FANTASTIC PLOTS KEEP VIEWERS IN SUSPENSE
Audience-winning dramas focus on social issues
The Bad Kids, a web drama that became an overnight sensation, has triggered heated debate and even produced the catchphrase: “Will you climb mountains with me?”
Set in a coastal town, the production centers on mathematics teacher Zhang Dongsheng, who pushes his parents-in-law to their deaths from a mountain.
However, the incident is unintentionally videotaped by a girl and two boys who are climbing the mountain.
They set out to sell the video to Zhang to pay the medical expenses of the girl’s younger brother, but matters become complicated before spinning out of control.
Qin Hao, who plays Zhang, has starred in four movies nominated at the Cannes Film Festival, while Wang Jingchun, who plays a police officer, won the award for best actor at the Berlin International Film Festival last year.
Adapted from a suspense novel by a Chinese writer working under the pseudonym Zijin Chen, the drama scored 8.9 points out of 10 based on more than 587,000 reviews on the social media platform Douban.
Viewers have warmed to the performances of the lead players and supporting cast as well as the music, settings and lighting.
Despite its grim scenario, the drama appears to have reached a happy ending, but viewers have their own interpretations of the conclusion based on various aspects of the original novel.
Impassioned online discussion has raged over whether some of the characters are still alive.
Film and television critic Raymond Zhou said, “It’s just like director Ang Lee’s movie Life of Pi. Viewers can come up with two versions of Pi’s story based on their own understanding.”
He said it is up to audiences whether they interpret the ending of The Bad Kids optimistically or pessimistically. There is no standard answer, because it is a literary and artistic creation, rather than a mathematical problem.
In addition to The Bad Kids, other domestic suspense dramas have attracted widespread public attention in recent years due to their high standards. They include the 2017 productions Day and Night, starring Pan Yueming, and Burning
Ice, featuring Qin Hao.
Shen Jie, an office worker in Beijing, said: “Suspense dramas have strict logic, fantastic plots and often involve social issues. In The Bad Kids, you know there is murder at the beginning, and the ensuing investigation is like taking silk from a cocoon.
“Suspense dramas are not like crime dramas, which focus solely on solving cases. They delve into the reasons behind cases, such as the criminal’s thinking.”
Ya Jun, an online lifestyle influencer based in Beijing, said: “I like the thrilling plots and attention to detail.
Many of the details are thought-provoking.
“I was worried about the fate of the three children in The Bad Kids. From beginning to end, it’s like watching them evolve from innocent young people into sophisticated adults.”
A scene from the drama about a mother forcing her son to drink milk, made Ya think back to her childhood.
“The scene reflects love and control in a family. When I was a child, if I did something wrong, my mother would criticize me, but tell me not to cry out loud. I’m sure she loves me very much, but sometimes love can be a burden,” she said.
Three factors
Lin Ping, an office worker from Fuzhou, capital of Fujian province, said that after watching the show that she thought that parents should focus more on the health of children’s bodies and minds, rather than their academic studies.
“A happy childhood counts. Parents should control their emotions and never air their grievances to children. Also, as the drama shows, children are smarter than adults imagine,” said Lin, who has a 2-year-old son.
He Junyi, one of the two chief producers of
The Bad Kids, attributes its success to three factors.
“Our team worked hard on the script, making numerous revisions. All the players, regardless of their age and experience, have contributed high-quality performances. As for shooting and post-production, the team continues to improve and focus on detail. That’s why viewers empathize with the show,” he said.
“Chinese audiences are familiar with suspense dramas. As long as the quality of the work itself matches their expectations, they will remember the strong dramatic conflicts and the setting of characters and plots.”
Observing and distilling real life is essential for realistic dramas, He said. He is confident about the market for domestic suspense productions, as in his opinion, the talent pool in China, including camera operators, recording engineers and television editors — along with investment — can be compared with the world’s best.
“We’ve learned a lot from our overseas counterparts, such as their standardized mode for film and television work. We’ve also developed our own frontiers, to tell excellent stories against a local background,” He said.
Zhou, the critic, said, “The Bad Kids is well-produced — it’s more like a movie, and the pace is just right.”
He said the 12-episode drama is a typical miniseries, the art of which has long been mastered in the United States and the United Kingdom.
“In addition to suspense, other forms of drama can be produced as miniseries,” Zhou said.
He added that it is an unwritten rule that Chinese TV series must be prolonged by adding unnecessary plots. Such tediously long and insipid storylines have forced some audiences to watch the dramas at double-speed on video.
“The reasons (for additional plots) are complicated. More episodes mean more advertisements and revenue, and more income for actors and actresses who are paid by the episode,” he said.
Although costume drama has been one of the most popular genres in the Chinese TV market, in recent years, the authorities have encouraged productions with real-life themes.
Industry professionals have explored such themes for years, production standards for suspense dramas in China are improving and the shows have their own audience base.
“The success of The Bad Kids is no accident. The achievements made by domestic suspense dramas are clear for everyone to see,” Zhou said.
“It also makes us realize that quality counts. What matters is pace and whether there is a well-knit plot. It has nothing to do with the length of a production.”
The drama’s chief producer, He, said, “Good content is the basis for innovative commercialization.”
Miniseries are worth exploring, both in economic value and artistic creation, He added. With the rapid pace of life in big cities, a relatively shorter production will easily attract audiences.
“We welcome programs with flexible episode lengths, which enable directors and playwrights to pace plots. Content is not restricted by a fixed length, and there is more potential to tell a good story,” He said.
Film critic and investor Zhang Chen said the main factor behind the success of The Bad Kids is that the show has become a popular social topic. People want to watch it before others reveal the ending.
“The main parts in the drama are played by children, and it delves into parent-child relations, which also become a focus of discussion,” Zhang said.
He added that the production can be compared with South Korean realism movies, which are known for their vivid depiction of humanity. Suspense dramas can also offer sensory stimulation and reflect social issues.
Zhang said the amount of investment in domestic movies is very high. As several investors are often involved, they have a bigger say in the shooting. However, for online dramas, investment is much lower and the leading creators can use their own ideas.
“It’s good that young players have more opportunities in online dramas and that their work has received the recognition it deserves from viewers,” he said.
“The COVID-19 outbreak has had a significant impact on the television and movie industry, and has forced people to focus more on the creation of a work.”
Zhang said the success of The Bad Kids will help its successors find investors more easily, as they will have the confidence to support young directors and works based on real life.
Some talented performers who are not wellknown will also have more job opportunities and the chance to win wider recognition, Zhang said, adding, “I’m confident that more such dramas will emerge.”
The COVID19 outbreak has had a significant impact on the television and movie industry, and has forced people to focus more on the creation of a work.” Zhang Chen, film critic and investor
Appreciative audiences
Meanwhile, film producer Guo Jing is working on a feature-length movie and online drama adapted from Hugo Award-winning writer Hao Jingfang’s short sci-fi novel The Last Brave Man. The novel centers on cloned humans, and Guo’s production is a combination of sci-fi and suspense.
“When you talk about the success of The Bad Kids, you can’t separate it from the television industry in China, including its system and scale,” said Guo, whose most popular work is the Berlin International Film Festival’s Silver Bear-winning Crosscurrent.
“The development of online dramas and streaming platforms in recent years has cultivated highly appreciative audiences in China. Their demand for good-quality dramas, and the industry itself, have seen the emergence of a dynamic interactive process, gradually raising standards and breeding excellent work.”
Guo said that when distributors, producers, playwrights and directors sense viewers’ demands, they will try to meet those needs based on their professionalism.
“For suspense dramas, the good and evil of humanity involved with crimes, and psychological feelings such as confusion and fear, will appeal to audiences,” he said.
“It’s a big step forward (for us) to produce an authentic sci-fi drama. We will also use some major elements of suspense dramas to make a breakthrough.”
He said the emergence of good work is due to the dedication of a group of talented creators, and this is why he and his playwrights have toiled for three years on the script of his ongoing work.
Guo believes a good script will attract investors, distributors and performers.