third addition
This is a statement, because I am afraid that someone will comment without reading it, so I put it at the beginning:
New readers of this review, please don't say that I criticize the hero and heroine, and don't say that they are just children. It's not my main concern that they drop out of school and run around, I just record my puzzles one by one. What I care about the most is the gun and police scene, but others have complained about it, so I won't list it here.
The 4 children in "We Are Little Zombies" don't go to school to go wandering adventures. I didn't say anything. It's not because their journey is so colorful and interesting that people ignore the real problems. Moreover, it was obvious that they were tempted to leave because of emotional contusion.
Weathering With You gave me the time to think about that, and it shows that other places don't appeal to me enough.
first add
I have no issues with the boy's decision to rescue the girl, but I have issues with some logical details. Many people have complained about guns, police scenes, etc., let's talk about other things.
The heroine was afraid of being forced to separate from her brother by the police, so she ran away. But since 9102, are you still afraid that you won't be able to get in touch in the future? Or intercede and go to the same welfare agency. If you run away, you will not be able to complete the compulsory education. Can't you let your brother study hard? I can't understand this inexplicable resistance that I think I can handle everything. And the series of plots brought about by this kind of resistance is even more fascinating: the heroine invited a thunderbolt to blow up the car, which was inconsistent with the kind-hearted people she had previously disliked the male protagonist with guns at people, and then dedicated himself to saving the world, but it can be explained The ability to succeed was out of control, and the consequences were not expected; the three went to the hotel to open a room and sang, and there was no need to worry about tomorrow. This is not in line with the sensible character of the previous heroine who worked and earned money to support the family, but if you want to say that they are too tired So it's not impossible to completely relax after finally finding a place to live.
In the hotel, the heroine was happy in front of her, but then suddenly sadly expressed that she was going to heaven for the world, and entrusted her younger brother to the male protagonist... Does this change of face pave the way? No, are you sure that the male protagonist, who has run away from home and can't take care of himself, can take good care of your brother? If you had already decided to leave your brother behind, why did you run out with your brother in front of you? Why don't you hand over your brother to the police, and then stay home and wait for death? Or maybe I felt like I was going to disappear because I used the ability again after running out. Not sure if I missed any lines.
The uncle shed tears after listening to the police officer talk about the male protagonist once, but came to stop the male protagonist again, and was influenced by the male protagonist again, and finally decided to help the male protagonist. This process is a bit slow. Although it is said that the relationship must be progressive, it is more like a plot, forcing the male protagonist to increase resistance and foil his image.
After the younger brother was taken away by the police, how did he know that the man was going to the abandoned building? When the male protagonist ran away from the police, his younger brother didn't seem to be there, and then his younger brother jumped out and stopped the police who were chasing the male protagonist.
By the way, the supernatural phenomenon of 100% Qingnu has not attracted the attention of state agencies? Won't you be taken for testing or something, dog head.
The picture is really excellent and deserves five stars, ah, this light, this water; but these embarrassing plots in the back made me think about "how to rewrite this story" "Is it okay for me to go?"
So, how to change it? When I watched it, I thought about it, if I wanted to keep the basic setting of "Sunny Girl", would I be able to change it to a heroine because she has no nostalgia for her life, so she doesn't mind sacrificing herself . It is more convincing that the younger brother who depends on each other to exchange for the good mood of the whole world . Then the male protagonist let her know that someone in this world still cares about her, and she can be selfish once.
In the end, the two held hands and flew in the sky, which should be a tribute to "Spirited Away". But this film's setting of "The Other Shore" may not be as good as that of "Spirited Away". There is nothing on the cloud except grass and swimming fish. Although it is fresh and beautiful, it is a little empty and not worthy of "The Other Shore". imagery. It also includes paranormal phenomena and women who are about to disappear. Earlier this year, "Penguin Highway" simply left a suspense about the root cause of paranormal phenomena, focusing on presenting the fantasy world and the protagonist's reverie, and the boy will spend the rest of his life to pursue That mystery, such a blank ending makes people unsatisfied. However, Makoto Shinkai probably didn't plan to elaborate on Wonderland, he just wanted to use it as a background to depict the love of boys and girls.
A city with continuous rain is actually worth digging deeply. I used to read Germination magazine, and there was a brain hole author I liked very much, Shen Dacheng, who wrote a short story describing the city of Changyu. In order to adapt to the climate, clothing, housing, etc. , vehicles, etc. have corresponding interesting transformations. I hope this new city can be photographed one day! You can test the settings.
second addition
After reading some film reviews and discussion forums, I found that the discussions were quite intense, and opinions were polarized.
Then I will use this film review to comment on some of the arguments, eh.
Anime itself is illusory, don't bring logic into reality.
I thought that anime, like books and live-action films, was just a genre and a form of presentation. Aside from books with only words, although the production process of animation makes it easier to express some illusory things than live-action film and television, its content will have some foundations that are more or less connected with the real world, and cannot be completely Create without the logic of reality.
In this work that blends reality and fantasy, we need to distinguish what is the original logic based on reality and what is the bizarre setting added by the author. Generally speaking, except for the places specially pointed out by the author, it can be defaulted to non-setting, which can be measured by realistic logic. For example, Haruna is the setting, and the police are the reality that is not the setting. Going back 10,000 steps, even if it is a completely empty fantasy world, the thoughts and feelings of the characters must be in common with reality, because the audience is a person living in reality.
So Xin Haicheng didn't say that the hero and heroine are not ordinary people, or have experienced anything special, so why can't they be judged by ordinary people's logic? Especially when they are still ordinary middle school students, this is a period that everyone has experienced, and everyone can talk about it.
And looking at such a realistically painted city, how can you not use realistic logic to think about the conflicts that are taking place in it?
If everyone in the movie has a sound mind and a good legal awareness, what else can we watch, it is only the conflict that makes it interesting.
We can accept that the villain violates the law because it is the villain; but it is very difficult to please a reckless and ignorant protagonist, unless he has other outstanding positive characters, or does better things to clean up.
Here, the reason why the male protagonist saving the female protagonist was blocked by the police was his reckless act of running away from home and holding a gun, and the process of breaking through the block was continuing to be reckless. If you care about the "cause" of recklessness, then the emotion brought by the "effect" of breaking through the obstacles and saving the heroine will also be dispelled by the "cause". Moreover, there is also a problem with the conflict between the male protagonist and the police. The police just let a child run away from them. The conflict with loopholes is not the point of view.
In the end, why use tools (people) such as guns and police, I believe there will be a better way to write it. Even if Shinkai Makoto has an obsession with guns, he should put it in a more appropriate story. There is more than one way to create conflict.
Even if the male protagonist can be ignorant because he is young, as the protagonist, he should at least have other highlights that will not be covered up.
Xin Haicheng reflects social problems, and the male and female protagonists warm each other at the bottom of the society.
Is it serious to use this to salvage respect? He didn't even take pictures of the male protagonist who was said to have suffered domestic violence in the original work, and the band-aid on the male protagonist's nose doesn't explain much.
Some people mentioned "The Thief Family", saying that the male and female protagonists, like the protagonists of "The Thief Family", all depended on each other at the bottom of the society. This may insult "steal". The hardships and powerlessness at the bottom of the society lies in the fact that they passively encounter the misfortunes of life, they still can’t change the status quo after struggling and working hard, or they don’t know how to change because of their knowledge. Take "Stolen" as an example, except for the boys and girls who were picked up, the male owner has no other skills except stealing and manual labor. The hostess is facing a wave of layoffs caused by the economic downturn. It cannot be easily solved by asking for help.
However, the male and female protagonists are still minors with legal protection of relevant rights, and to a certain extent, they can not worry about their livelihood. The male protagonist has a family and can go to school (for the time being, ignore the domestic violence settings that have not been filmed), he just wants to follow the light to Tokyo; the female protagonist can ask for help from teachers and police, from the recent situation mentioned by the uncle three years later, and the male protagonist When she met again, she was wearing a school uniform. It could be seen that she was not bad after being taken away by the police. Then why did she go to work after her mother died? What made her make this decision in defiance of the adult power of teachers, police, etc. who could help? Xin Haicheng did not explain their previous life and education. I can only use my common sense to judge that the heroine's actions are naive and not a last resort.
This kind of life created by the protagonist himself is not to say that it reflects the social status quo and warms each other at the bottom.
(This paragraph is only to refute the theory of "the bottom of society", and does not mean to blame the male and female protagonists.)
Those who don't understand are not young anymore.
I think "Spirited Away", "Howl's Moving Castle", "Heart Listening" and so on can impress more people than "Weathering With You". If the doubts caused by other issues overwhelm the emotional outburst of the climax, it is not the audience's age, but the author's problem. Don't leave so many shortcomings, let some audiences who will be serious in logic better appreciate youth and love, isn't it?
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