In the previous issue, the author made a brief analysis of the content of domestic and foreign films recently released in theaters, and was able to see that domestic animation is still based on industrial standards as content templates, considering that the domestic market does not have a clear age positioning, resulting in a large part of the effectiveness of the problem, the author will summarize this issue.
In fact, the content output of the national comic has been more or less imitated, but although the form has a macro setting, the level of consciousness has not reached a certain level to expand in the corresponding aspects, coupled with the need to condense the essence of the story, which has caused the content to be redundant.
Why is it that we can't do the production of Miyazaki's "Spirited Away" for the time being, its theme extends from desire to human nature, the perfect combination of daily life and content form, and the diverse transmission value is actually not suitable for domestic industrial assembly line production.
Because the story is not pure and the theme is not clear, it is even more impossible to adapt to theatrical production.
Miyazaki's Spirited Away achieves a visual presentation of the realm, while also clearly conveying the deep meaning of various themes. In the final analysis, it is because our works are very vague in conveying value, and can even be said to be very elaborate, but they are indeed very powerful in setting, and this configuration is very contradictory: on the one hand, we want to greatly improve the production standard, on the other hand, we want to mix realistic topics.
Looking at today's domestic animation works, it can be summarized that two points need to be strengthened, one is to have a blank space in shaping the character image, and the other is that the environmental background setting can be more abstract and have a certain arc. The two are compatible to take the condensed theme to a higher level.
Earlier, I also gave an example of "White Snake 2 Green Snake Robbery" to blur the setting into what seems to be between the game and the animation, resulting in a carrier with no boundaries.
Also as a highly industrialized animation, we refer to "One Half of magic", compared with which the values of this work are very clear - family affection. In addition, there are also many fight scenes in this anime, but they are relatively restrained and do not have pure showmanship.
The scene is attached to strong emotions. If the creator can think deeply from a point, then whether it is high-frequency fighting, or taking the direction of wisdom fighting, the whole scene will not lose its sense of balance, and the overall scheduling can also be evenly distributed.
"Green Snake 2" is too much emphasis on fighting, often every scene is for the sake of fighting, without considering to full content, which makes the audience unable to resonate.
Once there is no emotional connection, it will lead to mental exhaustion. For example, the scene of the Bull Demon King at the end of "Green Snake 2" is strictly invalid interaction.
Invalid characters can be replaced, which means that the play is meaningless at all, which will seriously affect the rhythm of the plot. Therefore, too much emphasis on sensory production and ignoring whether emotions are in place are also issues that should be considered as creators.
Finally, the innovation of domestic animation in a unique style is important, but it is more important to have a story text to balance. We need to learn more and think more. If you can break the shackles while preserving the unique connections between traditional characters. I believe that the road of domestic animation is also easier to break through the shackles and set up its own unique content barriers.