This drama combined fantasy, wuxia and conspiracy. It tells the story of TLC (played by LYX) as a mysterious Master form “foreign land”, travelled and grew up in the vast marital arts area in China with a distinctive regional colors. TLC gained valuable experience, experienced misunderstanding and betrayals, and in the complex world full of chaos and fierce struggles, we will believe in the story of love & affection in all living beings, righteousness in the world, and determination to protect the world.
The entire drama is committed to presenting a new realistic style of romantic spirit to the audience, not only showing everyone is a real & vivid and imperfect social mirror, it also shows everyone the chivalrous spirit of Confucianism, Buddhism and Taoism, which “travels both inside and outside to helps the world”.
The two collide fiercely, intertwining the unique temperament of the play and demonstrate the innovative practice of vertical categories in the fantasy drama track.
Art director Zheng Chen, Costume designer Huang Wei, and Make up director ZMC will join hands wt. Huatian art concept to provide world view setting, art scenes design, costume design, etc from the East. Drawing inspiration from aesthetics and use a large number of traditional cultural symbol to show the classical artistic conception of Chinese civilization. Different from other fantasy marital arts dramas. The regional cultural styles of the sects are v different. The template art of the drama will be designed according to the regions set by different sects and combined wt. local history, culture, costumes and customs. In SLY you can see not only the simplicity and desolation of the land of Yanzhao, but also the steady and profound Heluo culture in the Central Plains, the mysterious and beautiful Bashu culture, and the poetic and picturesque charm of Jiangnan water town. The costume of design sects will also be designed and produced by integrating the aesthetics of Chinese civilization.
The grandeur of the Yin and Shang Dynasties, the majestic momentum of Han Dynasty, the simplicity and elegance of the Song Dynasty, and the complicated “flying fish” of Ming dynasty will all be integrated into the play. The beautiful Chinese scenery and the millennium cultural context are melted together. It aims to use the freehand scenery to show the emotional changes of the protagonist along the way, reflect the character’s mental growth at different stages, and create artistic conception.