Ching Tien's father, Tian Yaozu, was a gambler and loser, followed by years of drought and food shortage. His mother, Shu Zhen, led Ching Tien and his two sisters through a hard life, which made Ching Tien determined to revive the family business from an early age.

With their growth, Ching Tien and Liang Mantun embarked on the road to the west. Kidnapped by gangsters on the way and became one of them. After many twists and turns, Ching Tien finally redeemed the mansion.

With sweat, tears and even blood, they found a way to do business in the grasslands and deserts of northwest China. However, after years of warlord infighting and social unrest, azure went bankrupt.

The ever-changing changes make Tianqing realize that business will not succeed unless the invaders are expelled. Ching Tien took his son to Xikou again and went to the Daqingshan guerrillas.

Extended data:

In terms of expression, The Journey to the West's narrative skills are general, his lines are old-fashioned and plain, and the development of the story is easy to guess. It lacks the bearing of "Qiao Family Courtyard" which also shows the culture of Shanxi merchants, and there is no suspense of "crossing to the East".

In the history of China, going to Xikou, going to Kanto and going south to South Asia are called three famous population migrations. I don't know how many brothers went to Xikou and how many sisters shed tears. It can be said that picking out any one is a heavy story.

When I saw the opening title of Westbound, I thought it was to show the bitterness of ordinary people and the grandeur of the immigration process, but in the end it was actually about the family history of the protagonist Ching Tien.

The play is completely centered on Ching Tien, putting his life in the interweaving of grievances of father and son, children, brothers and friends, and giving him a stirring background of the times. With the support of the noble prince and the help of the bandit leader, many details can't stand scrutiny logically, but they are too bizarre.

The screenwriter only regards this heavy migration history as floating soil, but fails to reveal the profound ideological connotation of Shanxi merchant culture. What the audience wants to see is how the righteousness, wealth and profit of Shanxi businessmen run through life dramas, but there are too many love dramas, which not only cover up the scenery of Shanxi people, but also cannot reflect the bitterness and magnificent immigration history of ordinary immigrants.

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