In this play, this character not only looks like Shuai Shuai, but also takes care of his nephew's urban and rural areas. On the surface, he is selfless, despicable and hostile to Aquilaria sinensis. In fact, he hopes that Aquilaria sinensis can break through a new day.
He also saved his mother by splitting a mountain. After his failure, he and his sister Yang Chan contributed to the treatment of weak water for all sentient beings in the Three Realms, and was canonized as Erlang God and Notre Dame by the Heaven.
Vincent Chiao's Yang Jian is very suitable for people. He was the first actor who really noticed Yang Jian, the god of war. I can't say there isn't much in it. His handsome appearance brings amazing feeling, just like I fell in love with a sculpture. Although it is the sculptor's ideas and carving techniques that have created such excellent works, it is undeniable that the carved wood is also a hero. A good actor is a perfect sculpture, and his innate condition is that excellent sketch.
His analysis and understanding of roles and dissection of self-emotion are just like the inspiration and feeling of a sculptor. This is a good actor's performance and a sculptor's technique. The appearance of Vincent Chiao is nothing more than a better expression of the charm of Erlang God Yang Jian.
Yang Jian was born proud, but he was willing to give up his life for his brother and his dignity for his relatives. His pride made him different, but his sacrifice made him miserable all his life.
Vincent Chiao's highly fitting role and superb acting skills, from intriguing eyes and expressions to big fire, have satisfied the audience's fantasy of Erlang God.
The costume props of the whole drama are powerful and the special effects technology is avant-garde. The TV series broadcast in 2005, aesthetics and special effects are not out of date now. Yang Jian's eyes on his forehead changed the way he used to stick fake eyes on his forehead in film and television, and adopted a gold-plated pattern with silver magic special effects, which greatly improved the aesthetics and authenticity. The armor did not use the description of goose yellow in myths and legends. The crew made goose yellow armor in the tidbits, which was not as beautiful as silver, but it was not adopted in the end. Instead, the pure silver armor with a more divine temperament was adopted in the play.
Compared with Yang Jian, a resourceful and brave disciple of three generations in The Romance of the Gods, Kojiro in The Journey to the West who listened to the tune but didn't listen to the announcement, and Yang Jian in Lotus Lantern, they are obviously more plump, affectionate and flesh-and-blood, pursuing love and justice, bravely resisting the tyranny of rules, sacrificing little love for great love, and so on. Almost all the themes are displayed in Yang Jian.
The Lotus Lantern Prequel is a magical fusion of many myths and legends. It connects the events related to Yang Jian in a play with a great time span, and finally makes a smooth transition to Yang Jian, the great god of justice. In the original plot, it is planned to revise the dogma and successfully connect the lotus lanterns. Yang Jian's images in different stories can also be unified. I really admire the screenwriter.