If you put aside the name Ma Zhijun, how many points are left in "The Day of becoming a god" in Station B today?
After all, P.A.WORKS still shows a fairly high production standard in this original TV animation, and with this alone, "The Day of becoming a god" should not die too ugly.
Over the years, most of the original TV animations, especially those with many titles and early promotions, are not very good. For example, the hegemony of 88,000 that everyone is still talking about, and the pioneer "national team" in the Renaissance can be said to be the greater the hope, the greater the disappointment.
"The Day of Becoming a God" seems to be unfortunate to step into it this time.
Ten years ago, Maeda first came into contact with the field of original TV animation, when the work Angel Beats! " has achieved a fairly good reputation among domestic animation audiences. But compared to Ma Zhijun's Galgame script, and even the previous Galgame tv animation, Angel Beats! "" is obviously still lacking in the rhythm and completeness of the plot, which has also become the focus of audience criticism.
Ma Zhijun himself was very concerned about the audience's evaluation, and later passed the "Angel Beats!" The game version and the new original TV animation Charlotte unleashed a "revenge" on the audience, with the former doing less than half of it and the latter not responding even better to the audience's final audience than Angel Beats! 》。
As for "The Day of Becoming a God", in the interview, Maeda Jun mentioned that this work is no longer with a revenge mentality, but wants to return to the original point.
"Day of becoming a god" is indeed different from "Charlotte", because this time there is already a precursor to collapse before the end.
An interviewer who has read the full script said that the script for "The Day of the Gods" is much smoother than that of "Charlotte", without the top-heavy abruptness of five years ago.
This is also true, because the core setting of "The Day of becoming a god" was guessed by the audience when the first episode was broadcast.
The heroine, Sato, repeatedly emphasizes her omniscience and omnipotence, and the plot renders the authenticity of this setting with great emphasis, and she herself repeatedly emphasizes that her identity as a "god" is inseparable from certain objects, plus the key clue that appears in the third episode - a doctor of quantum physics who is proficient in information engineering.
If it was more than a decade ago, such as the comic strip "Queen of Arms", which has been serialized since 2006, the concept of quantum computers can be buried as a foreshadowing to the end. But now, more than a decade later, as long as the audience is slightly involved in the science fiction genre, I am afraid that more or less can see some clues in the first episode of "The Day of becoming a god".
And in the third episode, it's no different from the explicit.
On the other hand, from the title of "The Day of Becoming a God" to the heroine's operation of calling herself a god, it has largely deviated from the audience's point of view. Whether it is the essence of God or the truth of the destruction of the world, it has actually deviated from the field that Ma Zhijun was good at before, and put the surreal element in an overly conspicuous position.
"Day of the Gods" is also the same as "Angel Beats!" There is a decisive difference, in which the latter is considered fantasy, while the former is science fiction. Once the work enters the field of science fiction, the audience's requirements will naturally change accordingly. In 2020, the level of foreshadowing of "The Day of Becoming a God" can only be evaluated as quite weak in the field of science fiction.
As far as "Clannad", "Kanon" and "Air" are most familiar to domestic animation audiences, although these three works are more or less accompanied by some surreal elements, which also logically determine the direction of the plot, not many viewers will think that these surreal elements are the core of the work.
Yes, in these familiar works, surreal elements often exist only as a starting point for the story, or as an inducement for key turns, and they are only tools to emphasize the emotions of the characters, rather than the focus of the audience.
In this regard, "The Day of Becoming a God" obviously failed to return to the original point.
If the presence of the surreal element is too strong, can't you play the tear-jerking technique that MaEde is good at? The answer is clearly no, ten years ago in Angel Beats! is a good example.
Although criticized by many Japanese viewers for a hasty ending, Angel Beats! In the thick supernatural background, Ma Zhijun still very well set up several tear-jerking stages, leaving aside the characters who cannot be fully depicted in just 13 words, the story told in this work is still quite wonderful.
Looking back at "The Day of Becoming a God", in terms of surreal elements, in fact, the overall atmosphere of this work is more inclined to ordinary daily dramas, after all, Angel Beats! From the beginning, it tells you bluntly that the whole world is not reality, and the stage of "The Day of Becoming a God" is still based on reality.
But it is precisely because the stage of "The Day of Becoming a God" is closer to reality, so the plot from the all-knowing god does not know the frozen car, to the high school students riding a motorcycle faith leap, to the infinite upright mahjong competition, it is inevitable to give the audience a feeling of excessive nonsense.
In contrast, the character interaction in "Day of the Gods" is the familiar daily rhythm of Asahi, except that it is almost close to Angel Beats! In addition to the world-level nonsense after death, it also forms a strong sense of conflict with another important character line, that is, the plot of Suzuki's teenager side.
Problems such as outdated science fiction elements and slightly strange plot development finally exploded when the ninth episode turned into the mystery reveal stage.
If the plot development of a character in the previous episode is still the stage of supporting role preparation, then after the ninth episode turns into the main line, the plot rhythm that still has no change has become the most fatal problem. Suzuki Boy's immersive performance in the online world and the male protagonist's sudden confession are difficult for the audience to resonate, not to mention that there are many logical violations mixed in.
As soon as the ninth episode was broadcast, the praise rate of "The Day of becoming a God" on Niconico directly fell below 50%, and the rating on the B station also fell to 8.4 points, and Ma Zhijun's emotional sign was finally broken under the repeated impact.
As far as the content currently aired, the script of "The Day of the Gods" has not much room for operation, and there is a high probability that there are only two ways to go, either like "Charlotte" to introduce a large number of new settings to force the development, or to maintain this rhythm, as one interviewer said to smoothly reach the end - this is obviously two roads of no return.
If "The Day of Becoming a God" can still turn the situation around under such circumstances, then you can really believe in Ma Zhijun forever.
Text: LOCK