"Madoka" also reminds me of the excellent director Akiyuki Shinbo. With an excellent script, how to achieve it depends on the level of the director. The compactness and coherence of the plot and the high degree of control over the plot in the narrative should be attributed to the new house designed for the storyboard. This must be highly respected - this year's drama series has won the true legend of Lanzhou Ramen, two liang flour pulled out a dozen bowls without blinking, I really didn't expect to deal with the bowl of soup, Xiaoyuan's plot development speed can be called a movie Of course, the new house Zhaozhi and Xu Yuanxuan can confirm that the lineup of French feasts can be compared with those ramen dramas, if it is replaced by Gao Xixi + Zhu Sujin... Think of the countless screenwriters + pretending in the domestic film and television industry The director is mass-producing wonderful things. I spend money to go to the cinema twice a month and be trapped twice, it’s not as good as watching anime at home.
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have to mention the third episode that caused a sensation in the house circle. Actually, I was not so shocked, but the change of tone still surprised me. The sunny opening of the first two episodes made many people who wanted to eat French dinner find that they were served with white rabbit toffee and ketchup and turned away. Many children who wanted to eat white rabbits were tricked in, and then the third The big white rabbit turned into mapo tofu chili oil, and a lot of people were exclaimed. Using strong contrasts to create topicality is a risky method. Good works with the right audience are successful, and TV dramas are not movies. Audiences can endure the opening 30 minutes of yawning and will not walk away. Watching TV dramas, especially one-episode TV dramas a week, if you watch two episodes if you don’t have enough appetite, you will probably stop chasing them next week-of course, this may also be a publicity method intentionally designed by the creator’s in-depth understanding of the established viewing group of otaku . However, targeting one group of directional operations will also lose its attraction to other groups. The price of getting more popularity than quality in the housing circle is that it may not get due evaluation outside the housing circle. In other words, I will never catch up to episode 3 every week from the beginning. For the tight coherence and development of the plot, my recommendation for watching is 1-3, 4-9, and 10-12. Divide the whole drama into 3 parts. , watch it in the way of movie trilogy, the name is "Magic Girl Trilogy I: Don't forget", "Magic Girl Trilogy II: Someone is fighting for you", "Magic Girl Trilogy III: You" are no alone"
Another climax is the 10th episode of flashbacks. The discussion and reverie aroused in just 20 minutes is far more than any previous episode, which shows the strong dramatic tension contained in the 10th episode - this time, it is the new house's skill show. Storytelling may seem simple, but telling a story through the lens is the director’s biggest challenge. The narrative of episode 10 draws on the Rashomon-style framework, and tells the different endings of Xiaoyan's contract and multiple reincarnations in multiple retrospectives. It can be called a magical storyboard, omitting the frontal narrative, intercepting the scenes and details of the first episode and re-enacting it many times, condensing the plot of episodes 1-9 into several most concise images, which echoes everywhere, everywhere It was a foreshadowing. The gradual changes of several details in the re-enactments not only revealed some suspense in the first 9 episodes, but also used coherent logic to depict Xiaoyan's journey from innocence to vicissitudes in the endless reincarnation. A large number of shots, some soothing and some thrilling, reconstructed this wonderful 20 minutes through exquisite montages, which are highly condensed without being rushed, and keep the order clear, while further strengthening the suspense of the main plot. The same is the Rashomon style. Compared with the parody of "Hero", the 20 minutes of the new house is enough to make Zhang Yimou feel ashamed.
The 11-12 consecutive broadcast is definitely a huge challenge. The conflict suspense pushed to the climax by the first 10 episodes hangs the audience for a month. During this month, various interpretations, analysis and predictions have listed almost all possible scenarios. The ending also almost eliminated the appeal of the original plot in advance: I guessed it was all destroyed, my friend guessed the redemption, the other friend guessed the reunion, and in the end, no matter what kind of ending I was mentally prepared for. Whether the ending can be perfect in this situation depends not only on the script, but more importantly on the director's expression - the success of the last two episodes must be like the adaptation of a literary masterpiece, to the extent that you can never get tired of watching the plot even if you predict the plot. .
In the last two episodes, which contain a lot of content, Shinbo has slowed down the narrative rhythm, which is very dangerous for a series to have inconsistent rhythm. The rhythm change of Madoka's last 2 episodes is probably a modification made after the suspension of the broadcast. It captures the psychological changes of the audience during the month of waiting, from the exciting episode 10 just after watching, to after a month of waiting and guessing, Be prepared to face the finale with equanimity. Don't rush to do the final plot, complete all worldviews (I only recognize Princess Troy, Cleopatra and Joan of Arc in the stream of consciousness concept narrative), Xiaoyan and Madoka are slow and full of tension. Emotions explode. Halfway through the 11th episode, the Witch's Night finally came out. The thrilling and chic and neat battle was the biggest highlight and climax of this episode. The rhythm of the 12-episode finale is slower, and the tone of the picture is also warmer. The structure is basically a combination of sound and picture montage. The segmentation and splicing of different time and space scenes are quite satisfactory-to say that it is quite satisfactory is the old animation "New Century" which I have seen before. The Evangelion analogy bears similar traces in both the expression technique and the storytelling characteristics, and the appeal is not much less impressive.
The picture design is undoubtedly a major feature of this work. From the beginning of the young age to the warm-colored scene, it suddenly jumped to the bizarre enchantment. The enchantment of the battle has changed from the usual anime in which skeletons and tentacles are flying, and the flesh and blood are the same color. , breaking through the level of "description of objects", boldly expressing inner feelings directly with post-modern handwriting, and projecting high-rise buildings, flowers, trees, and ordinary life into silhouettes filled with Picasso's cubism. The whole picture is messy and balanced to create a sense of jumping pressure. The enchantment is the inner world of the witch, and the witch is also a mortal who lives in this world. Therefore, there are no skeletons and monsters, and the simple elements of life reflect the feelings of this desperate world in the witch's heart. The strong colors and The strong color blocks and rolling silhouettes show the madness in the witch's heart.
The most visually striking shot is the combination bombardment of Xiaomeiyan in the 11 episodes of the witch's night battle, from rocket launch - mortar bombardment - blowing up the building - oil tanker crashing a series of short shots and static picture montage combination Then a long shot jumps into the sea and emerges from the missile, ending with a huge explosion. Xiaomeiyan used her ability to manipulate time to create an overwhelming momentum and pour out the accumulated firepower all at once. Visually, she also used the ability to manipulate time to completely release the momentum accumulated in a series of montage combinations in long shots. While enjoying this scene, the breath that has been held since the beginning of the battle is exhaled when the tanker is rushing towards the witch. Then, before she can catch her breath, Xiaomeiyan stands on the missile and rises to the surface, and her relaxed emotions are thrown away again. Going to a higher sky, it is like a series of dense combination fists and beautiful finishing moves, and it is like a symphony of storms ushering in the strongest end. This is also the most wonderful use of long shots in the entire play.
Looking at the handling of the third episode, why did Mami's decapitation cause such a huge response? This is the result of multiple contrasts in visual effects, plot direction, and atmosphere. The traditional violent aesthetics pursues realistic actions and scenes, or emphasizes speed, strength, and killing effects; while the battle in this work is very abstract, symbolic, and conceptual. It is more like a dance performance than a battle, and it is completely young. To the "non-violent" type of treatment, usually this type of work will have at most a little injury. However, after the audience established this understanding, they ushered in the decapitation without warning. This is one of the contrasts. Mami was easy and unrestrained in the previous battle, and there was no danger in winning. In this battle, the witch appeared in the image of a cute ragdoll and was beaten again and again, but she suddenly reversed the next moment. This is the second contrast. The overall plot has just started, and the expected climax is far from being reached. The audience is expecting Mami to lead Madoka on the path of a magical girl, but she suddenly died just after the departure. This is the third contrast. Mami's unique battle background music is very exciting. It fills the auditory background with dense drums and bass in a metal style, and with the theme song of the orderly and rhythmic soprano/children's Latin chorus, it actually renders the same purity and holiness as a cappella. It presents a bright, lively and joyful tone, but it is accompanied by a tragedy of sacrifice, the fourth contrast. Imagine if the battle scene in this play was full of flesh and blood, and the witch Mami faced was tyrannical, and she was severely injured when she waved her hand. Later, in the impassioned music, he ushered in the sacrifice of his head without hesitation. What would be the response to this stereotyped bridge.
The battle scene is the highlight, then the character painting is the short board. Before talking about figure painting, let's mention last year's "Black Rock Shooter". It has a scattered plot, nonsensical storyboards, and procrastinating rhythm, an insincere and precise advertisement MTV, but it is unexpectedly prosperous. Objectively speaking, Heiyan is not a problem of ability but a problem of attitude. The producer must deeply realize that there are too many bad movies in abandoned houses that are not enough for consumption. As long as the illustrations are dazzling enough, coupled with the development and promotion of peripheral products, there is no need to worry about making money. What is the only good thing about Black Rock? Original character draft! Relying on the exquisite and gorgeous shape brings high popularity. What kind of actor should be matched with a script of any quality. In most cases, a bad script blinds a good actor, but the small round face is one of the few counter-examples-the original character and the picture are far from the excellent level of the script, so it is a success. short board.
As mentioned earlier, the enchantment scene is very distinctive, but when the character enters the enchantment, it is awkward: either through light and shadow, perspective, modeling, and action perspective to highlight the contrast as realistically as possible, or unify the style (such as the battle where Miki blocked the pain, pure The two-dimensional picture is visually very tense), but most of the time, the magical girls in the enchantment lack the three-dimensional body, the mechanical action, the poor routine, and the line draft is not clear. Is this playing shadow puppetry? The sense of space and layering of the enchantment is largely destroyed by the image of the characters. QB, hurry up and make a contract with the black rock shooter, let's be less magic...
The fineness of the character painting also affects the appeal of the plot and the fullness of the characters. In interpersonal communication, the text content only accounts for 7% of the influence, the tone or tone has 38% of the influence, and the expression and body language account for 55% of the influence - the same is true in film and television works, so the biggest innate gap between animation and live-action film and television It's just that 55% of the content cannot be conveyed through the acting skills of the actors. In order to make up for the lack of this part, one of the common methods of animation is to increase the influence of the tone and tone of the text, that is, to enhance the drama by exaggerating the dialogue, tone and actions of live-action film and television; the second is to carefully describe the expressions and actions of the characters. The gap with real people means cost; the third is to make use of light and shadow color scenes and empty mirrors, supplemented by sound and picture montage to enhance the appeal of other elements other than characters, which also means cost.
The first method is ubiquitous in all animations, and the shortcomings are also obvious, that is, the opposite of exaggeration - implicit, restrained, restrained, and forbearing performance styles cannot be achieved (the only way to achieve it is to rely on method 2), and excessive exaggeration It's easy to fall into cuteness. When it comes to selling cuteness itself, it can be regarded as a means of expression (similar to selling meat). Because the majority of homesteaders like to hear about it, it has led to some "low taste" works that sell cute meat and rot as a selling point in order to cater to this part of the taste. It should be pointed out that What is low-level is not selling cute and selling meat itself, but the means reduced to the purpose and the lack of connotation. There are also excellent works that are both cute and meat, bloody, violent, heavy-mouthed and curious, and have profound connotations. Back to Miao Yuan, I am glad that this work is not too cute. Most of the performances are not excessive but insufficient - when the plot reaches the emotional drama, facing a bun face is really... as if I saw Peach Blossom Island of Li Yapeng.
Measured by the level of scripts, most "literary operas" can only be at the level of just passing. These literary dramas are performed by the actors themselves in long shots without the support of complex stunts and props, and without the assistance of montages, returning to the most primitive performances - stage plays. At this time, the rough short board of the painting is exposed, and there are almost no subtle facial expression changes and movement details, and it is almost backward from animation to paper. Fortunately, Xinfang Zhaozhi compresses the number and time of this literary drama to the greatest extent, and supplements the expressive force through bright color contrast and lighting, and then arranges it into a compact montage - this method is also similar to the treatment of "Neon Genesis Evangelion". The same way. In the characterization, the rough shortcomings of the paintings are also avoided, and the flow of consciousness is used to combine the erratic changes of the characters' psychology and thoughts, the cross-splicing of plot paragraphs, the interweaving and superimposing of realistic scenes, feeling impressions, memories and longings, symbolic images and The multiple displays of psychological monologues are integrated, and together with the atmosphere and rhythm, they make up for the lack of figure painting. Only after looking back at it for the second and third times, and digesting the various highlights, did the inadequacies gradually emerge.
Fortunately, the plot is excellent, the dubbing performance is outstanding, and the character building has been considered a success. If you spend more money and add more two or three methods, and double the number of frames on the existing basis to 30% of the shots, the overall level of the small round face will undoubtedly go to a higher level.
From the production point of view, the overall plot arrangement, atmosphere creation, and scene design are all commendable. Rewatching it after understanding the plot is still a good work. The inadequacies lie in the roughness of the character paintings and details, the instillation of the world view is a little blunt, the turning points of some plots are not full enough, and the portrayal of the characters' hearts is also insufficient. Coupled with the theme of "Magic Girl", although "Madoka" is excellent, it is expected to only be popular in the house circle, and its influence is unlikely to spread to the mainstream media, so it is recommended with caution.
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