You have touched on an interesting point actually. I think the over involvement of the original author often leads…
Thank you - check out my reply for Xm1012 if u want - i just wrote this part, i hope to copy most of the context to it, but there is always more😅: Contrary to popular belief, a writer is a detail-oriented freak control who does not possess the abilities to project these big worlds into reality. Once he is the head of moviemaking, he tends to be over-controlling over things that should flow (because they look better as such). Our processes are the same but just reversed from what is needed in work with people.
I agree with you,I think the author of this novel is so into her fictional characters that it really shows in…
(sorry for any mistakes that i left:) Oh my, really? What an unexpected praise, thank you! Shall I ask if "always enjoy reading your comments" means just here in this series comment page, or if you have read anything outside of this comment section too?
Revenged Love – I really so much love watching the work with the director and actors and people on set (which is rare for me). It is obviously a fan, so I came to the conclusion too that it is not true that fans shouldn’t be writing about the characters they love. It is a blessing to have both – a person who understands what they are doing and then who is ready to work with love on a project. And I don’t have anything with the writer on set. I would love to believe that for the unclarity of what a character felt in this or that situation, or how they saw things, being able to ask the author right away is priceless. But not being a head, just being a helping hand. Contrary to popular belief, a writer is a detail-oriented freak control who does not possess the abilities to project these big worlds into reality. Once he is the head of moviemaking, he tends to be over-controlling over things that should flow (because they look better as such). Our processes are the same but just reversed from what is needed in work with people.
And then there are supposedly extroverted writers – don’t ask me how they have it. I just crash with extroverts trying to write something interesting for me – and I love them because they spend energy differently than an introverted writer.
In the case of Revenged Love everything, and I mean EVERYTHING, clicked – from choices of actors, the way they communicate with faces as well as expressions, their features and professionalism, the insane VISUAL LANGUAGE overall – the camera and editing work, choice of colour schemes, and the insane AUDIO choices – specifically the insanely great song choices. The contrasts used, the work with situational comedy and how it was a) framed, b) executed… it was breathtaking. And everyone understood what they were supposed to be doing, which is rare too. The project and its parts understood its head and toe to the bone, to the core.
I didn’t even realise what people point out now until I read about it 2 days ago – the misdoings that were done on it in the process of airing. Because despite the vandalism on RL, it was still so good. It makes me sad now, but during it I did not keep notes on it.
Of course, experience helps significantly. And if our silly discussions help this author to avoid current mistakes, I would love to see more adaptations of her work.
And with your mention, I shall mention too something I said before – if the project wouldn’t otherwise exist, considering she is doing it on her own – hats down, it should not be rated the same way as professionally made projects. It is amazing and it is preferable to nothing, always. I am more lenient too because of the cultural context of this. I consider this and this verse on top, and coming from China right now of all places, a little miracle.
IMO – this is still a better situation than TNP. I expected to learn something from watching the royal fetish series, I expected something innovative, new, fresh… I did not expect only to leave with a bunch of notes on what not to do, never repeat, avoid at all costs.
I promised to keep quiet and not to provoke Yizhan split soul (hello there), but what I would love to point out and give credit for is the overall idea, interesting characters and plots, choice of actors and lovely personalities of theirs. SWL’s actor specifically, with the mains, seemed to be counted as a fan who could play with the ideas. And for Gao Tu’s actor, I just have a soft spot. So I am glad for the group of people presenting these characters, experiences in acting or not.
wow I read every word that's amazing it enlightened something for me too!
Wow, thank you - what side are you on? Writer, reader, audience, inspiring or active movie maker? Taking it from perspectives is interesting too. Or would you share the things that clicked for you maybe?🙏
He's able to hide it because Shen is a idiot. He actually bought that when Gao told him he has "asthma".…
I see - from a novel info? I am fine with that and it goes along with HY personality, i still like their half friendship - SWL-HY and half rivalry - SSU-SWL. It is portrayed here very nicely. I feel pain for what is gonna SWL be forced to do next week to SSU.😥🥲
He's able to hide it because Shen is a idiot. He actually bought that when Gao told him he has "asthma".…
So cool! 😍 --- Yes. As well maybe it is not so much about some not telling you the truth for such a long time, but how many ppl would expect you doing to yourself something so painful and harmful for ypur entire life, and what is worse - you doing it because you think you protect yourself in a way? It is very intricate complicated half-lie, half-truth. And it is awesome for it. Maybe a reason why so many can relate to the second story too.
In my opnion the novel become more interesting after hua yong got exposed of not being an omega , The manipulation…
I wanted to do that, I couldn't contain myself. And after several episodes i was like wth am i watching and went rewatch trailer to make my brain content again, since then i like a) second couple and b) can't wait for the switch, c) hope little psycho will use the "but i could be cute little princess for you all the time, why can't you do that for me? (have my baby too! 😭)🤣
He's able to hide it because Shen is a idiot. He actually bought that when Gao told him he has "asthma".…
Maybe he even doesnt get it is possible and definitelly not for such a LONG BLOODY TIME? Look at his reaction to the cute psycho play... as well.. wait a sec - does Hua KNOW right now already? I thought he found out the day he saw him leaving WSL after the not-so-much mating?
OK, here is a little note for my future self, obviously not really related to anything important.
I was randomly checking some behind-the-scenes clips of the actors while shooting, and one moment just stuck in my brain until now. They were being asked if they laugh while doing (I believe) intimate scenes—or maybe just in general on set—and they answered no.
In that moment, I was like: huh? I don’t watch much of these, but I know—and I’m sure, absolutely positive—that actors do laugh on set quite a lot. Back then I thought, oh, OK, that makes sense. And it was connected to another discussion we were having on kisskh for this series. That discussion was about whether the original author of the book should be on set during filming.
We were talking about how it’s usually not good for the original author to be the one translating their work into audiovisual language.
I was basically expressing that they shouldn’t be there, because they often don’t have the proper technical skills to translate the work into screen language. And while that is still a correct and valid point, I realized there’s maybe an even bigger problem with the writer being a major part of the adaptation process.
And that is—even if we don’t look at the disaster that happened on set with KinnPorsche the Series, and even if we don’t think about how big of an embarrassment J.K. Rowling turned out to be for many people who once loved her—there is still a major problem with writers being physically present with the actors on set.
You see, it might not apply to everyone 100 % of the time, but: if you are the person who wrote the story, you take that story seriously. You take yourself seriously in the process of writing it, and definitely the characters. And because of that, at least some parts of your book are tied to very dark or deep memories that you also take seriously.
Now imagine being the writer on set, and suddenly the actors portraying your characters start laughing at a scene that was possibly inspired by something painful in your life or the life of someone close to you. That’s hard to reconcile.
So now, in retrospect, I understand the "of course", why the actors said they don’t laugh much on set, or not during certain scenes. I immediately connected that with the presence of the original writer. And now I can say from a clearer perspective: it’s not a good idea for the writer to be there.
Because from the actors’ side, they have nothing to do with those memories or how seriously I take my own writing. They shouldn’t be affected by my presence, my judgments, or my personality while they’re doing their job. They need the freedom to laugh, test things, and feel secure, without worrying that they might offend me or stir up my emotions.
And I’ve seen clearly in behind-the-scenes clips (for example, in Revenge and Love) how the actors laughed and weren’t serious while practicing, but the final result was better precisely because they had that freedom.
After all, they are uninvolved in the process of writing the original text. For them, it’s just another job, just like for me writing involves going deep into my darkest thoughts and ideas, into my intimate space. So while something might feel very serious or painful to me, from a neutral perspective it might actually be hilarious to them—and I might just be the only one unable to see it that way.
Because I know as an actor I would suffer if I weren’t free to laugh, and because of that, my work would suffer—and I wouldn’t want that if I were in their shoes, portraying someone else’s characters. I would not want to hurt anyone. I would absolutely need that freedom if I were acting based on someone’s script. That’s something moviemakers understand and deal with all the time. But writers? No…
I know I’m ranting here, and I know most of you don’t care. But this discussion has been going on in my head for a long time, and I needed to write it down to give myself some partial closure. Maybe it will even be useful to at least one person reading this.
OK, so SWL had sex with Gao Tu lasting hours doing rounds blabahblah, yadadada, lots of ruts and heats full of…
i kinda ignored / didn't know he never went through heat without inhibitors 🤔 even more so i love SWL reaction to Hua Young in prew episode. BUT IF YOU KNEW ABOUT GAO TU. ...smh i wanna hear him scream a sense in t Gao Tu.😎
OK, so SWL had sex with Gao Tu lasting hours doing rounds blabahblah, yadadada, lots of ruts and heats full of…
🤦♀️🤦♀️🤦♀️🤦♀️🤦♀️🤦♀️ imma gonna cry. Now tell me SWL basically saved Gao Tu in thant banquet and i am gonna throw myself out of the window out of the pure injustice in this all mess! 😭😭😭 Thank you. 🙏
1
Revenged Love – I really so much love watching the work with the director and actors and people on set (which is rare for me). It is obviously a fan, so I came to the conclusion too that it is not true that fans shouldn’t be writing about the characters they love. It is a blessing to have both – a person who understands what they are doing and then who is ready to work with love on a project.
And I don’t have anything with the writer on set. I would love to believe that for the unclarity of what a character felt in this or that situation, or how they saw things, being able to ask the author right away is priceless. But not being a head, just being a helping hand. Contrary to popular belief, a writer is a detail-oriented freak control who does not possess the abilities to project these big worlds into reality. Once he is the head of moviemaking, he tends to be over-controlling over things that should flow (because they look better as such). Our processes are the same but just reversed from what is needed in work with people.
And then there are supposedly extroverted writers – don’t ask me how they have it. I just crash with extroverts trying to write something interesting for me – and I love them because they spend energy differently than an introverted writer.
In the case of Revenged Love everything, and I mean EVERYTHING, clicked – from choices of actors, the way they communicate with faces as well as expressions, their features and professionalism, the insane VISUAL LANGUAGE overall – the camera and editing work, choice of colour schemes, and the insane AUDIO choices – specifically the insanely great song choices. The contrasts used, the work with situational comedy and how it was a) framed, b) executed… it was breathtaking. And everyone understood what they were supposed to be doing, which is rare too. The project and its parts understood its head and toe to the bone, to the core.
I didn’t even realise what people point out now until I read about it 2 days ago – the misdoings that were done on it in the process of airing. Because despite the vandalism on RL, it was still so good. It makes me sad now, but during it I did not keep notes on it.
Of course, experience helps significantly. And if our silly discussions help this author to avoid current mistakes, I would love to see more adaptations of her work.
And with your mention, I shall mention too something I said before – if the project wouldn’t otherwise exist, considering she is doing it on her own – hats down, it should not be rated the same way as professionally made projects. It is amazing and it is preferable to nothing, always. I am more lenient too because of the cultural context of this. I consider this and this verse on top, and coming from China right now of all places, a little miracle.
IMO – this is still a better situation than TNP. I expected to learn something from watching the royal fetish series, I expected something innovative, new, fresh… I did not expect only to leave with a bunch of notes on what not to do, never repeat, avoid at all costs.
I promised to keep quiet and not to provoke Yizhan split soul (hello there), but what I would love to point out and give credit for is the overall idea, interesting characters and plots, choice of actors and lovely personalities of theirs. SWL’s actor specifically, with the mains, seemed to be counted as a fan who could play with the ideas. And for Gao Tu’s actor, I just have a soft spot. So I am glad for the group of people presenting these characters, experiences in acting or not.
I was randomly checking some behind-the-scenes clips of the actors while shooting, and one moment just stuck in my brain until now. They were being asked if they laugh while doing (I believe) intimate scenes—or maybe just in general on set—and they answered no.
In that moment, I was like: huh? I don’t watch much of these, but I know—and I’m sure, absolutely positive—that actors do laugh on set quite a lot. Back then I thought, oh, OK, that makes sense. And it was connected to another discussion we were having on kisskh for this series. That discussion was about whether the original author of the book should be on set during filming.
We were talking about how it’s usually not good for the original author to be the one translating their work into audiovisual language.
I was basically expressing that they shouldn’t be there, because they often don’t have the proper technical skills to translate the work into screen language. And while that is still a correct and valid point, I realized there’s maybe an even bigger problem with the writer being a major part of the adaptation process.
And that is—even if we don’t look at the disaster that happened on set with KinnPorsche the Series, and even if we don’t think about how big of an embarrassment J.K. Rowling turned out to be for many people who once loved her—there is still a major problem with writers being physically present with the actors on set.
You see, it might not apply to everyone 100 % of the time, but: if you are the person who wrote the story, you take that story seriously. You take yourself seriously in the process of writing it, and definitely the characters. And because of that, at least some parts of your book are tied to very dark or deep memories that you also take seriously.
Now imagine being the writer on set, and suddenly the actors portraying your characters start laughing at a scene that was possibly inspired by something painful in your life or the life of someone close to you. That’s hard to reconcile.
So now, in retrospect, I understand the "of course", why the actors said they don’t laugh much on set, or not during certain scenes. I immediately connected that with the presence of the original writer. And now I can say from a clearer perspective: it’s not a good idea for the writer to be there.
Because from the actors’ side, they have nothing to do with those memories or how seriously I take my own writing. They shouldn’t be affected by my presence, my judgments, or my personality while they’re doing their job. They need the freedom to laugh, test things, and feel secure, without worrying that they might offend me or stir up my emotions.
And I’ve seen clearly in behind-the-scenes clips (for example, in Revenge and Love) how the actors laughed and weren’t serious while practicing, but the final result was better precisely because they had that freedom.
After all, they are uninvolved in the process of writing the original text. For them, it’s just another job, just like for me writing involves going deep into my darkest thoughts and ideas, into my intimate space. So while something might feel very serious or painful to me, from a neutral perspective it might actually be hilarious to them—and I might just be the only one unable to see it that way.
Because I know as an actor I would suffer if I weren’t free to laugh, and because of that, my work would suffer—and I wouldn’t want that if I were in their shoes, portraying someone else’s characters. I would not want to hurt anyone. I would absolutely need that freedom if I were acting based on someone’s script.
That’s something moviemakers understand and deal with all the time. But writers? No…
I know I’m ranting here, and I know most of you don’t care. But this discussion has been going on in my head for a long time, and I needed to write it down to give myself some partial closure. Maybe it will even be useful to at least one person reading this.
Thank you.