Compared with live-action movies, anime works have a big flaw, that is, it is almost impossible to use the subtle expressions and movements of actors to enhance the expressive power of the film. In "Disappearance", Kyoto smashed a lot of frames to express very subtle movements and expressions, and tried his best to use mirroring and lighting instead of direct venting to express the heart of the characters. This is uncommon in Japanese animation. Generally speaking, in order to maximize the dramatic performance within the limited number of frames and funds, Japanese animation will attract the audience through the exaggeration of the lines, the exaggeration of the picture, and the exaggeration of the plot, but as some people think that "Let the Bullets Fly" ” in Jiang Wen “played and vented”, the more this uncontrolled way of showing off adrenaline-releasing hormone is used, the easier it is for the audience to feel that the kidney is deficient. The purpose, whether it is what the producer wants to express or what the audience wants to see, is submerged in the uncontrolled off-line plot of selling meat, cuteness, and rot. Of course, quite a number of viewers like this, and GAINAX, who has a profound sensitivity to the taste of this house, launched a PSG purely based on exaggeration, and completed a unified PSG from content to form. The success of Yuexinban also proves to some extent that the feeling of G company has always been sharp.
I don't want to criticize this orientation: I just think that, at least from the perspective of "Disappearance", Japanese animation still has the possibility of a more primitive and more generalized "literary" expression. As a branch of literary and artistic works in essence, in the early days of its birth, animation did not deliberately develop these various "sets" in the basic skeleton, but more borrowed from a wide range of expressions in the field of literature and art. For example Speaking of which, you can hardly see anything from Gundam0079 that is almost essential in the TVA that is now popular. This possibility has now been rejected, and this rejection started from EVA, which laid the basic trend of Japanese animation in the Heisei era. It can be said that Anno Hideaki wanted to use EVA to make the so-called Otaku go out of the closed and open, but with the ironic result of "expanding the group scope of Otaku" dramatically, he distorted to achieve his goal: the internal Otaku While the possibilities and exchanges are enriched, Otaku is becoming more and more closed to the so-called outside groups. And EVA had a similar ironic effect on Japanese anime: EVA blazed a new path with an innovation that was nothing short of earth-shattering at the time, but so successful that it kept anime closed to the possibility of other paths. manner. Therefore, EVA is the last work of the old era and the first work of the new era. Those ideas that made up the old days of EVA have since become very marginal. EVA is very concerned about expressing rich content through lens, light and details. This technique that requires skill has almost no qualified successors (some are just poor imitators) in later popular animations, and even G company itself has completely abandoned the way of expressing passion through restraint in the era of "Tianyuan Breakthrough". number. Whether this is good or bad will be left to future comments, but it can at least show that G Club has become, to some extent, a slave to the path it has created. EVA is a work that created an era. Tianyuan breakthrough is just a masterpiece in the general sense, while PSG is reduced to a sketch. The work of G company itself also reflects that this road is getting narrower and narrower - not to say that PSG and Tianyuan are not good. , but to say that their vision is no longer comparable to EVA, which G company has considerable self-knowledge.
The significance of "Disappearance" is to show us the possibility of "non-mainstream" methods succeeding in the mainstream, which may be a useful hint for Japanese anime that has now reached a dead end - although it must not be expected to achieve EVA level. When Suzumiya disappeared, Jonghyun had 100,000 ways to express his shock. But on the contrary, his performance is quite restrained. We can see from various details that he has a volcano in his heart, but he has to try his best to remain calm. This way of expression is undoubtedly a means of testing the skill of the producer, because it means that the 2D characters on the paper should try their best to imitate the strengths of the 3D live actors. Suzumiya, the most suitable for "exaggeration" in "Disappearance", is in the state of soy sauce most of the time, and there are not many 1096 scenes with Suzumiya funny and cute. We can see that the "disappearance" of exaggerated and cute characters in the script of "Disappearance" itself provides Kyoto with an opportunity to "change a different approach", and can it be "anti-mainstream" in mainstream works to express the beauty of restraint Well, it will not be reduced to empty fussing or saving money (usually the so-called long shots and relatively "moderate" sections in TVA are by-products of saving money, which is of course the beginning of EVA, but the later ones do not make it at all. The quality of the EVA), and it will not become a "marginalized" work that is not mainstreamed, it depends on Kyoto's grasp. Now that "Disappearance" has achieved success both in word of mouth and at the box office, which makes the audience ignore a very important point: "Disappearance" is not such a "mainstream" work in terms of creative techniques, although we are somewhat used to Kyoto. It is a relatively "modern" style in works such as CLANNAD, but I still think that until "Disappearance", Kyoto's revival of the moderation style of the pre-EVA era can be regarded as a positive result. This is a very remarkable achievement, as I pointed out earlier: the expression of moderation has higher requirements on the sensibility of the audience, investing money in small but subtle changes, and accustomed to using all means to express the big scene may mean a reduction in expressiveness for the audience. 囧virtual close the alarm clock, surprised performance after seeing Asakura, and close-up of the action of opening the door of the SOS club activity room several times before and after (can be compared with the scenes in "Contradiction Spiral" with similar intentions but not so delicate), It is definitely not easy to make, but its expressiveness is more restrained, so it takes longer to complete an effective expression. For example, for the first 20 minutes of foreshadowing, in fact, if you use exaggerated methods, you can quickly cut through the mess in a few minutes. 囧xu's rich body language performance after hearing the whereabouts of Suzumiya, coupled with music, completed a wonderful performance "Breakout Underwater," which audiences were delighted with. Despite this, we found that he was still restrained and did not release all his energy, and after meeting Suzumiya, he could barely move his legs. And Suzumiya, who appeared for the first time in the disappearing world, is also very dignified. It can be said to be gloomy, exaggerated and depressing. Two different Suzumiyas have completely different performance techniques and required shots. This is why Kyoto adopts a risky 163-minute film length. If you can accept this restrained expression, you will naturally not feel that 163 minutes is long. If you cannot accept this expression, then the film will not be enough. Longevity can become a new source of dissatisfaction. On the other hand, the bigger challenge is that this also requires the audience: if the details do not have the patience of the audience to appreciate (for example, when picking up the cat, the cat's claws are hooked on the bed sheet, this detail is very exciting, but for those who do not keep cats) For human beings, the feeling of "smile knowingly" is missing), and they have no choice but to waste water. Kyoto is very smart. They chose Suzumiya as the carrier of their style of expression, which is "even if the film is indiscriminate," which greatly reduces the risk of deviating from the mainstream, and their strategy has proved to be successful. Some people may say that the popularity of "Disappearance" owes more to the performance of Nagato Daimoe God, which is okay, because Nagato itself is a character characterized by extreme "moderation". Moreover, even if a large number of otaku are willing to enter the cinema for so many minutes of Nagato's cute pictures, this at least shows that the other plots of "Disappearance" are not so unbearable-this is now 20 minutes of watching the new show. The times are amazing. They chose Suzumiya as the carrier of their style of expression, "even if the filming is indiscriminate, there will be fans who will support it", which greatly reduces the risk of deviating from the mainstream, and their strategy has proved to be successful. Some people may say that the popularity of "Disappearance" owes more to the performance of Nagato Daimoe God, which is okay, because Nagato itself is a character characterized by extreme "moderation". Moreover, even if a large number of otaku are willing to enter the cinema for so many minutes of Nagato's cute pictures, this at least shows that the other plots of "Disappearance" are not so unbearable-this is now 20 minutes of watching the new show. The times are amazing. They chose Suzumiya as the carrier of their style of expression, "even if the filming is indiscriminate, there will be fans who will support it", which greatly reduces the risk of deviating from the mainstream, and their strategy has proved to be successful. Some people may say that the popularity of "Disappearance" owes more to the performance of Nagato Daimoe God, which is okay, because Nagato itself is a character characterized by extreme "moderation". Moreover, even if a large number of otaku are willing to enter the cinema for so many minutes of Nagato's cute pictures, this at least shows that the other plots of "Disappearance" are not so unbearable-this is now 20 minutes of watching the new show. The times are amazing.
囧 Xu Tucao's lines, although superficially many and indiscriminate (of course, greatly reduced compared to other Suzumiya dramas), but also implicitly sharp, for example, Asakura asked him if he liked Nagato, he used a sentence in the narration "How could I hate her" fooled around, and the "yuki" at the end is even less likely to be a simple slip of the tongue. However, these have little to do with the theatrical version, so stop here.
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