In "The Longest Day in Chang 'an", Ma Boyong adopts the tragic color interwoven character construction method, which not only embodies the "protagonist aura" in the overhead historical novels, but also embodies the characteristics of readers' substitution and emotional catharsis in genre novels. At the same time, because of the insoluble contradiction between the characters and the environment, it has a distinct tragic color. So why did Zhang Can Xiaojing, a little historical figure played by Lei Jiayin in The Longest Day in Chang 'an, become the protagonist?

First, ordinary people can describe it in detail.

In Ma Boyong's view, the traditional historical writing is solidified and alienated to some extent. Such a narrative way of controlling the overall situation of history from the perspective of the historical protagonist is helpful for the audience to realize the overall perception and macro grasp of a specific history, but due to the lack of detailed description of the supporting role of history, that is, ordinary people, its "perspective is not as high as people". Ma Boyong's emphasis on "human touch" shows his catering to the public's aesthetic taste to some extent. Different from the "author-centered one-way writing" in pure literature, the type TV series in the contemporary consumption context mostly adopts the "audience-centered interactive shooting mode", and the audience is both the receiver of the TV series and the participant of the director's creative process, which interferes with the final generation of the text. The ultimate goal of this two-way interactive writing mode is to make the audience feel better on the premise of accurately perceiving their expectations.

Two? Meet the expectations of the audience.

In "The Longest Day in Chang 'an", Ma Boyong's choice of Zhang Xiaojing, the amazing fighting capacity and reaction ability of the characters, the presentation of a series of dilemmas such as misunderstandings, criticisms and conflicts experienced by the little people in society, and the description of people's behaviors that ordinary people may not realize in reality, accurately cater to the audience's expectations of watching movies. In the process of reading, readers "get rid of the eternal passivity of contemporary people in the face of established history and participate in the development of history in the form of hypothesis and virtuality", resulting in a strong sense of substitution, venting and transferring their accumulated emotions in reality in virtual time and space, making hidden frustration invisible compensation and comfort, and showing the entertainment consumption function of genre literature.