This article was written before the fifth episode update, and is only a personal immature opinion. After watching Jingani for many years, I still have some feelings for Jingani. I have always felt that KyoAni is best at, one is sensational performances, and the other is daily life. It's not that Jingani is the best at doing these two, but Jingani is the most handy. The first episode of Jingzi still gave me a very good impression. The whole chapter is full of Jingani-style emotional exaggeration, especially the confession at the end of the major. I think this is the rhythm of Kyoto himself, and he is best at it. But from the second episode to the fourth episode now, the impression is far less than expected. In fact, the plot is flat and has no conflict, which does not mean that the plot is bad. The problem of Jingzi feels that it is the result of years of accumulation in Kyoto, and it is deeply ingrained. The first is excessive emotional performance, or excessive emotional expression. Jing Zi's plot is flat, but the emotions are much more abundant. You can feel the very deliberate expression of emotions inside you all the time. For example, in the second episode, when Violet came into contact with a typewriter for the first time, she gave a lot of close-ups to the supporting characters, and the bgm was very rushed, as if telling the audience that this was a bad thing, and the result was just a sentence of "lighter". Why is it so repelling and disgusting for these dolls who often write letters to be a little noisy? There is no explanation for the plot, which can easily confuse the audience. Another example is the dialogue between Violet and Erica after the rain at the end of the second episode. Obviously, the dialogue in the rain, and the sky clears when the dialogue ends, refers to the development of the relationship between the two. However, the entire dialogue is just self-reporting to each other, and there is no deeper communication and expression. It is a bit of a fuss to deliberately arrange a rainy day. Up to the fourth episode, there are still many such overly sensational expressions, such as shocked expressions and tearful eyes, which are commonly used in Kyoto to perform emotional performances, but it is difficult for people to resonate. The root cause is that the emotions are too full. , does not match the bland plot. The second point is that the storyline is dragging its feet. To be honest, in the past few years, there have been very few exciting stories in Kyoto. On the contrary, there are works like the theater version of the other side of the realm, the plot is surprising. For example, in the third episode, Violet wrote a letter to Jiyou's brother at the puppet school. The teacher mentioned earlier that a good puppet should extract the true thoughts of others from their hearts, which is exactly the dilemma of the heroine at that time. So when the heroine writes a letter to her brother on behalf of the red-haired Jiyou, she should also follow the above and write the true feelings that Jiyou cannot express. But when Ji You explained what happened at home to the heroine, he ended by saying "In fact, as long as he is still alive, I am very happy". The heroine's last letter was "I'm very happy that you survived". This almost the same sentence pattern gives me more feeling that the heroine is retelling, rather than the whole animation has been emphasizing, expressing the real emotions of others. Later, Ji You read the letter written by the heroine to the teacher, and the teacher immediately admitted that the heroine graduated. It seems too deliberate, and the design of the plot is too heavy. Like in the fourth episode, the heroine wrote a letter to apologize for Alice. I got into trouble at a birthday party and wanted to write a letter to express my feelings, and it was clearly mentioned that I wrote to my parents, my neighbors, and my childhood sweetheart. But at the end, only the parents saw the reflection of the letter, and the neighbors and childhood sweethearts did not follow at all. At least it should give a shot, meaning it. Moreover, childhood sweethearts obviously gave a lot of writing and ink. It seems to be a very important person, but he is just a passerby with a name, which is incomprehensible. It may be that my expectations for Jingzi are too high, which leads to excessive demands on the quality of the works. But since the picture has been so detailed and exquisite, I hope that the work can also be more carefully crafted in the plot and performance. Excellent works are the result of a high degree of completion of themes, pictures, plots and ideas. Only when these things are possessed can the excellence of the works be demonstrated. A little shortcoming will be very frustrating. It may be that my expectations for Jingzi are too high, which leads to excessive demands on the quality of the works. But since the picture has been so detailed and exquisite, I hope that the work can also be more carefully crafted in the plot and performance. Excellent works are the result of a high degree of completion of themes, pictures, plots and ideas. Only when these things are possessed can the excellence of the works be demonstrated. A little shortcoming will be very frustrating. It may be that my expectations for Jingzi are too high, which leads to excessive demands on the quality of the works. But since the picture has been so detailed and exquisite, I hope that the work can also be more carefully crafted in the plot and performance. Excellent works are the result of a high degree of completion of themes, pictures, plots and ideas. Only when these things are possessed can the excellence of the works be demonstrated. A little shortcoming will be very frustrating.
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Completion with comments. One is that a few chicken soup stories of Jingzi are not very good, the stories of each unit drama are very mediocre, or very watery, and the narrative is also a running account. And Kyoto must have a story in one episode, and it would be fine if it was made into two episodes. Each episode puts aside the provocative focus of Kyoto, leaving pitifully little time for narrative. The expression of emotion needs to have a story as the foundation, otherwise it will appear very empty. For example, in the female protagonist's reflection on the trauma of the war, there is no direct event that caused Ziwei's shaking. It would seem far-fetched to repent to the point of committing suicide based on only two episodes of memories. The process of subsequent perk is also a pompous stroke. Moreover, if Kyoto is still reluctant to control the chicken soup short story, the understanding of political warfare in the last two episodes is simply naive and ridiculous. Train battles and bridge bombings are nothing new, but they are still played like a family, and you can't even understand the narrative logic inside.
Another is the choice of Kyoto in the adaptation. The previous original content is really superfluous, including two original characters, with a very low sense of existence. In order to add a clue of "what is love" to the heroine, the animation forcefully becomes a straight girl of steel, and then transitions with original content. The problem is that the original script is too frustrating, there is no plot content, and it does not show the growth of the heroine from a straight girl of steel to an emotional person. In the later adaptation of the content, the original characters are completely separated from the original content, and there is no sense of existence at all. Another point is that, from various feedbacks, Kyoto gave up some connotation and depth of the original work in the process of adaptation, making the finished animation appear superficial and cliché, more Kyoto-like.
In general, Jingzi's adaptations in Kyoto are not of a high standard, especially when compared with adaptations such as Suzumiya, Qingyin and Bingguo. Whether it is pv fraud or fans touting it, it is meaningless without real quality.
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