There is no difference in imagination,

Looking at the Battle of the Earth and the Sea, I have to say that the production is no worse than his father's work. It can be said that the picture quality is very good. The son should be thinking that he cannot lose to his father. However, Goro took it for granted in the script. Because his father's works are often known for their delicate depictions of details, Wu Lang seems to be a little too much to highlight the atmosphere of the environment, and he pretends to be a little deep, which makes the first half of the plot very boring and procrastinating, and the rhythm does not change much, like boiled water. . But this still can't hide the fineness of its portrayal of the environment and atmosphere in the picture and music.
The author just didn't tell the story well, but by no means didn't tell the story well. In fact, in comparison, the production level of City in the Sky, including the script, dialogue and rhythm, is actually comparable to that of Earth and Sea Wars.
Seeing the scene where Seru sings and Yaren weeps, I can understand Wulang's state of mind from the lyrics. That loneliness that longs for fatherly love. I don't think there is any need to worry about the comparisons between this film and the original. In fact, this is a film of Wu Lang's self-expression. I think I kind of understand why Golang is so looking forward to being the director of this film. To watch this film, you must understand the father-son conflict between Goro Miyazaki and Hayao Miyazaki.
At 69 minutes and 0 seconds, the fall of the hair is very natural and the authenticity is very good.
Wulang should not use the name of Land and Naval Wars. It should be based on the original book like "Howl's Moving Castle", but it should be a completely different story.
Wulang is too contradictory. On the one hand, he bears the fame of Hayao Miyazaki, on the other hand, he bears the Ghibli signboard. messed up.
Wulang needs self-confidence and a work that is entirely his own. Maybe his work is very ordinary, but that's his. My father would not be too receptive to his darker artistic ideas. Plots and dialogues like molesting girls are impossible in Miyazaki's works. Miyazaki's works are too innocent, with a strong ideal color. But Wu Lang obviously paid more attention to his own inner feelings.
Miyazaki fans should understand that Hayao Miyazaki is only Hayao Miyazaki himself, and no one else will replace him. Cherish every piece of his work. His son is just his son, that's another person, and we can't expect that kind of spiritual inheritance. And it's too unfair to Wu Lang.
Death, shadow, loneliness, these are the themes in Wulang's Earth-Sea War. In fact, these shadows can also be seen in "The Slope of Poppy" (I still think that "Yu" is a very good psychological healing work for the Japanese after the Great East Japan Earthquake in 2011).
Around 70 minutes and 20 seconds, the bloodstains on Seru's wrist by the rope clearly depicted Seru's personality. I don't think there is anything wrong with Toshio Suzuki's support for Earthsea. And those who accuse Wu Lang of not working hard in the production of his works are even more unreasonable.
In fact, for the original author, Ursula Le Guin, her comment "It's not my book. It's your (Goro Miyazaki) movie. It's a good movie." Very pertinent. It is normal for her to be dissatisfied. I also read the full review on her official website and didn't feel as harsh as other narrations. It just shows that this work reflects Wulang's own situation and has nothing to do with the original work.
90 minutes and 15 seconds, "Anyway, I can't achieve anything major in my life." Helpless self-report.
The last twenty minutes were too thin. Impressing the audience by philosophical preaching in the dialogue is also a bit too delusional.
All in all, it is a beautiful work, but the plot is weak and weak. In many places it is really not good to justify it. In the end, there is no account of the balance of the world.

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