Love is a thread, and destiny is connected. In the eyes of modern people, it seems that there is only love (after all, there is no such thing as a perceptible thing such as monarch and minister loyalty and righteousness, Chengmen Lixue). The fate emphasized by Makoto Shinkai is the positive side of "Tokyo is so big, if you get lost, you may never see it again" in "Tokyo Story". Family affection, love, and anything connected with affection can be regarded as predestined relationship (or whatever God's explanation), it thus becomes the "legitimacy" of any human emotion (Xiao Shui, 2016).
Time travel is a positive statement, because under a normal timeline, its manifestation is waiting and expecting, "He may come back tomorrow, or he may never come back." Time travel folds the scene into a viewer that can Seeing the first and last stage, in order to meet the payment of movie tickets, the audience is given a corresponding explanation, so it is more suitable for the screen, not the novel.
Disaster relief and revival is of course another line, which is really touching and full of the real feeling of daily experience. Chinese audiences may not feel deeply about this. From Tokyo to Shishou Town or the disaster area in Northeast China, this connection can be seen as a "national Shinto" in the new era, a community of destiny with one country and one bloodline. If there is no sharing and identification of this layer of identity, there will be no sense of the image of body exchange.
Therefore, the image of the shrine is still "common sense of ordinary people".
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