Author: komaokuri/Anitama Cover Source: Assun
Hello readers, this is an introduction to the TVA works broadcast in 2015, and it is expected to be published ten times in a row of irregular columns. This article may cover some of the previous returns, so it is recommended that first-time viewers of this column use the link at the bottom to find out.
Here continues at the end of the previous article, the second story has always highlighted Ichimatsu's loneliness from the beginning, but in the first story, this point is not specifically described, which shows that the performance strategy is adjusted according to the theme of the unit.
The position of Yisong in the corner of the picture above is also quite unusual, even if he is positioned as a lonely character, but in other words will not be isolated to this extent. And Fourteen Pine's contact with Ichimatsu as much as possible in this episode also highlights the charm of Fourteen Pine's characters that are not usually noticed.
It is difficult to see the inside of Fourteen Pine because of the complete lack of undulation in his expression, and it can even be considered that the script did not specifically set the thinking mode of Fourteen Pine from the beginning, but after watching some of the actions of this sentence, it will make the audience feel that Fourteen Pine seems to have emotions, and this is one of the reasons why the author likes this.
This way of composition is also very good, and the way I showed the estrangement in my previous article can be said to be exactly the same as the way in which the estrangement is shown in the author's previous article.
In addition, this side uses continuous positive and negative hits to show the tension of the scene, in fact, there are three similar performances in this statement.
For example, at the end of the first story, you can see the passages where the flames and the empty pines are cut interactively.
The injection scene of the second story also uses three sets of repeated editing to show a sense of speed. Maybe this performance is a personal habit of サトウ光敏.
In the same paragraph, Ichigo reveals his teeth with a high degree of realism in order to show a sense of roughness, which is a very common form of expression in Japanese animation, like the well-known action original painting Nakamura Toyo is also very concerned about the painting of teeth, and recent works by Tetsuro Araki have also tried to show the realism and strength of teeth as much as possible.
As for the cat in the picture above, it is also rare to be presented in close-ups. Small animals such as cats or dogs, whether in real writing or animation, it is difficult to occupy such a large area of the picture. Part of the reason is that this will make the animal look too close to a person, or it will make it difficult for the viewer to judge the actual size of the animal.
But in this scene, giving the cat such a generous treatment seems not to be a bad decision, and it can be felt that Ichimatsu regards the cat as a reciprocal being.
In addition, in the first half of this dialogue, Ichimatsu not only speaks with his back to the cat, but the camera also deliberately does not take his expression, which shows that Ichimatsu's angry words are contrary to his own sincerity.
At the end, the dog tail grass (Japanese: cat じゃらし) is used to symbolize the missing cat. The performance of turning over garbage feels like it is often seen in previous animations, but it is still a gripping scene.
In this scene in the park, it is more noteworthy that the color of the sky before and after the cat and Ichimatsu hugging together is completely different. As far as the author's own perception is concerned, the first two pictures above are too blood red to give people a feeling of disgust, and the shadows on the face are also biased towards the distribution of B-grade films and are not very comfortable. However, like the third picture, it presents a sincere impression, the light is soft and the contoured lighting is very balanced. Therefore, whether this paragraph shows the psychology of Ichimatsu through tone and shadow is full of intriguing places.
The introduction of the performance of "Asson" is also a conclusion to this part, and after reading the commentary of these two chapters, it may give you a deeper perception of this work.
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Original: m.anitama.cn/article/78eaf445348292a5?utm_source=toutiao