The ending of "Black Myth: Wukong" may leave gamers wanting more, but the game's six chapters of cutscenes have captivated audiences. Popular video game blogger Pili shared that after completing each challenging chapter, the beautifully crafted cutscenes provide a sense of relief and joy. It's not just gamers who appreciate these visuals, and ordinary viewers have also been enthralled by the story. As a result, the cutscenes from "Black Myth: Wukong" have become trending content across major video platforms.

Three of the six cutscenes, "Fart", "Don't Listen", and "Beyond Control", were co-produced by Guangzhou-based Big Firebird Cultural Media Co., Ltd. and its partners. To uncover the production secrets behind these animations, a reporter recently visited Big Firebird's office in Tongchuanghui Park, Haizhu District.

Of the three cutscenes produced by Big Firebird, Wei Tianxing, the company's CEO, expressed that his favorite is the third chapter, "Fart". Every detail in "Fart" was created after meticulous researched by the production team. From the architecture to the costumes, they worked hard to recreate elements of traditional Chinese culture, ensuring an immersive visual experience for players. This attention to detail is a hallmark of Big Firebird's work and is evident in the other two cutscenes as well.

Among all the cutscenes, the fourth chapter, "Don't Listen", has gained the most traction. Its popularity isn't just due to its beautiful, lyrical soundtrack but also because it explicitly portrays Pigsy's hidden love story from the original "Journey to the West". Huang Hua, CEO of Guangzhou-based Green Monster Research Culture Communication Co., Ltd. and the producer of "Don't Listen", believes that the episode's careful handling of the story and attention to detail are what made it so beloved. Huang said, "When the director briefed us, he wanted Pigsy's love story with the Spider Demon to be conveyed through subtle emotional expressions at different stages of their relationship."

The word "fracture" is what Huang Chengxi, CEO of a film and animation company based in Guangzhou, took away from the script for "Beyond Control". To highlight the fractured nature of the Bull Demon King's life, Huang incorporated fracture motifs throughout the animation. He explained, "In the scenes with Princess Iron Fan and the Red Boy, there are fissures in the lava on the ground. When he interacts with Wukong, his face and body are marked with scars and wounds." Huang used these visible cracks to symbolize the tragic life of the Bull Demon King.

In discussing the future of Guangzhou's gaming industry, Wei Tianxing, Huang Hua, and Huang Chengxi all agreed that creating animated scenes based on real-life locations and turning them into popular tourist destinations could help Guangzhou's cultural, commercial, and tourism sectors to merge and thrive. This concept of integrating culture with commerce and tourism is seen as a promising direction for the future development of Guangzhou's animation industry.

Source : Lingnan on the Cloud

《黑神话：悟空》过场动画热播，制作团队讲述背后的故事

《黑神话：悟空》的游戏结局让人感觉意犹未尽，但游戏六个章节的过场动画都很精彩。知名电子游戏博主啤梨表示，每当艰难打完一章后看到如此精美的过场动画，都会产生一种得到安抚的喜悦感。不过，不只玩家在游戏中得到了正反馈，普通观众也对故事内容惊艳不已。以至于，在各大视频网站上，《黑神话：悟空》的过场动画都成了热播内容。

六集过场动画中，有三集是由广州的“大火鸟文化”及其合作方协同制作，这三集分别是：《屁》《勿听》和《不由己》。为了解这些动画片的制作内幕，记者近日走访了位于海珠区同创汇的大火鸟文化传媒有限公司。

在大火鸟文化制作的3集中，大火鸟的CEO危天行表示他最喜欢第3集——《屁》。《屁》里面的所有细节，制作团队都经过严谨的考据。通过对中国传统文化中的建筑、服饰的还原，力求给玩家带来酣畅淋漓的视觉效果。严格抠细节，是大火鸟文化的制作特点，这在其他两集中也都有体现。 

在所有过场动画中，第4集《勿听》的流传度最高。不仅仅因为这集的音乐最抒情、最好听，也在于这集把原著中猪八戒隐晦的爱情故事明确地讲了出来。作为《勿听》的制作人，广州绿怪研文化传播有限公司CEO黄骅认为，故事的情节、剧情的处理和对细节的精益求精都是让《勿听》得到大家喜爱的原因。黄骅说：“导演跟我们讲戏的时候，对于猪八戒的爱情这一部分，他希望我们能够通过一些手段去表现出猪八戒与蜘蛛精在不同阶段的情感表达。”

“裂痕”是广州齿轮映画影视科技有限公司CEO黄成希从《不由己》这个剧本中提炼出来的关键词。为凸显牛魔王身上的“裂痕感”，黄成希在动画中使用了大量的裂痕元素，他说：“在他和铁扇公主的分镜、和红孩儿的分镜中，地面上都是熔岩裂隙；在和孙悟空的两次交流中，脸上、身上都有非常明显的疤痕、伤口。”黄成希用画面中随处可见的裂痕，来隐喻牛魔王悲催的人生。

“游戏中的广州” 如何实现文商旅的深度融合？危天行、黄骅、黄成希一致认为，将动漫作品中表现的场景以及取景、取材的地点打造成打卡地，实现文商旅的深度融合，这也是广州动漫产业未来发展可以发力的一个方向。

采写｜新快报记者 王敌 许婉婕
摄影｜新快报记者 观显锋
译｜赵凡
审｜林佳岱