Violence supervision in Conan

Chapter 783 adds some spice to the script: Oni Takeshi's version of "The Wandering Earth".

Takeshi Ono does not intend to completely "reproduce" his previous work, The Wandering Earth 1.

In his view, although the films of his previous life achieved remarkable success and can be regarded as the benchmark of Chinese science fiction films, it does not mean that they are perfect.

On the contrary, it has many shortcomings.

This is especially evident in the first part.

Of the two films in the previous "The Wandering Earth" series, the second one was clearly more mature and sophisticated in its production.

This is built on the success of the first part, with more funding, experience, technology, and a team to refine it further.

When "The Wandering Earth" was first conceived, not many people were optimistic about it. In fact, this kind of hard science fiction film was considered by "professional" filmmakers and some viewers to be a thankless task.

The probability of success is extremely low.

On the contrary, the formula of combining popular stars, Hong Kong celebrities, and romance elements, like "The Fortress of Shanghai," is more favored by professionals and the general public.

Science fiction is just the outer layer; inside it's still the same old "domineering CEO, romance" formula. It may be a bit cliché, but this formula has already proven successful.

As it turned out, this "wealth code" failed this time. "The Wandering Earth," which everyone had given up on, became a huge hit, while the highly anticipated "Shanghai Fortress"... well, let's not even mention it.

It was the success of the first film that led to the even better second film.

However, in the first film, due to cost and experience limitations, most of the shots could only focus on the main characters' small team.

Large-scale scenes that were more worthy of filming during the apocalyptic crisis had to be abandoned due to various reasons such as the level of special effects and the budget of the production team.

However, these qualities do not apply to Ono Takeshi.

In terms of funding, experience, technology, and resources, he is far superior to the "rudimentary" team he had in his previous life.

They have the capability and resources to revise and improve the entire story.

So Takeshi Ono decided to "add some more material" to the script.

Adding some grand scenes that weren't in the previous life makes the plot richer, fuller, and more "watchable".

To counter that large ship, we must amplify our own advantages.

The "rebel forces" mentioned only briefly in the movie about my past life would be excellent material for this—

Earth is about to embark on a 2500-year journey of wandering. Time is running out and resources are limited. Only 30 to 35 billion people worldwide will be able to enter the underground city for refuge through a lottery system.

The remaining billions of people were selectively abandoned by the coalition government, left behind on the surface.

The ensuing global tsunamis, earthquakes, lunar meteorite impacts, and drastic climate change, while causing the deaths of a large number of refugees abandoned on the surface, also resulted in a considerable number of people who managed to survive.

The surviving surface refugees were inevitably filled with despair at being abandoned by the coalition government and hatred for the underground inhabitants.

Therefore, they banded together and became a rebel force on the surface.

The rebel forces are hiding in buildings on the surface and launch attacks on the coalition government's convoys from time to time.

This makes sense in the movie from my previous life, where the escort team for "Firestone" included active-duty United Government soldiers, and their troop carriers were fully armed with various weapons and equipment.

In addition to dealing with various extreme environments on the ground, it is also necessary to guard against surprise attacks by rebels.

Furthermore, one scene depicts a rescue plane crashing, only to find it completely looted and all survivors dead or wounded upon arrival, which indirectly confirms the existence of the rebels.

However, descriptions of the rebel forces are scarce in the movies from my previous life.

When the first film was being shot in my previous life, the original crew was short of funds and struggling to make ends meet. They managed to get the movie out by taking advantage of the situation, swindling big-name actors, and even mortgaging their properties for loans.

The production team didn't want to film the scenes featuring the "rebel forces," but rather they were simply unable to.

If the "rebel forces" were added, the production team definitely wouldn't have made it to the finale and would have gone bankrupt. But this regret was made up for in Takeshi Onino's film.

The overall plot hasn't been changed much; only some suitable content has been added.

The protagonist, Liu Qi, was caught stealing a car with his younger sister, Han Duoduo, and was imprisoned in a detention center. Upon hearing the news, his maternal grandfather, Han Zi'ang, came to the scene.

Han Ziang, born in the 2000s, tried to bribe the guards with his treasured VR pornographic films, but ended up being imprisoned along with them.

This plot is full of contrasts and surprises, making it a true classic.

However, this can be considered the last heartwarming scene before the "Jupiter gravitational crisis" occurs.

Then the "Jupiter gravitational crisis" occurred, and the crisis of destruction once again descended upon all mankind, prompting underground cities around the world to launch saturation rescue missions.

The main characters also took the opportunity to leave the detention center.

Han Zi'ang was only concerned about the safety of his two children and did not join the recruited rescue team.

Unfortunately, it was requisitioned by another coalition government rescue force that was on a rescue mission.

The group had no choice but to embark on a rescue journey to escort "Firestone".

On the way, the group unexpectedly discovered that a strategic transport plane, which was also carrying out a rescue mission, had crashed due to the thin atmosphere.

One of them crashed near the rescue convoy of the main characters.

Just as the group was on their way to rescue the crashed transport plane, they were suddenly attacked by a small group of rebels.

The rebel forces, drawn by the crashed plane, clashed fiercely with the protagonists who were escorting the "Firestone" rescue team.

In this segment, Takeshi Ono meticulously designed a firefight that aligns with the film's world-building.

The protagonist's group, representing the united government, is well-equipped but few in number. The soldiers in the group are determined to protect the "Firestone" from being captured by the rebels.

The rebel forces, on the other hand, are equipped with vehicles and weapons that prioritize pragmatism and have a "wasteland punk style." Although their equipment is poor, they are fearless in the face of death.

In Takeshi Onino's vision, the firefight between the two sides could be considered a key plot point in the middle of his version of the film.

The intense "space elevator battle" in the second part of "The Wandering Earth" left a deep impression on the audience.

Therefore, Takeshi Ono considered adding a battle scene that could match the "Space Elevator Battle" storyline.

With no cost constraints, no limitations in special effects technology, and strong support from China, he naturally wouldn't let this storyline slip by.

The main theme of this battle is "bloody, intense, and grand in scale"!
Various high-tech equipment and weapons derived from the movie's worldview made their appearance one after another. The post-apocalyptic punk rebel forces and the regular army of the United Government, which was equipped with advanced black technology, engaged in a short but fierce battle.

The rebels, stripped of their right to enter the underground city, fight for supplies for the rescue team and for survival.

The rescue team is fighting to protect "Firestone," to carry out the mission of rescuing the "planetary engine," and to ensure the continuation of human civilization.

In this battle, there is no right or wrong on either side; there are only different identities and positions.

In order to continue to survive on Earth, the rebels had no choice but to launch an attack despite the powerful and sophisticated firepower of the United Government's regular army.

This was for the sake of the limited survival supplies in the rescue convoy.

After losing the moon, Earth experienced frequent tidal disasters, and with the start of the "Wandering Earth" project, the climate became increasingly harsh.

The surface is no longer suitable for human habitation, and the rebel forces can only struggle to survive.

They charged forward relentlessly, fearlessly facing the intense firepower of the coalition government's rescue convoy.

On one hand, it was for the survival of the rebel forces; on the other hand... it was perhaps a desire to die.

This is the harsh reality that humanity has to face beneath the "romantic" thousand-year journey of drifting through the universe!
(End of this chapter)