[1] The legend of the "Golden Fleece" in the modern sense
In fact, most of the science fiction works can be regarded as the heroic myth of the new era - the story of Sic Granbel taking Rebecca Brugadian, Hubby and others to find the "mother star", in fact, there is no difference from the legend of ancient Greek mythology about Iason creating his own "dream team" to find the Golden Fleece, compared with the underlying design.
Similar to the story of the "Golden Fleece", finding the "home star" or "Golden Fleece" is only the stage goal of a group of partners, and during the adventure journey, each character re-understands himself and grows into a new self, which is the core of the story.
The "self-knowledge" here can be continuously highlighted through the complex contest between the forces of the enemy and us, the escalation of the emotional relationship between the male and female protagonists, and the strengthening of the bondage of the protagonist group.
If we think that the drama "Edens ZERO" is OK, from a psychological point of view, most of us still hope that we can also be like Sic or Rebecca, with the unique ability to carry out a lifelong adventure in the vast universe - the adventure of the protagonist group is actually our own "life adventure".
[2] The rhythm design of the animation
In fact, it was not until Episode 7 that the secret hidden in the title "Eden Hoshihara EDENS ZERO" was revealed. For a quarterly episode of 24 episodes, it seems a bit slow to really enter the "main line" near a third of the way -
After all, the current drama production often follows a set of models, for example, in the 12-episode (13 episode) drama, episodes 3-4 must have a "breaking point" to advance the plot, and episodes 6-7 must have a "welfare point" that caters to the audience. (Note, this statement comes from "White Box", interested viewers can take the time to see this 24-episode drama that is actually quite hardcore)
There is a considerable risk in this design, and the audience may not find the "high point" after watching the first few episodes and decisively abandon it, but everything always has a relative side, and its advantage is that once the audience can immerse themselves in the plot, they will especially look forward to the advancement of the plot.
So, how did Edens ZERO do? The answer is "losing baggage," or various reversals.
For example, behind the expulsion of Searing in Episode 1, there is actually an extremely cruel and heart-warming truth. Although this "way of playing" is cheesy, this human-based design framework has been proven to be enduring and useful after so many years of storyteller interpretation. It can immediately arouse the audience's appetite, the audience will transfer their good feelings about the machine world to the male protagonist, and at the same time, they will expect the male protagonist to have some new adventures - including what kind of love story will be interpreted with the heroine who is "so pompous with the chest muscles".
As a result, the design focus of Episode 2 fell on the heroine Rebecca and Hobby. We were surprised to find out that Hobby was a robot cat, and it could be turned into a gun?! (It seems that girls who like long guns are the coolest and most handsome)
Hubby's life leads directly to the Doctor's line, and at the end of Episode 3, Rebecca's Doctor actually stands on the opposite side. At this point, Episode 3 came to an abrupt end.
So, as an audience, you will definitely be curious, is the doctor a villain? And, still very young, why is that?
Turning to Episode 4, it leads to the concept of the new partner robot Pino and the concept of "time backwards" (the "reverse stream" here is actually a kind of gameplay, and "stealing time" and "stealing memory" are essentially foreshadowing on logical lines, such as Rem, who slept for a whole season in Re 0). Episode 5 is a high-energy battle to raise the audience's emotions and successfully advance the plot to Episode 6.
The main function of episode 6 is to answer questions in stages, and even have a sense of mission. In the second half of the episode, the "enemy" cosmic pirate, Elise Clemoson, is successfully lured out. At the end of the episode, another "reversal" is designed - this woman is actually a skeleton face?
Of course, Episode 7 quickly reveals the secret — it turns out to be a parasite that has been left unwashed inside the ship for a long time. At the same time, the official unveiling of "Eden Hoshihara EDENS ZERO" also buried the plot of Seach and the Demon King, the plot of the Demon King (Searing) and the Four Stars, and the opposition between the Pirate Army and the Government Army, leaving enough foreshadowing.
By the way, there is also a foreshadowing is the time singer Xiaomei, who claims to be the narrator (witness) of the whole story. In fact, this suspense can also run through the entire animation, especially when some plots appear "mystery chaos" to help everyone "sort out the plot line".
From this, we can roughly see that the drama production team (of course, including the cartoonist himself) has reached a link in the entire plot design, although the plot looks soothing, in fact, each large segment is quietly carrying on the top and bottom, without deliberately designing the appearance of important characters, at the same time, the personality and style of each character have also been richly displayed, so that the audience has their own emotional projection of different characters.
Under the influence of this rhythm, the audience can naturally understand the follow-up plot through the comics first, or slowly watch the next 17 episodes (calculated as one episode a week, 4 months plus a week).
Overall, in the context of this era of "April New Fan is Your Lie", "Eden Hoshihara EDENS ZERO" has a little bit of spiritual comfort for the audience in its "limited" works - although from the point of view, it is not as eye-catching as "Shadow House", nor is it as "flattering" as "Don't Bully Me, Nagasaki Classmate".
Putting aside some of the things that veteran fans like to hear, when we also hold the mentality of studying the script to ponder the design of each episode, the "hook-up" of the series before and after can still taste different.
[3] Hiroshi Majima's modern gameplay
Viewers who watch "Eden Hoshihara EDENS ZERO" probably also know that there are many "elements" in the play from Masashima's previous work "Fairy Tail". I personally do not oppose this kind of "string of plays", from the perspective of the principle of communication, it reduces the "pit cost" of old audiences, increases the interaction of new and old audiences, and makes the work have a topicality, such "one stone and three birds" is really a high-end play.
As we said before, works such as "Eden Hoshihara EDENS ZERO" and "Fairy Tail" are essentially "Legends of the Golden Fleece", and the bottom core of the story remains unchanged, depending on whether the brain hole of the cartoonist (writer) can make up a new story.
In the classical (traditional) routine of the "Golden Fleece", Majima Hiroshi mixed modern elements such as the tubing master and heroine's chest muscles must be "pompous enough" and "fruit body battle (escape)" - it is difficult to say whether this is the unique taste of the manga artist himself, or to cater to the internal needs of contemporary manga (animation) fans, perhaps, this is a routine.
This year, there is no "walking (ca) steel (bian) silk (qiu)" element in the anime, which can probably refer to the creative group as "people who don't understand the style".
[4] Back to the manga
When I first watched "Edens ZERO", I also had the illusion of watching "One Piece", from the layout and the comparison of the style, the two are too similar. Of course, "One Piece" as an "undead bird" is really not necessary to talk deeply here, I myself wondered what the "Eden Hoshihara EDENS ZERO" manga has to do.
Hiroshi Majima is indeed skilled enough in the technique of the plot ambush pen, but this gameplay is more suitable for animation than the manga - the reason is that the anime can directly finish the content of the 2-3 volumes of the manga in 2-3 episodes, and the slowness in the anime is obviously "faster" than the slow in the manga. Whether the new generation raised by the contemporary fast food culture can be "infected" ("substituted") is a question worth thinking about from the perspective of commercialization.
I can only infer from the popularity of "Spell Return", "Devil's Blade" and "Chainsaw Man" in Japan, and the market still appreciates anime works with fast narrative rhythms. "Eden Star EDENS ZERO" is obviously in the middle of the file, compared to some of the "daily fans" of the yo-yo wandering, compared to the market popularity is slower.
Digging deeper into the plot, you will also find a major problem similar to the "Eden Hoshihara EDENS ZERO" manga, that is, there are many characters. In fact, the characters serve the plot, and at the same time, different characters are needed to promote the plot. But this is a hidden danger, and if it is not handled well, it will make the audience (or rather, the comic book readers) feel that the plot is chaotic.
Here I think of a work, Akira Toriyama's Dragon Ball. It is very restrained in the setting of the number of characters, basically there is only 1 big boss on a stage of the big stage, and the protagonist group will not be too inflated and weaken the aura of the protagonist.
Sometimes when I read contemporary long comics or long light novels, I am often disturbed by various supporting characters who serve the plot. But this is inevitable, in order to make the plot constantly conflict, it is inevitable to add a large number of new characters, so whenever we look at the background information of a comic or light novel, there will be a long list of characters who appear. However, many times, some of the characters can actually be merged - which is actually a test of the original author's screenwriting ability.
However, due to the consideration of "rush period", compared with character merger + plot actuarial calculation, the new character (even the old character) is "used up and scrapped" is definitely a more cost-effective choice.
Of course, there are more extreme examples like Rem, "accidentally writing the female second more dazzling than the female one", and the way to deal with it is "let her exist and not exist".
I read a passage that said that if there is true love in this world, it must be "Rem Blue".
From the perspective of the plot ambush pen, Majima Hiroshi is indeed a master, but its side effects appear in the emotional line processing of the plot - the emotional line here includes love, family affection, and friendship, which makes me always feel "dragging mud and water".
However, this perception is naturally a matter of opinion. With Majima's talent and skill, if he could turn Eden Hoshihara EDENS ZERO into Gintama, he probably couldn't accept it himself. Overall, the plot of the Eden Hoshihara EDENS ZERO manga looks down, and it is more difficult to become the "hot spicy chicken" in the market, but it is quite stable to become a waist work - in fact, this is also the case.
[5] A few things about music and voice actors
In the whole "April New Fan", there are two ending songs that I like a lot, one is the ending song of "Shadow House" - ReoNa's "ないない", the rhythm of ED is very compatible with the picture; the other is the ending song of "Eden Hoshihara EDENS ZERO" CHiCO with HoneyWorks's "Mo Mo 険の VLOG" (there is also an Easter egg at about 2:07 position in the original song), whenever the suspense at the end of the film is thrown, the rhythm of the drums rises. The soothing whistle gives you an instant sense of ease walking in the clouds.
A work like Edens ZERO is itself a "virtual space" where you can escape from reality for a while, so the soundtrack must mention the audience's expectations for the next episode. Because, works such as dramas (comics) sometimes support a group of people's vision of life.
In terms of voice actors, in fact, it is more talkative.
First of all, it is The Hobby who is matched by the nail palace, after 12 years, can also make the Hobby in "Fairy Tail" "re-employed", which is enough to see the skills of the big sister in the industry. The same "old voice" is Ohara Sayaka, I don't know if you remember that "Fairy Queen"?
Secondly, it is the voice actor Aoki Shiki of the character Flame Ezuki, who has expressed her views on her gender through her own channel, which is particularly special.
In addition, if you enjoy Rebecca in the play, don't miss Komatsu Weiko outside the play - obviously you can rely on your appearance to run the world, but you have to "hide your skills and fame" to "sell your voice"?
May I ask, is it your dish? (Is there an additional bonus to married attributes?) ）
[6] The other shore and the far side
Based on the above-mentioned zero and zero total, I personally think that looking at "Eden Hoshihara EDENS ZERO" (leaving aside the dimension of manga) in the domestic market, it is quite optimistic.
Because in this unique "break period", there are not many dramas that gather elements such as blood, battle, youth, and slight meat sales, and if the follow-up plot is slightly accelerated (after all, there are still 17 episodes) + no brain-opening magic change (refer to FGO), the platform will make an opening screen recommendation, and the decent drama of "Eden Hoshihara EDENS ZERO" can still satisfy the audience.
However, due to well-known reasons, the recent loss of anime fans on various major platforms is still relatively large. The two-dimensional audience is still a small group in today's country, and the anime fans are a small group in the small group, originally due to the platform support, there is a mutual exchange of ground occasions, and now such a toss, probably many people have to go underground - this from the long-term perspective of industrial development, is definitely a bleak tragedy.
When we get lost in reality, the more we reposition ourselves in the virtual, and so on.
This era is so dazzling that we all ignore the minutiae hidden under the light.
Probably, that's it!