The Ethical Framework of “Creation of the Gods I: Kingdom of Storms”: A Modern Interpretation of Ancient Relationships
The highly anticipated mythological epic directed by Wuershan, “Creation of the Gods I: Kingdom of Storms,” has recently graced the silver screen. As the first installment in the “Creation of the Gods” trilogy, the film narrates the tale of King Zhou of Shang’s alliance with the fox spirit Daji to usurp the throne, wreaking havoc upon the human realm. This incites resistance from various factions, including the Kunlun immortal Jiang Ziya and the Marquis of Xibo, Ji Chang.
While the film draws inspiration from the Ming Dynasty novel “Investiture of the Gods” and the Song-Yuan dynasty historical novel “Wu Wang Fa Zhou Ping Hua,” the creators were influenced by Confucian ethics. This influence is evident in the extensive exploration of ancient Chinese five cardinal relationships (五伦) within the narrative. Furthermore, the film incorporates the director’s modern interpretations.
The Five Cardinal Relationships
The “Mengzi·Teng Wengong I” states: “The sage was concerned about this and appointed Qi as the Minister of Education to teach the people about human relationships: affection between father and son, righteousness between ruler and subject, distinction between husband and wife, order between elder and younger, and trust between friends.” The “Book of Rites·Li Yun” outlines specific practices for managing these relationships: “What are the principles of human conduct? Kindness in the father, filial piety in the son; benevolence in the elder brother, respect in the younger brother; righteousness in the husband, obedience in the wife; generosity in the elder, compliance in the younger; benevolence in the ruler, loyalty in the subject.”
Early Confucian ethics emphasized the interactive and balanced nature of these relationships, a virtue-based approach. Later interpretations, however, evolved into a political ethic that stressed hierarchy and subordination. The five cardinal relationships are fundamental to Confucian thought. This film re-examines the original work’s expression of these relationships, innovatively adapting the mythological narrative to focus on the three relationships of ruler-subject, father-son, and husband-wife, in addition to brotherhood and friendship. This approach constructs a cinematic representation of a classic Chinese mythological epic.
The Core Conflict: The Breakdown of the Ruler-Subject Relationship
The dramatic conflict in “Creation of the Gods I: Kingdom of Storms” mirrors the plot development of “Investiture of the Gods,” using the breakdown of the ruler-subject relationship to trigger a series of power struggles. The ideal of righteousness between ruler and subject, “君仁臣忠” (benevolence in the ruler, loyalty in the subject), emphasizes mutual respect and trust. The ruler should prioritize the well-being of the state and its people, while the subjects should be loyal to the ruler. In the film, the clash between the king’s ambition and the subjects’ loyalty, between normative principles and individual emotions, unfolds a grand story centered on the endless struggle between ruler and subject.
King Zhou is portrayed as a ruler consumed by the pursuit of power and status. He is ambitious, seeking both fame and fortune, and willing to do anything to consolidate his rule. Ji Fa, on the other hand, is a loyal subject who has admired King Zhou since childhood, viewing him as the sole ruler of the nation. However, driven by his desires, King Zhou abandons his people. Upon discovering King Zhou’s tyrannical nature and disregard for life, Ji Fa faces a dilemma: the righteousness of protecting the people versus his loyalty to the king. The film uses grandiose scenes and elaborate action sequences to depict the increasingly strained relationship between ruler and subject. The internal struggles of a subject torn between loyalty and morality deeply resonate with the audience, drawing them into the plot and prompting them to explore the possibilities of the story’s development. This exploration further allows the audience to appreciate the multifaceted and complex nature of humanity.
Familial Choices: Contrasting Father-Son Relationships
The exploration of familial bonds, particularly the relationship between fathers and children, is a proven formula for audience engagement. “Creation of the Gods I: Kingdom of Storms” also uses the father-son relationship as a focal point, contrasting the relationships between King Zhou and Prince Yin Jiao, and Ji Chang and Ji Fa. Yin Jiao’s attitude towards King Zhou evolves from reverence and protection to conflict and resistance, while Ji Fa’s attitude towards Ji Chang shifts from doubt and suspicion to support and allegiance. This creates distinct character differences and generates dramatic tension through the contrasting narratives of multiple father-son relationships.
Director Wuershan stated in an interview: “I wanted to explore the father-son relationship, and then extend and enrich it.” He particularly favored a scene in the Dragon Virtue Hall where King Zhou incites the four hostage princes to kill their fathers, highlighting the different dynamics of each father-son relationship. “This scene intensely and centrally expresses something very essential. Within a highly dramatic context, the characters face the most extreme choices, and their actions determine what kind of people they truly are.”
King Zhou’s relationship with his own father is mirrored in his relationship with his son. He harbors resentment towards his father, Emperor Yi, and uses his father’s treatment of him as justification for his own actions when confronting Ji Chang in prison. He understands that the youthful admiration of the hostage princes can be used to control them as political resources. His own act of patricide, in collusion with the fox spirit, leads him to suspect his son of harboring ambitions for the throne. Yin Jiao, as a filial son and loyal subject, initially seeks to protect his family and country. However, his father’s paranoia and his mother’s death in protest force him to confront King Zhou. He ultimately discovers that his father has become a power-hungry tyrant, willing to resort to any means to achieve his goals. The film’s analysis of the father-son relationship between King Zhou and Yin Jiao allows the audience to deeply understand the destructive impact of autocratic paternal authority and tyranny on human nature and emotions.
At the same time, the film also showcases the deep affection of “affection between father and son” between Ji Chang and Ji Fa. During Ji Fa’s years as a hostage in Zhaoge, the father and son long for each other. A jade ring symbolizing “returning home” becomes a warm and touching element in the film. As the Marquis of Xibo, Ji Chang faces imprisonment and suspicion from his second son, but he remains steadfast in his principles, refusing to collude with King Zhou. He is ultimately framed by King Zhou, forced to consume his eldest son, and protects his second son, leading to his mental breakdown and confession.
Through the contrasting narratives of multiple father-son relationships, the film showcases the choices made under the backdrop of complex power struggles. King Zhou’s tyranny weakens the emotional bonds between father and son, while Ji Chang and others are able to uphold their feelings for their loved ones, refusing to abandon their family for the sake of power. This narrative structure and emotional expression not only form one of the core elements of the film’s narrative but also capture the audience’s attention, immersing them in the cinematic environment and allowing them to gain aesthetic insights within the visualized mythological epic.
Reconstructing Images: Changes in Marital Relationships
“Creation of the Gods I: Kingdom of Storms” is undoubtedly a high-quality film with impressive production values, intricate character relationships, and a compelling plot. One of the key factors contributing to its success is the director’s incorporation of a more modern perspective in the interpretation of the mythological epic. This is evident in the reconstruction of the images of King Zhou and Su Daji and their marital relationship. The film moves away from the simplistic notion of the fox spirit Daji bewitching the tyrannical King Zhou, leading to the downfall of the kingdom, and weakens the established concept of the “femme fatale” and the offense to female audiences caused by centuries of male gaze.
In the film, King Zhou is not simply portrayed as a licentious and tyrannical ruler, but as a more complex and multifaceted character. He desires power but fears infamy, and he experiences his own internal thoughts and struggles. His choices and actions demonstrate the strength and intensity expected of the primary antagonist. Su Daji, possessed by the fox spirit, is no longer a stereotypical monster solely focused on wreaking havoc in the human world. Instead, she is depicted as a three-dimensional character who is observant, calculating, and desires King Zhou’s affection. This characterization, which is more consistent with their identities, makes the characters more well-rounded and allows them to appear more authentic within the mythological narrative. This enables the audience to grasp the characters’ traits and understand the themes of the work within the interplay of reality and fiction.
Furthermore, the director skillfully handles the marital relationship between King Zhou and Su Daji, who is possessed by the fox spirit. In the film, their relationship is no longer simply that of a ruler seduced by beauty and a seductive woman wreaking havoc in the human world. The suffering of the people is no longer attributed to a single woman, but to the greed of those in power, the tyranny of the king, and the despotism of the dictator. Director Wuershan stated directly: “King Zhou has a need for Daji’s abilities, and Daji has a need for King Zhou’s survival.” Their relationship is one of mutual need and exploitation.
The film uses “Investiture of the Gods” and “Wu Wang Fa Zhou Ping Hua” as its foundation, but it does not simply copy the plot. Instead, it integrates and adapts the classic elements, using the breakdown of the ruler-subject relationship to introduce conflict, contrasting father-son relationships to showcase familial choices, and reconstructing classic images through changes in marital relationships. The director’s modern perspective on the original work allows the film to build upon the classics while showcasing a new artistic understanding and reflection on human relationships, making it a masterpiece with both rich and exciting plots and profound implications.