Weibo Frenzy Over “To the Mountains and Seas”: Critics Slam Green‑Screen Effects, Fans Defend Artistic Choice

The controversy centers on a series of scenes that many viewers describe as having a “cut‑out” or “green‑screen” quality, where actors appear to float unnaturally against background plates. Critics point to the show’s fight sequences and certain landscape shots, suggesting that the drama, which was heavily promoted as being shot on real locations, has instead leaned on heavy digital compositing. Some commenters, including self‑identified “passersby” (路人), question the experience of the show’s directors in handling martial‑arts productions, asking why a series advertised for its on‑site filming would feel synthetic.

Fans and supporters of the program have pushed back vigorously. One frequent line of defense is that the disputed visuals belong to a narrative device—a character’s hallucination or vision—rather than to the “real” world of the story. In those moments, the producers intentionally employ a stylised visual language, which some argue is being misread as a production flaw. Behind‑the‑scenes footage, posted by the cast and crew, has been used to illustrate that many of the criticized elements—such as the actors’ hair being tied back to avoid green‑screen artifacts—were handled practically on set. Moreover, several users claim the negative commentary is part of a “malicious competition” (恶意竞争) aimed at undermining the show’s success, especially as it garners attention ahead of its wider broadcast on platforms like iQIYI.

The drama itself is an adaptation of Wen Rui’an’s novel “Shenzhou Qixia.” The story follows Xiao Mingming, a martial‑arts novel enthusiast who is whisked into a system and becomes the protagonist Xiao Qiushui in a fantastical world. The series is produced by the same creative team behind the popular “Lotus Casebook” (莲花楼), and features Cheng Yi (成毅) in the male lead role. Liu Fang (刘芳 the screenwriter, is praised for crafting nuanced character relationships, while the directors—one of whom also helmed the acclaimed “Seven Nights in Snow” (七夜雪)—are responsible for the visual style that now sits under scrutiny.

While a vocal minority continues to question the production quality, a broader current of defense has emerged. Viewers who enjoy the drama argue that the overall aesthetic, fight choreography, and character portrayals outweigh any perceived compositing glitches. Many note that the series delivers “good visual experience” and that the alleged “green‑screen feel” is either an artistic choice or a misinterpretation of story‑driven dream sequences.

The Weibo discourse illustrates how quickly a technical critique can transform into a cultural flashpoint in China’s highly networked entertainment landscape. As “赴山海” progresses through its broadcast schedule, the dialogue on visual authenticity versus artistic license is likely to persist, echoing a broader conversation about audience expectations, production transparency, and the role of social media in shaping the fate of contemporary Chinese television.