However, people who really pay attention to the Conan theatrical version every year know that the current theatrical version has become a disaster movie + Conan's personal gymnastics show. Complete disregard for reasoning and plot, become a chicken rib---- not to look at it is a regret, it is a pity to see it. After more than 20 years, whether it is Aoyama Gangchang or us in front of the big screen, we have been aesthetically tired.
Why is the Conan theatrical version getting boring?
An easy reality to ignore: Conan's theatrical version is turning into a college entrance exam propositional essay. In a yearly New Year movie, the entire theatrical version of the production is more like a factory-made canned food than a soulful, each very different film with a good story.
From the first theatrical version of the movie "Detonating the Skyscraper", there are some classic elements that have never been absent: the doctor's cold joke, Conan's reasoning show, Conan and Ran's love line, Conan's ambiguous line with Sorrow, Lan's friendship line with The Garden, The little Goro who is always selling cuteness, the big activity of the Young Detective Corps, Conan's increasingly anti-heavenly physical skills, Ran or Kogoro's karate, and the police department always have to show their faces.
Looking at this action alone, I thought it was an animated version of The Matrix.
Other elements are increasingly appearing in the theatrical version: Heiji and Conan solving the case together, the strange thief Kidd stealing treasure, the black organization and the FBI, and the classic "I want to go to the toilet" (usually means that Conan is going to hang).
In summary, as a work with a long history of more than 20 years, these elements are the essence of this work, the totemic label that Conan has serialized for many years, and these elements you can see at a glance that this is the Conan theater version.
However, after gradually having labels and styles, the room left for the production team to play has gradually shrunk, so the emotions and relationships between the characters are gradually used repeatedly.
The increasingly complex character relationships are slowly dragging down Conan's work. In the early days, the scenes could be better distributed, because at that time, Conan's plot and character relationships were not so complicated, and there would not be too many constraints on the story design. But later, the screenwriter is faced with a thin theatrical version of a comic that is more than 20 years old, which has long been beyond the scope of reasoning, and the only way is to make greater efforts in action and scenes to win eyeballs.
What kind of theatrical version do we want?
The first five of Conan's theatrical releases have a much better reputation, and one of the important points is that the reasoning of the story is very good. So the story itself has a bright spot. The reasoning story can be divided into three parts: the motive of the crime, the method of committing the crime, and the forensic conclusion, and the first five parts are very meticulous.
But the appearance of M6's "The Undead on Baker Street" broke the consistent view that the Conan theatrical version relied on reasoning to attract audiences. Because this theatrical version abandoned reasoning, it won an unprecedented high box office and good reputation. This also provided the production team with an idea: relying solely on the storyline, rather than reasoning, can also attract the audience.
When I say that "The Undead on Baker Street" abandons reasoning, I am not saying it casually, but by carefully reviewing the conclusions drawn from the reasoning plot inside. There are two cases that need to be solved in the sixth series, one is the real-life case of the adoptive father who killed the father, and the other is the case of Jack the Ripper in the game.
If only the part of reasoning is spoken, M6 not only does not reach the level of the previous M2 to M5 in reasoning, but also does not reach the level of the subsequent M7 and 9. But there is no doubt that the word of mouth and evaluation it has received is huge, and this success lies precisely in the fact that it abandons the elements of our traditional intrinsic reasoning and adds a lot of its point of view, thus creating a wonderful and coherent adventure story with climactic climaxes. And a wonderful story is what most moviegoers want to see.
Traditional reasoning often has a long foreshadowing in the stalemate stage after the case is confessed, which is also the drawback of this type of work, that is, it will make the audience feel bored for a period of time, and even say that if the case does not seriously occur to the people around the protagonist, the part of the case is not very attractive. So in order to produce a climax, I had to finally make a big news disaster movie. Even the first five are basically this routine.
The Difference Between The Undead on Baker Street is that because parts of the virtual world take an adventurous form without reasoning, each level can cause the audience to tense up and form a small climax, and the story is naturally exciting.
In addition to the protagonist, there are many quite successful selling points: gifted children and educational problems, criticism of the traditional, high-tech virtual game world, Holmes, Jack the Ripper.
After analyzing the reasons for its success, we find that since it can be successful without reasoning, why should it be done with effort and thankless reasoning? How many of the audience members of the theatrical version are mystery fans?
Therefore, the main reason for the later M10-18 is not that the reasoning is not done well, but that most of the time the plot is bland and lacks climax. Or there is no good script, or there is no good selling point, or there is no courage to give up reasoning for a good script. After all, abandoning reasoning is in other ways better.
After M10, there have been some combinations of long reasoning + disaster in other films, but regardless of the level of reasoning, the story does not attract the audience, and the selling point is not accurate enough to make the work unsuccessful. The only things you can watch are disaster movies and Conan against the sky, and then Conan evolves into disaster movies. The saddest thing is that Chinese audiences have not yet been able to feel the beauty of disaster movie action movies in theaters, so the evaluation is even lower.
Big-scale disasters or action scenes don't really need to be seen in the theatrical version of a speculative comic, and there are a lot of Hollywood movies in the cinema.
To sum up, "The Undead of Baker Street" is indeed a unique masterpiece, which cannot be denied, but it also makes the theatrical version slowly go in another direction: that is, to make the producers think that even if they do not need a good reasoning part, they can still rely on the plot and story to please the audience to achieve success, but they seem to forget a key point, that is, M6 itself has a special nature, and its success is difficult to replicate.
Sure enough, after the M6, Theatrical version of Mingke's work has never appeared similarly. Later, the production team seemed to have taken another wrong path: they thought that the accumulation of large scenes alone could win the audience, and the truth was that although the box office was getting higher and higher, the reputation was getting worse and worse. The Conan theatrical version is just consuming the audience's enthusiasm for Conan's work.
In fact, this is also because Conan himself is becoming more and more boring.
Whether you admit it or not, watching Conan now, it is not the reasoning of each episode, but the ending of the whole big story, more out of an inertia. This work has been serialized for 20 years, and the time in the play has only passed for one year, which is really too long. It's like a marathon, no matter how wonderful the story, in the long time of time, the charm will disappear.
When I first started watching Conan, I was the same age as Conan. Looking at Conan now, I'm five years older than Shinichi.
From the initial expectations, to the current complaining. You'll find that Conan is becoming more and more stylized and boring. The bizarre but reasonable reasoning of each episode disappeared, replaced by the repeated appearance of several plot totems and plot elements, so as a unit drama, a pillar supporting the work disappeared, which has to be said to be a pity.
What really supports the audience to watch is only a huge pit dug by Aoyama Tsuyoshi 20 years ago, and due to the intertwining of money and interests, the involvement of various forces (comics, animation producers, countless peripheral products, amazing royalties) Aoyama has no way to fill this pit, nor can he escape the black hole called "Conan".
Now I only hope that Ginjo's feud with Shuichi Akai, Shinichi's entanglement with Xiaolan, Conan's ambiguity with Lamentation, and the truth about the Dark Organization, Aoyama Tsuyoshi can give a complete answer.