Just watched the animation, and it felt a little faster.
Whether it happened [now], returned to the [past] to save, or the [future] that was rewritten fifteen years later, they all gave me the title of the first chapter—[revolving lantern].
But after getting used to this rhythm, all sad things and cruel things will not make people particularly uncomfortable like Ling Chi. The whole work is more inclined to let people see hope and show a warm side.
Wu's mother was murdered by the real murderer, eldest brother Courage was framed and unjustly killed, three children were killed and disappeared, and Kadai was raped by his mother... Such a logical setup is great.
Even in the last episode, the teacher's motive is still unclear. If he is an anti-social personality, how can he finally feel that there is no meaning to live without a male protagonist (ʘᴗʘ that paragraph is too basic, I am speechless when I see the barrage saying 'So the female protagonist is a teacher'); if it is an acquired morbidity Psychology, why do teachers who like to watch groups perish with only one hamster struggling to survive, always start with children who are left alone. In fact, I still don't quite understand the teacher's obsession with the male protagonist. Even Kayo, who was rescued by the male protagonist and changed his fate, was not so persistent. Was he seeking an answer? Or did the hatred for the male protagonist for sabotaging his plan made him wait so long to kill the male protagonist again?
The ending and beginning of the animation echo each other.
That snowy evening in the park, Satoru saw Kadai for the last time, and then Kadai disappeared and died. Under the bridge in the snowy day, Satoru met for the first time in this 'future', and Ari, whom he met for the first time, had a new intersection and a new beginning.
(ಠ .̫.̫ ಠ) Although they are all children, everyone is very sensible and considerate. There are no bear children.
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