The end is total extinction. The world is destroyed, the world is reborn. To be honest, after eva, this kind of ending should not be very shocking, and there is nothing new in the plot of the whole work. However, the equally old-fashioned "Cow Boy Bebop" is basically a masterpiece, and the "Wolf Rain" created by its production team is naturally not "new" to win. Its appeal is the expressive music (Yoko Kanno), gray tones, and that apocalyptic atmosphere. It is difficult to grasp such things as atmosphere and artistic conception, which requires the entire staff to have a solid state of mind, and an inadvertent heart-to-heart connection. Commercial co-operation can not create artistic conception. At this point I would like to pay my respects to the Bones Society. Because working hard in those down-to-earth places is more difficult and less impetuous than grandstanding "innovation", and it is even more valuable in today's environment. In "Wolf Rain", it is said that there are hundreds of original pictures of the wolf running, and the whole work is rarely out of shape and decolorized. Most of the machinery only shows a small face, but the details are unambiguous. The deeper level of stability and restraint is the tension of the plot. I have seen many people criticize the slow progress of the plot of "Wolf Rain" and the lack of those curious turns-the protagonists meet and go to the "Paradise", and finally the "Paradise" opens. , the bad guy is dead - that's been known from the start. But doesn't this just show the completeness and rigor of the structure of the whole work? If the story that is advancing step by step is described as "slow and boring" by the audience who are spoiled by the meat foxes, I would like to ask if your mentality is too impatient? You guys would rather watch the R2 with a broken plot for a week, and while watching the scolding, you haven't even heard the name of "Wolf Rain". I know I have personal hobbies, and it’s not my fault that I like meat foxes or R2—I watch R2 myself—but if I chase more than a dozen impetuous works a week because of the development of piracy in my motherland, my whole brain will not Will it be full of such hustle and bustle? "Wolf Rain" is not a ticket-playing work similar to EVA. Although it is full of various metaphors and symbols, it is not difficult to understand at all. His unpopularity only shows that apart from meat, curiosity, GAL, and perhaps a little healing, the audience now has no place to give such works that rely on artistic conception to win. Speaking of artistic conception, because I read some comments while watching it, I paid special attention to the sky in the work. Unlike the green, empty sky in "Snow Wind", the sky in "Wolf Rain" slopes down like a gray waterfall, dyeing everything gray. Except for a few people in the film, they are full of boredom and cynicism about life. This taste needs to be tasted, because this film does not show the end of the world through violence and chaos. On the contrary, it relies on a tired, broken, and feeble order to achieve its goals. This atmosphere is in stark contrast to the protagonist in the film, the wolf. Wolves are not cruel, bloodthirsty, or evil. They live with people in the form of adults. They are not dogs. They have the courage, sincerity, ideals and strength that humans have lost. What's interesting is that in the setting of the work, people are created by wolves, and some wolves turn into people and forget that they are wolves, so they fall and are expelled from the paradise. The "wolf" here refers more to those idealized people, those lonely walkers who carry hope. The first and last monologue of the protagonist Langya's whole film is: Paradise or something, it doesn't exist in the first place, there is nothing at the end of the world, but why is there always a voice whistling in my body: Go forward! Onward to Paradise! The whole film is a commentary on this sentence - the so-called ideal is the kind of thing that you will go through countless hardships if you choose, and you may end up getting nothing. Even if you end up with something, it's often not what you want. Do you have the courage to choose to change? Have the courage to take risks? The answer seems to be yes. But soon after the protagonist and his party left in the film, the city they lived in was destroyed. So the answer given by the film is: change and struggle may not change anything, but if you don't change and don't struggle, in the end, there will be no other results than destruction. So even walking staggeringly is better than spinning around. After looking at it, my heart may be very heavy, but there will be a special "old" taste. I like works like "Wolf Rain". It's not that it is not good to rely on "new" to win. Without innovation, there is no progress. But if innovation degenerates into lolicon, then returning to those old-fashioned things is a better choice. Gonzo has not had a good life in recent years, and he is about to go bankrupt. The company that once produced "Battle Fairy Snow Kaze" has to rely on selling meat to survive. Does this mean that he lost his dignity before he died? His "innovation" is to make a big fuss about the style of underwear, that is, to make a big fuss about going back to his hometown to get married, doesn't this make people laugh and cry? The meat fox keeps breaking through the bottom line, and the day creates the scumbag on campus. These are all innovations, but I don't like this kind of innovation. Or rather, I don't reject its role - I also need entertainment, I also need to watch R2's masochistic vent - but I'm disappointed that there are such works around me. Since 2007, the audience's choice has become less and less, and the films are basically Gal, very pornographic, very violent, curious, smoking, and healing. The production company was also driven to a dead end. The "innovative" elements they introduced in order to attract the market have now become the shackles that bind them. The audience has become accustomed to and numb to these things, so they are caught up in these things. Amid the growing drug-like demand, it has fallen into a vicious circle that neither the production company nor the audience can jump out of. Artistic conception and connotation have a saturation effect, because artistic conception and connotation are things that need to be digested and considered. If you swallow the dates whole without digestion, you will get stomach bloating. My thoughts and feelings after watching "Wolf Rain" are lingering. So I don't have to rush to see the next work - in fact I can't. But the "innovative" things mentioned above are not the same. The more the audience eats, the more hungry and dissatisfied they are. Therefore, the production company cannot survive without doing these things, because the audience does not buy it. And the audience accepts these increasingly larger doses of stimulation, which in turn makes other works more unacceptable. It's like if you look at a picture too much, if you don't read it for too long, you can't read a slightly longer text. Maybe it's a bit off topic to write here, but it doesn't matter, anyway, some things will be said sooner or later.
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