A huge monster suddenly appeared in the building of the town, and then the Self-Defense Forces rushed out, and the town fell into a riot. At this time, the young girl Yuki accidentally learned the secret of tetsu, a boy at the same school. It turns out that TETSU's family has a pet Chiko that is very similar to this wonderful creature. Yuki is curious about TETSU's relationship with Chiko. At this time, the teenager who was manipulating the huge monster appeared, and the battle was about to start. YUKI will gradually discover what is behind this chaos. What are teens and TETSU fighting for? What is their true identity? What will be the fate of YUKI, who is caught up in battle?
Speaking of indie animation, of course, we have to mention the famous Makoto Shinkai. This uncompromising aestheticist, on his own, made < Star Voice > (even the voice acting with his girlfriend!), making independent animation really widely watched. After this, many independent animators were labeled "Makoto Shinkai No. 2". The common denominator among independent animators is "independence", and the strong personality of the animation author who is not attached to the commercial and independent of other animations emphasizes a feeling of "being different from others". Therefore, the statement of "Shinkai Makoto No. 2" is simply looking for a draw...
Makoto Shinkai's biggest feature is his exquisite and poetic CG screens, such as the < 5CM per second> which are beautiful enough to be used directly as desktops. So where is Atsuya Unki, who < CENCOROLL >,? It's his hand-drawn.
Some well-known independent animation authors, such as Makoto Shinkai and Yasuhiro Yoshiura (< Eve's time >), their technical work (CG, 3D, etc.) is not very good, but the hand-drawn is really not as good as the ordinary original artist (Yoshiura's Cocoon of the Cang was once criticized for being too ugly).
Atsuya Uki, a manga artist, does not have this problem at all, and has beautifully completed thousands of original paintings of "Senko センコロール". "Senko センコロール" is a dynamic animation in which the monster deformation fully reflects the fun of animation "moving". Smooth and neat movements, full of imaginative sparks. Compared with Shinkai, who focuses on technology, Atsuya Uki's works have a more intimate sense of traditional hand-drawn animation. However, the color of its picture is exceptionally colorful, and it has a fresh feeling that is higher than that of ordinary animation, full of refreshing summer feeling.
"Senko センコロール" is a child brought out by Atsuya Ugi and anime revolution Tokyo. The so-called Animation Revolution Tokyo is actually a project that supports independent animation authors, and < Eve's time> has also been helped by this project. Under the auspices of Tonge, SUPERCELL's RYO contributed the soundtrack and theme song (as lyricist/composer/arranger) to < CEN >, with Kaori Hanazawa, Shimono, and Ryohito Kimura as voice actors. Heck, what a good thing about The Tongault.
A city accustomed to monster attacks. As the pilot of the fighting organism, the child shoe girl not only discovered the secret by the child shoe girl, but also seized control by the child shoe girl in a time of danger. The female pig's foot, who looks innocent MOE, acts boldly and deliberately. Not only did she capture the heart of the gluttonous Chiko, but she also inadvertently caused the seemingly cold but cautious and shy male pig's foot to inadvertently fall into her control.
The short film adopts the basic form of a daily comic with a semi-still background and a flat animation. Realistic background painting is based on Sapporo City, Hokkaido, the perspective is more accurate, the overall imitation of the painting application processing effect and practical storyboard composition to make up for the lack of materials, the color rendering is simple and generous, the character setting is delicate, and the sense of biomass is similar to the soft flesh in a series of abstract creatures such as EVA.
"Qianzi" is the name of the little chubby monster, which can only be transformed into something he has eaten, a kaleidoscopic monster, and the change of the monster is limited by the protagonist's ability. So, "Qianzi", the kind of eclectic, imaginative, ever-changing imagination, is not what the work wants to express? Isn't this kind of imagination exactly what Tokyo's innovative animation is after?
The first battle of the male protagonist 1&2 - "Qianzi becomes a cannon to shoot down the car, becomes a scissors to cut the opponent's tentacles, and then becomes a car to quickly flee the scene...", the second battle of the male protagonist 1&2 - "Qianzi becomes a plane to fly to the roof, becomes a walnut to protect himself, becomes a bat to hit people..." Such a battle, all of which rely on the male protagonist's imagination to drive, the words are a bit like "loveless", the type of language fighting, all need the owner's agile imagination , the ability to react to achieve.
Secondly, it has to be said that the male and female protagonists, male pig's feet can not say no NB, not so much that he is not in danger of chaos, but rather that he is so natural, calm about the situation of the god horse as if "less roots". However, making a big mistake in saying that he was weak, he asked YUKI, "Aren't you afraid... The courage is really big", it can be seen that he still knows his situation to some extent, has a sense of crisis, but is calm about it. So, when his arm was eaten, he just said "let me rest first"; Later, with Chiko as an arm, he just looked at it, got used to it a little, and then said "en... This rebel" (please note: the male protagonist insisted that "I will never give Qianzi to anyone" when he was about to be eaten at the most dangerous time, although he has always been very casual, but he loves Qianzi very much), he does not think anything different, does not like or be sad...
In contrast, the heroine's "less roots" is definitely a higher level than the male protagonist, whether it is imagination, or agile reaction, trial and judgment, perhaps it is these stronger attributes of YUKI that make Qianzi choose to obey YUKI's manipulation in the second battle, and protect her at all times (of course, YUKI always gives Qianzi something delicious before, and establishes a good relationship as the basis for a little relationship. But personally, I feel that strength occupies a more important decisive position, and if Ki has these good qualities, Chiko may only choose to protect her, rather than agree to give her the right to manipulate). In the film, Yuki's performance, except for the first time when she saw "Chiko" become a huge lump and was shocked, the personal basic wood has seen her not calm.
Obviously, they are all very thrilling scenes, obviously they are all battles with their lives hanging in the balance, obviously fighting until the arm is gone, but they are still indifferent... It is curiosity and respect for this unknown world, and it is an attitude of living with the encounter (in fact, how one's situation is completely dependent on one's own thoughts, "Clinging to one thought, one will be trapped in one thought; A thought will be put down, it will be in the heart", there is not much pain in life that the gods and horses are looking for death and life... The arm is gone, so what? Life is still there... Of course, in the end, it was connected with ╮(╯▽╰))... If you give this magical world a little more tolerance, more tolerance for the unknown aliens, this world will be less contradictory and senseless struggle, less sad and senseless sacrifice, more joy, just like when YUKI was first saved by Chiko, after the battle ended, YUKI monster Chiko smiled in gratitude...
The earliest trailer of "Senko センコロール" looks passionate, and the picture alone can imagine the passion of the part that is not shown, hating that there can be no wilderness wind through the urban buildings and then swept by an explosion, and the young girl and the inexplicable monster fight fiercely, perhaps for some great purpose or for some unique reason. Imaginative students can find the line of association for each color vortex, just waiting for the positive film to come out and compare and verify.
However, all these conjectures disappeared at the moment when the positive film came out. When watching the plot introduction, you may still be criticizing in your heart, how can such a wonderful work be summarized with such an ordinary summary as "young girls manipulate monsters to fight in ordinary towns", but "Senko センコロール" uses itself to prove to you that it is indeed so dull.
I have to admit that the soundtrack of this film is simple and comfortable to listen to, 2D hand-drawn can show the patience and intention of the producer, the character of the work from the male protagonist's three white eyes characteristics to the fat body of Qianzi, the character personality is simple and clear, a few words are reflected, and the color is also fresh and bright enough that people can't pick out the thorns. However, the plot of this work is like finding fault for critics and writers, and adding to the blockage of literary and artistic youth who are not popular with non-independent minorities. The simplicity and straightforwardness of the plot, at first glance, there is a beginning and an end, but in fact there is no explanation, so that the comrades who are deliberately trying to find a metaphor to allude to the ultimate truth of life do not even have a foothold. Atsuya Uki's attitude is not like telling a story, but more like telling a story.
While audiences didn't necessarily demand that Senko stick to the radical and violent style it showed in the trailer, that didn't mean that the lack of explanation of many details would fool through. Although from another point of view, "Senko センコロール" is a way to get rid of the usual practice of japanese animation to put a big truth on everything, but it is completely impossible to see the purposeful protagonists' actions and event processes, which will make the audience feel that there is no point of emphasis in the process of watching the movie.