First of all, I have to admit that this is the first cartoon I haven't seen very well in years. After all, this kind of life is too far away from me. The character image changed the usual Japanese beauty and romantic plot, but it touched me deeply, similar to "Goodbye Firefly". But because some of the plot arrangements are inseparable from hypocrisy in my opinion, they are just touching instead of the shock from the heart like "Goodbye Firefly".
Two children struggling to survive at the bottom of society. Their home is a scrapped car under the airport bridge. All they can do is steal and fight bloody daily to survive. They fly over the eaves and walls and look at the city.
Black is brave and ruthless, relying on blood to maintain his reason for living and his moral standards. The crow is his friend, and his laughter is wicked. However, darkness is the shadow of light after all, and it cannot exist independently. Therefore, after losing the support of "good" (also "white"), he lost his fulcrum and balance, became more violent, and was entangled by ghosts condensed from resentment.
Bai Dazhi is like a fool, using childish language to convey the mystery of this city in the simplest and most straightforward way. He is afraid of the dark, because the dark represents death and despair, but it is accompanied by "black". He exists as the last glimmer of a beautiful fantasy before the city falls. He comforted himself, and at the same time comforted Hei with "reassuring peace of mind". He was a white dove during the lunar eclipse, and like a tear from a princess, he could save Hei from doom.
Black and white, good and evil, death and life, old and new, darkness and light, loneliness and companionship, despair and hope... The stories and pictures are full of direct or implicit images and metaphors.
The story once again emphasized the strength of the body and the strength of the heart, and once again emphasized that the reason why people are really strong is because there is an object to be guarded desperately. These concepts are not new, and are superficial philosophical discussions that the Japanese are fond of. In my impression, this kind of propaganda can be traced back at least to works in the 1980s and 1990s such as "Saint Seiya" and "Magic Knight".
Talking about the city has two levels, the survival of the people in the city and the survival of the city as a living body.
Several underworld gangs, police, real estate developers... Although seemingly opposite identities are discussing matters in the same house... "My city" from the mouths of different interest groups, whose city is it? No one's, the cities are just fans of money. So, if the "city" can bring money, it can survive, otherwise it will perish.
There is a saying that when God closes a door for you, he will surely open a window elsewhere. It is a pity that God is often very careless, and the customs are tight everywhere. The ghostly paradise, the gaudy and bustling city, is more like an upgraded version of hell. The eyes on the walls in the Bar looked at every poor creature who came here to get drunk with all kinds of looks and scheming. Humans are a cocooning species, building buildings and worrying about earthquakes.
What caught my attention in the animation itself is that the backgrounds are beautifully and detailedly drawn, while the characters are as deliberately simple and rough as hand-drawn illustrations. When the characters move quickly, the rotating and drifting backgrounds flow very smoothly and fluently. Many plots are so straightforward that they seem cruel and hysterical, but the atmosphere is strange and depressing.
But the first 100 minutes made the happy end a pity. The author still gave the "cat" the blue sea and blue sky in their dreams, the apple seed that sprouted from the broken tree, and sublimated innocence and kindness in the entanglement of all evil and evil, so that fairy tales are still fairy tales.
But are there really fairy tales?
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