December 18, 2010, finally ushered in the disappearance of the theater version of the BD on sale. Even without looking at the work itself, Kyoto has already won half of the time. From the Tanabata Bamboo Leaf Rhapsody in early July (although it was N years ago), to the endless August that followed throughout the summer (still N years ago), and finally the disappearance of Haruhi Suzumiya before Christmas, let’s put it aside for the time being The quality and controversy of the production itself is the first time in my memory that I have felt such a strong sense of synchronization between the second dimension and the real world. It seems that Suzumiya has really invaded the real world.
Next, let’s talk about the original novel. Theatrical animations often cut off large scenes and dialogues in the original work due to time constraints or supervision, and even made a series of adaptations to simplify the plot. The result is that people who have seen the original work and then watch the animation will have a sense of superiority. Talking about how animation is not as good as the novel (or manga) and so on, and then the animation party and the original work party are all full of fire... Disappear this work. I made up the novel after the first part of Haruhi Suzumiya's Melancholy ended. Yes, the first few series and the last few series are really well written from the current point of view, but they are still a little short of the top of the top. But the disappearing series is unquestionably perfect. From the setting of the suspense, to the unfolding of the plot, from the description of the details to the overall structure, it can be said to be impeccable, making people feel that after reading tens of thousands of words, there is no feeling of long-winded or cumbersome. As a SF novel, especially SF involving time travel, the logic is quite rare and tight. After watching it at first, I thought that it would be better if I made the disappearance into an animation, but I was worried that the quality of the original work would be reduced after the animation, which is really contradictory.
Fortunately, Kyoto is still very professional. After watching a lot of movies, you will gradually come to a conclusion that the length of the movie and the degree of its good looks are often proportional. Most of the 120-minute films are very good-looking films, and the chances of being a masterpiece at 150 minutes will greatly increase. The disappearance took more than 160 minutes from beginning to end. Sufficient film length ensures that the original plot can be expanded to the maximum extent without worrying about being deleted. In fact, the disappearance of the theater version has restored the novel to an outrageous level. Almost every sentence in the novel can be found in the animation. This is very satisfying even for those who have read the novel beforehand. If it is an animation party who has not been exposed to novels, the disappearance of the plot is quite shocking, provided that you have seen the first Suzumiya animation and Bamboo Leaf Rhapsody, and the logic of the disappearance is clear. Although there are some places where animation cannot be directly described like novels due to the form of expression, Kyoto makes up for this lack of sound with the soundtrack, giving people the feeling of watching animation and reading novels. The climax of the whole article, whether it is a novel or an animation, is the scene where Suzumiya-san, who has been playing soy sauce for almost half of the time, finally appears. When I read the novel for the first time, I was very excited. Although the plot was already clear in my chest, the animation was also so moving that I wanted to cry. (I am still a member of the Suzumiya Party.) What is a little regrettable is that the animation cannot analyze the logic as clearly as the novel when it intersects with the plot of Bamboo Leaf Rhapsody. People need to use their brains to reason or simply make up the novel.
The reason why the animation of the Suzumiya series can be as good as the original one is the processing of details. Every background is meticulous to the extreme, and every sub-mirror can withstand repeated scrutiny. There are many details such as the cat scratching the sheets with its claws when holding the shamisen to Axu. Another example is the slow motion of Ah Xu pushing the door of the literature and art department and Asakura entering the classroom. The number of frames in the animation has already exceeded that of European and American masterpieces. Of course, the success of a work is far from enough just to work hard on the production. The integrity of the structure and the rigor of logic are the important basis for judging whether it is good or bad. At this point, being able to perfectly balance the needs of novel and animation production can be said to be the key to the success of the theatrical version of Disappearance.
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