Since its launch, the popularity of iQiyi's popular drama "Mianwushuang" has continued to rise, and it has aroused widespread resonance with its solid script, delicate performance and modern values ​​such as "craftsman spirit". On social platforms, there are many praises such as "compact plot, profound intention", "live characters, and breaking through tradition", and the audience praised it as "a work of innovative works on the theme of fairy tale." The drama reconstructs the world view of immortals with modern thinking, and through the core proposition of "man conquers nature", it conveys the positive values ​​of independence, equality and innovation, and is unique in similar dramas.

The characters in the play are full and very modern, and the protagonist group always upholds the belief of "based on the heart and shouldering the people". The heroine Ji Tanyin breaks through the traditional image of a goddess and uses the setting of "a science and engineering craftsman to create a goddess" to be refreshing: she ascends to become an immortal with her body as a mortal, adheres to her true heart, and helps the human race to be independent and self-reliant in the world of fairy tales by imparting craftsmanship and developing technology. Its growth line of "teaching people to fish" not only demonstrates the pattern of "the goddess loves the world", but also implicitly conforms to the core of Chinese philosophy of "man controls nature". The transformation of the male protagonist Yuan Zhong is more realistic: from gloomy and indifferent to loving love, his growth does not rely on the halo of divine power, but achieves self-salvation by facing human weaknesses and breaking obsessions.

The classic scene of "Saving the Boat" in the play can be regarded as a microcosm of the interweaving of divinity and humanity. Faced with the life and death crisis of the whole ship, their choices included both persistence in axioms and struggles with selfish desires, and ultimately interpreted the concrete connotation of "save the people" with flesh and blood. This narrative technique not only reflects Yuan Zhong's transformation from being disgusted with the world to being lonely and empathetic to being kind, but also uses the heroine Ji Tanyin to entrust sentient beings with the power of mortals to turn the compassion of "the goddess loves the world" into silent redemption.

The group portraits of "Mian Wushuang" are also unique and show the collision of multi-dimensional values ​​through an easy-to-understand plot. For the future of the human race, the craftsman Du He sacrificed all the boats and the people just to destroy the spiritual stones that drove the boats; the craftsman Xie You, the master of craftsman, had an obsession with his heart because he had not been able to become a god for thousands of years, but he still had the enlightenment and mind of Taoism that "heard the truth in the morning, and died in the past." The old man in the pavilion guarded the pavilion was ignorant, but he insisted on copying scriptures and classics for several years to survive in future generations. These contradictory but self-consistent characters interpret the profound connotation of "man conquer nature" - even if the ephemerals shake trees, mortals can still carve the mark of civilization of the nation in the long river of history through wisdom, belief and perseverance.

When the character's destiny and belief are intertwined into a network, the narrative of "Mianwushuang" points to deep civilization propositions. The birth of the "God of Craftsmanship" is essentially a concise expression of the spirit of Chinese civilization. The drama uses the process of the heroine's dedication to craftsmanship and comprehend cleverness and wisdom to imitate the Chinese nation's cultural genes of "self-reliance and use skills to carry the way". Whether it is her courage to challenge the power of heaven with "equality of all beings", or the craftsman spirit of "every weapon and every thing contain the heart of Tao", they all convey the Eastern wisdom of "man conquering nature". This transmission of values ​​not only contrasts with the narrative that relies on violence and plunder in Western fantasy, but also demonstrates the unique spiritual height of Chinese civilization.

As a work that combines depth of thought and ornamentality, "Mianwushuang" activates traditional themes with modern thinking, and sets a "new benchmark" in the fairy tale drama track with its unique world view, full group image shaping and profound cultural philosophy.

[Editor in charge: Ji Xiaoling]