinary people’s lives, without any pretense or preaching.
- “Dark Coins”: Pseudo-artistic works with a “religious aura”
These films are called the “underworld” by the author—they have high box office ratings and scores but lack quality. Everyone knows their popularity is due to external factors (such as forcibly imposing certain values or manipulating emotions), yet no one dares to point this out for fear of being criticized. They turn movies into “online courses,” trying to impose a sense of guilt or self-reflection on viewers, turning entertainment into a form of indoctrination.
II. Why Do These “Religiously Indoctrinated” Films Make Viewers Uncomfortable?
There are three main problems with these films:
1. They go against the essence of entertainment: They turn leisure time into a source of tension; viewers feel restless in the cinema and continue to be troubled by related topics on social media.
2. **They undermine the “lipstick effect”: During economic downturns, movies should provide low-cost emotional comfort, but instead, they become tools for partisan political arguments.
3. They ignore viewer needs: Some film teams act as teachers who want to educate the public, rather than creating content for entertainment. There are cases where the director’s intentions are good, but the execution is ruined by others (for example, when a simple plot is elevated to an ideological level).
III. The Secret Behind “Niulai’s” Success: It Taps into Ordinary People’s Emotions
The success of “Niulai” lies in its authenticity:
- The protagonist is an ordinary person: Niulai is not a born hero; he has inherent weaknesses and is kind by nature, reflecting many real-life individuals in similar situations.
- The themes are relatable: The mother never pushes her child to excel academically (opposing meritocracy), and Niulai refuses to give up despite his physical limitations (opposing the “lying flat” lifestyle). Even the title of the movie implies good fortune for the stock market, resonating with investors’ hopes.
- It offers a refreshing contrast: Compared to those preaching films, “Niulai” does not impose its message on viewers. Even its more dark and complex interpretations leave room for interpretation, rather than forcing a specific viewpoint.
IV. Concerns about the Film Industry: Will Serious Teams Be Forced to Deviate from Their Path?
The author expresses concerns with two examples:
1. The fate of the low-budget film “Chimifi”: Despite its high quality, it was attacked by online trolls who labeled the creators as “the worst kind of people,” showing how external factors can ruin a good work.
2. The transformation of “Nezha 2”: The author initially supported this well-made film but stopped mentioning it after noticing it was becoming more like a “religiously indoctrinated” work. If serious teams cannot make money, they may resort to more manipulative techniques, abandoning genuine creative approaches.
The author also cites Japanese manga as an example: Previously, films that rehabilitated villains (like Uchiha Itachi) caused audience fatigue, but later, pure bad characters (like DIO and Juzo) became more popular, indicating that audiences prefer authenticity over forced “uplifting” stories.
V. The Author’s Humor and Hope: Could the “Niulai Universe” Bring New Hope?
The author humorously suggests a sequel called “Yang Wei,” which would tell the story of an ordinary lamb becoming a leader. This reflects his hope for more genuine, relatable works of art that return the film industry to its purpose of serving viewers, rather than being a tool for spreading ideology.
In essence, this article uses the success of “Niulai” to criticize the current trend towards superficial and manipulative artistic works in the industry, calling for a return to authentic and empathetic storytelling. After all, audiences need genuine entertainment, not something that forces them to accept certain ideas.