In 2020, I downloaded the Blu-ray Collector's Edition, and reviewed the reminiscence chapter again, and found that the plot is actually ordinary to even ordinary. The main god of OVA is the smooth narrative technique like a movie, the wonderful atmosphere created by the mirroring and music, and only belongs to the reminiscence chapter. The sword-drawing swordsman of Swordsman, suddenly raised the entire force of a jump-type juvenile comic, and directly sublimated it into a youth-oriented art work. Guqiao definitely contributed to this achievement. (See You Kexin, a full-time hunter who was conferred a god at about the same time. The TV version is abruptly portrayed as a movie that has a visual sense.) Compared with the sword-drawing swordsman written by Heyue, I personally prefer the design of the ancient bridge. Yes, even if he doesn't quite match the original. I ask the original author to take a pat on this point. It doesn't mean to belittle He Yue Wunao's embarrassing blowing of Guqiao, but I probably disagree with the original author, and Guqiao is more in line with my taste. The sword heart of the man who spoke out of the man's punishment almost turned my road into a dark place. Instead, the young man Cang Zi, who didn't know what was wrong with his brain in the early stage, was highlighted in the man's punishment, but Uncle Zhai was full of personality charm from beginning to end. point. Therefore, I personally think that the most successful character design in the original work is not the male protagonist, but Saitoichi, who only appeared halfway through and did not have a lot of scenes. Although at the beginning of the reminiscence chapter, it was emphasized that Jianxin has the capacity and mind to be compassionate and compassionate, and of course, I believe this is also the support that Heyue wants to give Jianxin to carry out from beginning to end. If Jianxin is really Violating this point is indeed even more incompatible with the logic of the work, but if there is too much expression on this point, it will inevitably appear that the protagonist is very virgin. As the saying goes, the kindness to the wicked is the cruelty of the good. After all, the use of mouth cannons to influence the wicked is an ideal fairy tale only under the halo of the two-dimensional protagonist. idea. But after all, Rurouni Kenshin itself is still the work of the standard Jump series, not the evil way of death note and full-time hunter. Jump Wang Daoman itself is a popular hero with a bright and positive character. It is inevitable that the spirit of friendship, passion, ideals and romance is the spirit of the work. Moreover, if the work of Juvenile Xiang is too realistic and depressing, it will easily make the audience question life. It is indeed not suitable, so In the original work, even in the period of Swordsmanship, Kenshin was still a righteous and enthusiastic young man who was a bit funny. After that, Heimura Kenshin, who put down his butcher's knife and became a Buddha, was even more free of himself in this regard. OVA's Kenshin is endowed with indifference and loneliness that is not found in the original work. It is complex and simple. He feels conflicted and confused about his own destiny. The sword-drawing swordsman, and the Buddhist youth, Feicun Jianxin, who always smiles at everyone, OVA's Kenshin's personality charm is even higher (I'm the Kenshin character who eats Guqiao anyway!) So in the TV version of Kenshin and Saito's duel, Kenshin once again showed the appearance of drawing a sword and was amazed by the four. The reason is not only because the appearance of the sword is more handsome, but the revealing of the character that is different from the usual allows people to see the other side hidden under his smile. This is the soul of Kenshin who is no longer a thin person. . In addition, the tragedy of the original reminiscence chapter mainly lies in the tragedy of Kenshin and Ba's love affair, while the tragedy of OVA focuses more on the tragedy of that era and the tragic fate of being a swordsman. Kenshin is like this, so is Zhizhixiong. And Ba's death is not only the pain of Jianxin's recollection, but also the light and salvation of Jianxin. Because of Ba's death, Pudaozhai's sword was retracted from its scabbard, and Pudaozhai died immediately, leaving only Hiicun Jianxin in the world. If it weren't for Ba, Kenshin would continue to fight to the death as a swordsman or become another Zhizhixiong. The shift in the focus of the tragedy brought the whole story up a notch. In order to reminisce about the sad and gray atmosphere of the chapter, Guqiao's drawing of the sword has removed the funny side of Kenshin, removed the vitality and blood of the youth, and increased the loneliness and melancholy of Kenshin. From the perspective of the reminiscence chapter, Guqiao is right The changes made by Kenshin are indeed more successful. He gave the character of Swordsman a deeper connotation and level. After reading all the comics, I have no feelings for Kenshin, and OVA made me succeed in only four chapters because of Kenshin. His personality charm is sucked into fans: his appearance is cold and benevolent, the complex contradictions are clear and pure, he is confused and painful and sober and sensible. I have to say that Guqiao's ability to create such a beautiful, powerful and miserable character with a complex personality is really first-rate. For details, see Kurapika of the old hunter next door. There are no tears or crying, but I can feel deep sadness. The tragic scenes in Guqiao's works have never been created by scenes of bloody violence or by seiyuu's screams and blackened rampages, but by the lens and the mirror. The rendering of the dark scene and the sadness that was suppressed in my heart but could not be stopped when I was silent. In this way, the externalized expression can arouse much emotional resonance compared to laying all the tragic situations on the table and laying them out. In the performance of character changes, a little change and close-up of expressions and eye highlights can reflect the huge changes and contrasts in the character's heart and personality. Of course, a large part of this is also due to the original artist's credit. Therefore, even if there is no ferocious Yan Yi, the expressionless Pudaozhai reveals full of killing intent in his eyes, and when Jianxin's face begins to show a little gentle expression, it can clearly show that he is not The person who met Ba Shi's beheading was very different. So the really good expressiveness for characters is to close rather than let go. Suddenly I understand why Miyazaki
Of course, after kneeling and licking so many old thieves in Guqiao, it is inevitable to see what Guqiao is not good at. Guqiao tends to be realistic, and is a person who is addicted to literature and art and cannot help himself. He is good at fancy show narrative techniques and the use of mirroring skills, as well as delicate emotions-especially tragic atmosphere renderings and descriptions, but sometimes he pays too much attention to literature and art and delicate emotions Rendering instead makes the characters OOC, and the whole story collapses. The Star Frost chapter is a standard example. The original part of the TV version is also unspeakable. In the original of the full-time hunter, there are also cases of the collapse of the Qiya character and the hypocritical plot. Although supported by the story of the original work, the reminiscence chapter was a great success by changing the techniques Guqiao was good at, but for the Xingshuang chapter, Guqiao obviously made a mistake in the story style and audience market, and wanted to continue to use the style of the reminiscence chapter to create Kenshin. The story, as expected, overturned the car, the characters and the whole story collapsed even the mother did not know. The tone of the reminiscence chapter itself is sad, so there is no problem with this style and it can even have a sublimation effect, but Xiaoxun and Kenshin will never end up in the same situation as the star frost chapter. The two of them are given the greatest mission by the author. It is to live a happy and noisy life, and to force it to be miserable is self-defeating.
It's irrelevant, in fact, I came to see Kenshin because I was a fan of the old version of Kurapika. Now there are really many similarities between these two characters. Only by holding the heart of the son and the hand of the stepfather to the character itself can an immortal character be created. You must love the characters, but you must also relentlessly give up your true love to abuse the characters. Guqiao must have an inescapable complex about the miserable beauty of the United States. By the way, Kenshin in the reminiscence chapter is actually more beautiful and beautiful than Ba, who is a beautiful sister, and the old thief of Guqiao is definitely rotten in his heart! You are an unscrupulous and malicious US-power tragic control! But now this kind of character design is widely used by bloggers because of its popularity in the market, and it has been tried many times. However, not all characters and animations are suitable for this style, and not everyone has the ability to control this kind of character like Guqiao, and even Guqiao himself overturned the car. If there are too many sets of Meiqiang and Miserables, there will only be left to sell. Speaking of this, it reminds me of the general commercialization of the animation industry, the younger age, the middle age, the second dimension, the different dimension, the face mask, and Long Aotian's abandoned cute house. The audience pays more attention to the bright colors, the high-definition picture quality, the cool fighting, the explosion of the number of frames, the handsome drawing of the boys, the more exposed girls, the inexplicable so-called cute points, and the big-name seiyuu. These should only be bonus points for animation, but the animation production is all funded in these places. Where does the money and energy come from to create really good works? Therefore, there are more and more fast food commercial films released to sell the surrounding area, and very few works with real content and connotations, all relying on the consumption feelings of fried cold rice, a little bit of a novel setting and a plot that passes the level will be embarrassed and praised. How much has the last century gone backwards from the level, even if the last century did not have such good production conditions and playback resources as it is now. It's really embarrassing that the Japanese animation industry has developed so far. It can only be said that the audience group at least to a large extent determines the market demand and then determines the quality of the work. In addition, in the era of computer production, it is no longer possible to see a large number of exquisite hand-painted animation scenes in the celluloid period. Now, if a layman is used to watching computer-based painting, he will definitely feel that the color is not bright and the story is dull. Some things really can only be understood when they grow up, so such works of art are limited and belong to the era of the 1990s, and we can only pay tribute to that era and cherish it.
View more about Rurouni Kenshin: Trust and Betrayal reviews
