So from an educational point of view, that film is really bad.
The second speed is not one of Xin Haicheng's most famous films, and the most eloquent one is that "every frame can be used as a desktop". This syntax has been used in several films, and if used too much, it will become a high-level black. The extension is that this director is very good at grabbing the photographer's job.
Later, I watched "The Promised Place Beyond the Cloud", watched "Children Chasing the Stars", watched "Voice of the Stars", only to see that Xin Haicheng would make three strikes: the boundless sky, the gurgling stream, And the male protagonist who has forgotten his mind. His shortcomings of insufficient storytelling became more serious as the production became larger and larger.
I think this has something to do with the bad habits that Xin Haicheng developed in the previous series. The first few works were completed by him alone, 1999's "Remote World" and "She and His World", 2003's "Voice of the Stars"-these works from script to human setting to the background to The animation editing, except for the voice actors, was done by Xin Haicheng alone. Therefore, we often see comments like "For such an animation that is completed by only one person, what can you demand?" Xin Haicheng's omnipotent. After he entered the industry, he not only did not become an advantage, but became a stumbling block. In any case, Xin Haicheng’s ability to tell stories is just an introduction. He is like a high school student who loves literature, although he has the ambition to write countless novels. High ambition, but only a handful of subjects can be mastered.
In "The Garden of Words", we can see Xin Haicheng's progress. Although the movie is still a bit stretched when dealing with multiplayer interactions, the rumors of Mr. Xue Ye in the school have been carried away. I think this is not entirely intentional, but Xin Haicheng is technically unable to control it. But avoiding the climax passages that you are not good at becomes the finishing touch in this story. The most obvious thing about Xin Haicheng's progress is that he has begun to understand the process of people gradually testing each other and gradually trusting each other.
In Xin Haicheng's original work, where is the hot wait, that is, he likes large and quiet scenes too much. We always think that Hayao Miyazaki also likes this, in fact it is not. Hayao Miyazaki has a superb narrative ability. He tells stories with anger. He speaks with loud drums and firecrackers, but he loves nature too much. The woods take care of themselves and set off firecrackers-Niaoming Mountain is even more secluded. Xin Haicheng can't. When he tells the story, the characters are static and paper people. At this time, if you put it in a big scene, it will make people feel that the story is pitiful. In "The Garden of Words", Xin Haicheng learned this lesson, put the original thin and small story in the same thin and small scene, and simmered slowly over a small fire, but it was able to make a pot of flavorful soup. I can't remember who said that the Japanese are particularly good at making dojos in snails and lion shells. This is a perfect remark in "The Garden of Words".
Xin Haicheng particularly likes the feeling of hesitation and cessation. Judging from the failure of the previous works, I think it may be that Xin Haicheng lacks the ability to write character dialogues. In this film, this lack of ability has become A highlight of the film. At first, Xueye teacher chanted "雷神（なるかみ）の少し响(とよ)みてさし昙り雨も降らぬか君を留めむ"" which is a short song in the "Many Leaves Collection", which is a question and answer poem. I found an excellent translation on the Internet, "Thunder God moves, thorny clouds and rains, the king will stay", the love is really long. And Xiaoxiong’s answer is the second half of the poem "雷神（なるかみ）の少し响（とよ）みて降らずともわれは留らむ妹し留めば" translates to "雷神，我小动, although not zero" Those who will stay with sisters"-need to say more?
This question and answer has already written all the favors. If according to Natsume Soseki's theory (the Japanese don't say "I love you" but only say "The moonlight is beautiful tonight"), Takao has already confessed and just cast out. But this confession is too ambiguous, and I am afraid that some people will not understand it, so I still need to let the male lead take a good card. I think the male protagonist should also want to understand that this good guy is okay when he gets stuck. Later, when he looks in the rain, the character listens to his heart in a short time and makes the corresponding choice. It is a huge improvement for Xin Haicheng. . I think of reading a novel written by a netizen a few days ago. The story has many interesting details, but the problem is that the people in the story have no inherent motivation to publish themselves. Just like Xin Haicheng’s early stories, everyone rejected it. The choice is just flowing forward with the story. I would like to compare Xin Haicheng's "Five Centimeters Per Second" and "The Garden of Words" to understand how important the inner drive of the characters is in a story.
ps, this story is beautiful.
View more about The Garden of Words reviews
