woken up early in the morning, brushed our teeth, washed our face and coaxed to finish breakfast, and our young parents said, "Good, you can play at home for a while, let's go to work, and be back soon." Then The house is only left with himself and a house of toys, or a cat and dog.
That "come back soon" is never literal. At a young age like that, one morning was enough for one great adventure after another. Time is like a frozen popsicle, passing drop by drop in the squinting view of the faint winter sun. When there are little friends, the shouting for lunch comes a little earlier, and lunch is just a function of replenishing energy. And children who are left alone can always open the entrance to the mysterious world of fantasy, consciously or unintentionally, roaming through it like a warrior, overcoming obstacles until they reach the glorious moment of lunch time.
In those imaginary worlds, a smudge on a wall can be transformed into a prince, a princess, a ghost, a ghost. What adults see are the bear children running around the room madly or talking to themselves against the wall, while the bear The child himself, he is fulfilling the request of the elf trapped on the wall with an unprecedented sense of responsibility.
There is always such a world between children and adults, a world that you liked very much as a child but never believed in it when you grew up. Sometimes I think growing up is really boring!
The above emotions were sent out when Taozi explained to her mother that there were monsters in the house and her mother insisted not to believe that.
Many times, growing up, we would rather believe that psychiatrists say that children's nonsense is a deliberate act to attract adults' attention. I don't want to admit it, maybe there really is a world that opened the door to them during your absence.
I even have a point against adults who think cartoons are childish, they must have forgotten their memories as children. And those workers who can only shoot animations to coax children, they probably can't remember their childhood needs. It's not like cartoonizing the three views of the adult world can be imposed on children. You have never really entered that world, how can you tell real children's stories.
"Letter to Peaches" is a bit similar to "My Neighbor Totoro", let's not investigate the deep innuendo behind the animation. Judging by the children alone, they all have similar family deficits and insatiable attention spans (well, psychiatrists aren't entirely wrong). They are all eager to solve the sense of unease caused by this lack, and the adults fail to help or even notice this, so the children have to find their own way, the sister in "My Neighbor Totoro" goes to see the mother alone, while the peach A letter thought hard, the same thing.
I think the story of "Letter to Peaches" is completely true even if the Yokai part is completely eliminated. Peach's guilt caused her to need a solace, and her loneliness gave her infinite space for fantasy. She made up three monsters to accompany her to spend a long personal time. The little monsters followed her mother anywhere, and she was potentially worried that the same thing would happen to her mother and never return. She experienced the chase of wild boars together with the monsters, which was her subtle substitution after hearing about wild boars ruining farmland many times. The theft of the convenience store can be seen as a vent to her extreme depression. This vent has two functions: one is to find something to do for herself, and the other is that she will expect to get attention after being discovered.
The friends headed by Yangtai symbolize the beginning of saying goodbye to the personal world and integrating into the social group. Taozi, who is addicted to fantasy, must be very resistant. But at the same time, she also gradually realized that she had to accept that future. Trying to dive is a manifestation of her self-struggle. The unwillingness to go into the water and being pushed down by the fantasy monster can be seen as the struggle between her inner self and herself.
This film is realistic, and the most obvious point of not playing super fantasy is that when Taozi insisted on seeking a doctor, she was accompanied by her mother's adult classmates, not the underage Yangtai. So I'm inclined to think that the three goblins are Momoko's own fiction, in order to give herself an acceptable reason for her father's departure. At the end, my mother recognized Peach's fantasy, and she also needed such a reason to say goodbye to the past.
The author admits that this interpretation may be really excessive. But isn't an animation that can withstand over-interpretation and is still established the direction of domestic animation we want? Nowadays, the new restrictions on entertainment of radio and television have obviously provided a very favorable development environment for the animation market. I don’t want to turn on the TV next year, and all I see are Pleasant Goats and Bears. This kind of xx animation has already caused unfavorable guidance for children. Although I'm not looking forward to seeing characters like Hayao Miyazaki and Makoto Shinkai appear in my own family, I sincerely hope that our animators will be able to think back to their childhood before starting a new project. Or, simply ask the children to write the script, which must be more interesting than the story that the boring adults put together, the author has always believed in this.
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