fictionpage Chapter 57: Overall Summary and Masterpiece Status of Ultraman Tiga Season 1
Chapter 57: Overall Summary and Masterpiece Status of Ultraman Tiga Season 1
The next day, at noon.
Bilibili's homepage is showcasing Lao Tang's new video across the entire site.
The man revered by countless film and television fans as the "internet mouth double"—the sharp-tongued Lao Tang—edits his videos while live-streaming.
After staying up all night, he finally uploaded the video summarizing all aspects of the first season of Ultraman Tiga, which had been requested by fans tens of thousands of times in the live stream, witnessed by countless netizens.
"I can't take it anymore! I'm going to sleep. Guys, go watch the video, remember to like, comment, and subscribe! I'm ending the stream now, or I'll die of exhaustion..."
Everyone's attention shifted to the video, whose title was simple and direct, yet full of hostility:
What are we overlooking when we talk about Ultraman Tiga? — Dedicated to the man who redefined tokusatsu.
The video garnered over a million views within just ten minutes of its release.
The comment section was instantly flooded with "drop-in link", "first", and "witness history".
In the video, Old Tang appears with two huge dark circles under his eyes, but the light in his eyes is brighter than Ultraman Tiga's timer.
"Hey everyone, this is Lao Tang. I'm not feeling too well, so please forgive me for staying up all night to record this. I just wanted to get you guys watching it sooner... Of course, I'm not trying to ride this wave of popularity!"
"Last night, like everyone else, I cried my eyes out while watching 'The Devil's Trial.' But today, after drying my tears, I want to talk to you about this show with an unprecedentedly serious attitude."
Why was "Ultraman Tiga" able to surpass all the new anime series that premiered in December and single-handedly double the traffic to Bilibili's film and television section?
Why is it that a "suit drama" that inherits so-called outdated Japanese filming techniques can be revitalized in China, driving audiences of all ages, from ninety-nine to toddlers, into a frenzy?
Old Tang held up three fingers.
"Data, artistry, and social impact. We will use these three dimensions to give a final assessment of director Gu Nan's work."
The video is a bit long, so we'll break it down into several parts. If you want to see specific content, just click the progress bar to jump to that part.
The first part is the victory of episodic dramas—turning "tokusatsu" into "science fiction poetry anthology".
The scene then shifts to a highlight reel of the first season of Ultraman Tiga.
"First of all, I want to make a shocking statement: a big reason why Ultraman Tiga was able to achieve god-like status is because it focuses on high-quality episodic dramas."
Old Tang's voice was strong and clear.
"Modern TV series are either padded out, trying to stretch one episode's plot into ten, or they only care about plot twists and exciting moments, with flat and weak characters and an overly fast pace. Ultraman Tiga does the opposite. Each episode is an independent short film, and each episode challenges the boundaries of different themes."
"Don't believe me? Let's review this."
The screen showed footage from episode 12, "SOS in the Deep Sea".
"Remember this episode? Many viewers told me that this episode gave them thalassophobia."
Why? Because it's too real!
Old Tang pulled up several close-up shots and began analyzing the film frame by frame.
"Look at the scene where the monster attacks the offshore drilling platform. The oppressive feeling of looking directly at the monster through the glass, the claustrophobic fear of the deep sea—Director Gu Nan captured the essence of a Hollywood disaster film."
"And look at the details of this drilling platform set. When the monster emerges from the ground and destroys the platform, look at the cracking steel, the gushing flames, and the wreckage being swallowed by the sea."
"The most amazing thing is the special effects technique here. The prop master at Light Chaser Animation Studio has a masterful control over 'water.' It's real water, not some cheap special effects particle effect! The sense of heaviness and resistance makes the whole battle scene feel incredibly real."
Immediately afterwards, the scene shifted, and the tone became sinister and terrifying.
Episode 13, "Not a Slave".
"If episode 12 was a disaster movie, then episode 13 is a pure thriller."
"The crow people capture humans at night to enslave them, shrinking them and stuffing them into boxes. Doesn't that premise send chills down your spine? Doesn't this metaphor send shivers down your spine upon closer examination?"
"14 more episodes, the alien battle royale game; 21 more episodes, the correspondence between the little angel Durban and the demon god..."
Old Tang slammed his hand on the table and concluded:
"Have you noticed? Every episode of Ultraman Tiga uses a different style to package the theme of 'light and shadow.' It doesn't treat you like an idiot, nor does it fool you with childish plots. It tells the most hardcore science fiction story in the most accessible and easy-to-understand way."
"As long as you know that Ultraman Tiga is actually Daigo in disguise, you can get immersed in the story no matter which episode you start watching. That's the charm of episodic dramas, and that's the foundation for Ultraman Tiga's nationwide popularity!"
To be fair, Ultraman Tiga is a god-tier creation in terms of both its storyline and production!
[And then there's Tiga himself! Tiga's looks are truly top-notch. Even though his face is just a static suit, you can still see all his emotions on his face.]
Even viewed as a relatively bland episodic drama, the plot twists and turns are quite reasonable. Just when the audience's attention is about to wander, a new plot twist or highlight appears. The production team is very professional; who would have thought this was made by college students?
……
The second part will discuss how to deliver a devastating blow to one's "peers".
Old Tang took a sip of water, and the expression on his face became somewhat amused.
"Speaking of this, we have to mention a certain 'big brother' in our industry—a certain Ao Zun."
The live chat exploded instantly:
[It's here! Public execution!]
[Qiao Tianzun: Just give me my ID number!]
[Superpower Overlord: Ah, right, right...]
[Warning: High-energy content ahead!]
On the left side of the screen, Lao Tang displayed the scene of Daigo transforming in the first episode of "Ultraman Tiga," and on the right side, he displayed the scene of the protagonist transforming in "Psychic Overlord," the anime series by Ultraman King.
Without comparison, there is no harm.
On the right is a colorful light pollution, the main character is striking an awkward pose, and the background is all CG composite.
And on the left.
The light inside the pyramid, Daigo's desperate shouts, and that red, purple, and silver body standing in the sunset, full of divinity and power.
"Brothers, what do you call this? This is called 'aesthetic generation gap'."
"While the Celestial was still thinking about how to make the suit more fancy and how to sell more plastic transformation devices, what was Director Gu Nan thinking? He was thinking about how to use cinematic language to express 'giganticness' and how to use the suit to convey 'divinity'."
Old Tang pointed to the data analysis chart on the screen.
"Looking back at the first episode of Ultraman Tiga, the beginning wasn't actually that 'exciting.' It didn't start with big explosions or grand scenes like other anime. In fact, the battles in the first episode only showcased the power of the strong type and the speed of the aerial type, and the kill effects were rather 'simple'."
"but!"
"This 'simplicity' is precisely the greatest respect for tokusatsu. Because it's real, it's profound. The fighter jets have a simple yet stylish design with sharp angles, and the TPC team members' uniforms are aesthetically pleasing. This isn't 'shabby,' it's 'class.'"
"On the other hand, some works think that piling on special effects makes them blockbusters. And what's the result? The special effects look like a run-of-the-mill web game, and the plot is nonsensical. These kinds of works were completely outclassed by Ultraman Tiga. Is it unfair? Absolutely not!"
[The main point is that even when filming with a suit, it feels so real! The immersion is incredible!]
Watching Ultraman Tiga didn't feel like watching a tokusatsu series. The slightly blurry footage, the somewhat dirty monsters and Ultraman suits, the simple transformation devices, and the unpretentious direction and dialogue—compared to Ultraman Z, Tiga really felt like watching a documentary. This made the characters feel very three-dimensional, and their emotions very real.
[The emotional appeal was incredibly moving, the moral lessons were profoundly insightful, the characters were unforgettable, and the idealism was crystal clear—Tiga truly is a well-rounded warrior!]
……
After recounting how his peers contrasted with him, Old Tang's expression turned serious again.
"If the production quality is just a matter of technique, then in terms of concept, Ultraman Tiga has already reached the highest level."
"Many people say that tokusatsu is for children. Okay, let's talk about episode 14, 'The Exiled Target'."
The screen showed the two aliens hunting each other.
"What was this episode about? Aliens turned Earth into a hunting ground and their own kind into prey. Does this plot sound familiar? It's practically a cosmic version of 'Hard Target'!"
"This 'hunting game' scene is full of the cult vibe of Western B-movies. The oppressive atmosphere, the despair, and the sense of powerlessness when Lucia is murdered..."
"Furthermore, everyone should pay attention to Daigo's performance in this episode."
Old Tang captured the moment when Daigo angrily transformed into Ultraman Tiga under the setting sun.
"Daigo's transformation this time was all in red. In a state of extreme rage, he switched directly to the Red Power Type. His fighting style was practically 'mad dog' mode, ah, that's a compliment."
"Did you see that? Sand and stones flying everywhere, chopping rocks with bare hands, killing the Wood-Pure Starman with a single blow—the exhilaration is on full display."
"In this scene, I saw that 'lone wolf' kind of tragic heroism reminiscent of the old Japanese versions of Ultraman Leo. This isn't about fighting monsters; it's Daigo using his fists to vent his anger at this brutality!"
"This also shows that Gu Nan truly loves the Ultraman IP itself. Compared to before creating Tiga, when he was stuck with the ancient 360P quality and watched the old Japanese Ultraman series to death."
"This reflection on life and questioning of humanity runs through Ultraman Tiga. Environmental protection, anti-war, the greed and brilliance of humanity... Gu Nan perfectly wrapped these adult-oriented themes under the guise of tokusatsu."
"Kids see the coolness of fighting monsters, and adults see a reflection of reality. Everyone is satisfied; that's what makes it a masterpiece for all ages."
At the end of the video, Lao Tang stopped analyzing the plot and instead took out a thick stack of letters.
The background music was changed to a soothing instrumental variation.
"Before making this video, I received thousands of private messages in the comments section. I'd like to read two of them to you."
Article :
"Hello Mr. Tang, I am a mother of a 7-year-old child. My child is introverted and is bullied at school. He used to be particularly afraid of the dark. But ever since watching Ultraman Tiga, especially after watching episode 25 last night, he asked to go to school by himself this morning. He said to me, 'Mom, I also have a ray of light. I'm not afraid of monsters.' Thank you, Director Gu Nan, thank you Ultraman Tiga, for giving my child the most precious courage."
Article :
"I am a professor in the Department of Sociology at Jinghai University. Initially, I viewed this 'commercial film' with a critical eye. But after watching the first season, I must apologize. This work is redefining the value of 'tokusatsu'. It is not a venting of violence, but a modern chivalry, a philosophical reflection on how humanity finds hope in despair. It deserves to be included in textbooks."
Old Tang closed the letter, his eyes slightly red.
"Brothers, do I need to say anything more?"
"The first season of Ultraman Tiga has ended. But the story of 'light' has only just begun."
"Director Gu Nan, season two, see you there! If you dare to ruin the ending, I, Old Tang, will be the first to come to your studio with a bomb."
"This is the sharp-tongued Lao Tang, see you next time! Believe in the light, forever!"
……
One hour after the video was released.
The number of reposts across the internet has exceeded 50.
Bilibili's coin donations have reached a record high.
The hashtags #TigaRedefinesTokusatsu#, #ALetterToGuNan#, and #QiaoTianZunComeOutAndTakeABeating# are firmly rooted in the top of the trending topics list.
Chasing Light Studio, Meeting Room.
The projector was playing the ending of Lao Tang's video.
"call……"
Chen Chang let out a long sigh, slumped into his chair, and grinned foolishly. "Brother Nan, this Old Tang... his mouth is really sharp, but when he praises someone, it's absolutely deadly. I got goosebumps reading that 'sociology professor's' private messages."
The members of the Light Chaser Studio, who were preparing for their vacation, also came across this video.
While pushing his airline-style suitcase, Su Zhe said, "Brother Nan, Lao Tang's analysis was spot on! Especially that part about the 'episodic' and 'adult fairy tale' positioning. I think we can be even bolder in the second season!"
Gu Nan was booking a hotel on his phone, but he had already listened to all of Lao Tang's videos.
Every point Lao Tang mentioned was precisely aligned with his overall strategy.
Even the analysis of the "cult" style of episode 14 coincides with Gu Nan's original ideas when filming.
In this parallel world, without the groundwork laid by the previous work, Gu Nan did indeed incorporate a lot of experimental styles in the first season, attempting to test the limits of the market.
The results proved that the market not only accepted it, but also craved more.
"Old Tang is right."
Gu Nan put down his phone and glanced at the core creative team waiting in the VIP room.
"In the first season, we proved that tokusatsu is not just for kids, and that costumed characters can also create an epic feel."
"So, season two... never mind, let's talk about it after we get back from vacation."
"Tell me! Tell me!! Director Gu!"
The crowd started making a fuss!
"Since viewers found the deep-sea horror in episode 12, the suspense in episode 13, and the hunting game in episode 14 very disturbing..."
Gu Nan turned around, a hint of "pleasure-seeking" gleam flashing in his eyes.
"Then for the second season, we'll give them something even more 'powerful'."
"The first season was a victory for episodic dramas, designed to lower the barrier to entry and make it accessible to everyone."
"But in the second season, we'll start to wrap up the loose ends."
"We want the audience to feel what true despair is, and then, in that despair, give them a final hope."
Chen Bo shuddered: "Brother Nan, you're going to scare the audience half to death..."
"It's not satisfying without a cut."
Gu Nan smiled. "The audience's threshold has been raised by the first season. If we just stick to the same old monster-fighting formula in the second season, they'll be disappointed."
"By the way, what's the latest news from Celestial Master Qiao?" Gu Nan suddenly asked.
Upon hearing this, Chen Bo immediately perked up, sat up straight, and revealed a gloating expression on his face.
"Ugh! Don't even mention it! It was absolutely horrific!"
Chen Bo opened his tablet and brought up a set of data.
"After Lao Tang released this video, the stubborn Qi Ao Tianzun, who was still denying everything, completely collapsed."
"Their 'Psycho-Master' was supposed to take advantage of our first season ending to buy some press releases and hype it up as 'the successor to Ultraman Tiga.' But when Old Tang released that comparison video, it completely ripped off their fig leaf."
"Their official Weibo account's comment section is now closed; it's full of people calling them 'industrial garbage' and 'money-grabbing swindlers.'"
"and……"
Chen Bo lowered his voice and said mysteriously, "I heard from friends in the industry that Zhao Rui smashed three vases in his office today. Their investors have started to withdraw their funding, and several TV stations that had agreed to broadcast the show together have all backed out and are demanding refunds."
"They are now like rats crossing the street, hated by everyone."
After listening, Gu Nan simply nodded, showing little surprise.
This is a case of dimensional reduction attack.
In this parallel world, the tokusatsu market is stagnant, monopolized by capitalists like Qi'ao Tianzun, who feed the audience garbage.
Gu Nan did more than just make a good drama.
He handed the "aesthetic standard" yardstick into the hands of the audience.
Once the audience has tasted delicacies, who would still want to eat shit?
"Ignore them."
Gu Nan waved his hand, as if shooing away a fly, "They're a thing of the past."
"The focus now is on preparing for the second season."
"Su Zhe, have you finalized the materials with the props team? And have you started designing the model for the 'R'lyeh Ruins'?"
"It's already underway!" Su Zhe excitedly reported to his supervisor, "It'll be as stunning as you requested!"
"it is good."
The success of the first season gave him enough confidence, resources, and funding.
The real highlight is the upcoming second season.
There will be an explosive surge of amazing episodes.