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first, ancient puppet dramas rely too much on traditional elements such as big ip, big investment, and big stars to attract audiences, forming a phenomenon similar to "over-reliance", which makes it difficult to break the routine. in addition, the fictional setting has also become the "achilles' heel" of ancient puppet dramas, making it difficult for the audience to feel involved. this is not without solutions. the "borrowing from the past to talk about the present" mechanism of ancient puppet dramas also needs to be adjusted and optimized to truly bring out their charm.

in recent years, more and more ancient puppet shows have begun to change their "fictional" settings and choose more realistic historical backgrounds or stories. for example, "dream of splendor" is set in the northern song dynasty, and "tang dynasty strange stories: journey to the west" is set in the tang dynasty, both of which have been recognized by the audience. this shows that the value of ancient puppet shows in "telling the present" is not fiction, but is truly integrated into the historical and cultural background, which can resonate with the audience.

secondly, the "real feelings and real scenes" of ancient puppet dramas have also become the focus of audience pursuit. in recent years, more and more ancient puppet dramas have begun to integrate real-life emotions into the plot, allowing the audience to feel the content of the drama more directly. this makes ancient puppet dramas no longer just fictional imagination, but a real and emotional expression, which also reflects the importance of ancient puppet dramas to the emotional needs of the audience.

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