Summer's old dream~other words

Oran 2022-12-26 15:10:49

When I woke up in the morning, I felt as if I had a gentle dream, but when I recalled it, it was a complete loss. It is often the case, dreams are also like flowers, snowflakes in winter, untouchable, melted when touched. It's just that, although I can't remember it, it must have existed. Otherwise, who is the trace of this faint mood?

And the reason why there is such a dream is probably the trace left by another story. "Forest of Fireflies", I read this story before going to bed, in a quiet night. This is really a short theatrical version, only about 40 minutes, although this story seems to be a bit long in terms of this length. The story was originally shorter. If I remember correctly, in the one-line book of the same name by Yukio Midorikawa, there are four short stories in spring, summer, autumn and winter, and "Forest of Fireflies" is the one about summer.

I read the manga at this time last year, but I couldn't write a decent feeling. It was "softly hit". In fact, this story, although it has a lot of moving parts, I don't want to analyze the plot a little bit, because it is light, if I say a few more words, it seems to become stupid and heavy, so, just It's okay to let the mood blend in that way.

However, it really made many people remember it in their hearts, as if nine years later, such a theatrical version was finally performed. Ha, thanks to Natsume too.

When I saw the opening part, I thought of Hayao Miyazaki's story unbelievably. The little girl in the dress, the little girl who returned to the country, the little girl who got lost... The intimacy from those stories is intertwined. Neighbor Totoro that year, the river that summer, when the little girl grows up to be an adult, will those memories still be treasured in my heart?

The part that followed felt that it was Natsume's worldview. Monsters, humans, opposites or harmony, relative to each other ambiguous existence, but do not give up the possibility of pursuing warmth. The monster will always ask seriously if he can eat this child? And then find that this is actually scaring you - such a story is always reluctant to be bloody.

The music is Gymori's, so it's reminiscent of Natsume. His preferred musical instruments, piano, violin, harmonica, accordion, and flute, depict the dappled mountains and forests in summer, or the strange but interesting monsters under the moonlight. Compared with Natsume, the music here seems lighter and lighter, like summer insects, like butterflies, like flowing fireflies, flowing shallowly and falling leisurely.

And the story, after all, is the luck of Midorikawa.

In fact, I still think comics are the best form of this story. Yukio Midorikawa is best at light and light brushstrokes, so those blank scenes, those momentary eyes, were animated with color, which seemed a little more deliberate. The same is true for stories. It should be prose and poems, but has nothing to do with drama, so it will not bring so many surprises and wonders to people like Ghibli's works. . It's just that the details are sometimes not very clever, like the part of Ying Dong's life, which makes people feel a little clumsy (until the camera cuts to the shrine in the snow, and Ah Yin who is sitting there, finally becomes agile). The details should be seemingly invisible but touching, and the words are exhaustive and the meaning is endless. If this is not the case, it will probably be a success or failure. In the impression, Xin Haicheng is a master here.

Looking at the comics, you will find that the plot of the theatrical version faithfully follows the storyboards and lines of the original work (of course, plots have been added for the needs of the plot). This may be deliberately done by the supervisor, but maybe it is also because of this excessive "faithfulness" that the theatrical version lacks a bit of aura. But because of this, the theatrical version isn't too bad either - the original aura makes up for it. Yes, I think Midorikawa's story should be told like this, the plot is almost non-existent, and the hero and heroine don't speak a word. Unlike the recent Natsume, the narration is becoming more and more skilled, cute and rotten. Although these are not annoying to me who likes this story, but sometimes I really feel that enough is enough.

It was only after a long time that I found out that the Japanese name of this story is "蛍火の多へ", the literal translation is "to the forest of fireflies", but from the comics to the theatrical version, the conventional translation name is "Forest of Fireflies". In fact, there are still subtle differences. Although the latter is concise and quite aesthetic, I don't think "へ" should be omitted here. It makes the title have the meaning of people and tend to action, and this may be the implied theme of the story, especially the theatrical version, no longer just tells the story that happened in "Forest of Fireflies", but also implies the heroine Firefly's wish to return home. Yes, compared with the comics, the theatrical version adds the time "now", so the original story has become a reminiscence of Hotaru sitting on the Shinkansen, a flashback - I didn't realize this until the end, beyond emotion. , My heart was even more sour, and I almost burst into tears. It turned out that Yingying's return home that I saw at the beginning of the film, the seemingly brisk and pleasant journey, was actually the last time, because at this time, Yin was no longer there. Before Ying's mother said something like "bring your resume", it was not a deep foreshadowing at all. At this time, Hotaru had just graduated from high school, so I wanted to fulfill my promise with that person (actually, it was a meaningless promise) and come to work here in my hometown, so that I could see each other often—

but, that person has already Disappeared...

Then in this hometown, what else can a girl take as a memory like this, or to commemorate like this?

Firefly returned to her hometown - this is the completed plot of the theatrical version. Speaking of which, perhaps, this is also a story about homesickness.

After Yin disappeared, Yingying smiled sadly and quietly, and said, for a while, I will definitely not look forward to summer from the bottom of my heart. And Yingying, who returned to her hometown this summer, smiled and said, "Well, let's go." However, there was still sadness in his voice, a lowness that did not belong to a girl. Even the final theme song is a bit bitter.

Memories of summer are like a wisp of old dreams, but they must be, forever and ever, never forgotten.

PS. Silver's name "ギン" (oh, actually I would like to call him "A Yin"), seems to be called "キン" in the comics, so it is translated as "A Jin", and it seems that it is also translated as "Qin". It seems that the name was changed during the theater? But since it's a boy with silver hair, I think it's more appropriate to call him "ギン". (Ms. Midorikawa really prefers silver-haired children. Natsume was originally silver-haired, but was forced to change her hair color during TV transformation = =)

PPS. It's not the same seiyuu, Ah Lei... I used a voice with such a high degree of similarity. Could it be some kind of intentional thing?" However, the performances of the two protagonists are indeed very loving, so I picked up the audio and listened to it ^_^

PPPS. Miss Midorikawa wrote on the margin of the manga: "This is a story that I wanted to draw from a scene where I couldn't catch the girl who fell, but instead avoided it."... This is really dumbfounding. The reason, and it did become a small plot in the story later. But in the end, it's a story like this, which is really nice.

2012-3-13 Free time pen

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To the Forest of Firefly Lights quotes

  • Takegawa Hotaru: Time might separate us some day. But, even still, until then, let's stay together.