The background of the story of the Garden of Words is unique to Japan, so I won't talk too much about it. One of the most impressive things was the messy background music in the first half of the queer. When I stop and think about it, Makoto Shinkai uses messy background music to symbolize urban life, and the regular covenant between men and women in the main court sets off a rare tranquility.
It was full of drizzle on the top, and when the tail was off, it was torrential rain, reflecting the emotional connection between Qiuyue and Qianye from the trickle into a gushing spring. Although Xin Haicheng is beautiful, it is also limited to aesthetics. However, it is still not completely adherent to the pure love between men and women: the flying owls, and the meticulous portrayal of the characters' identities, all express Makoto Shinkai's high-level discussion of Japanese society.
At the end, the two people's intense emotional "confrontation" and confession at the stairs were handled very well, and they were well-proportioned. From accumulation to explosion, it was neat and clean. The ending song arrives just right, just like the sun breaking through the clouds. Maeno and Qiuyue, two people who are lonely due to different social reasons, are united as one. Wonderful.
Perhaps because of the lack of attention to Japanese animation, the situation in which those big-eyed models with a new head shape and a mole was a new character has disappeared. In the whole film of Makoto Shinkai, the images of other people have been deliberately ignored, and the image design of Mae Ye should be said to be quite in place. Light but emotional.
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