Today I'm going to talk about Pokémon's sixth theatrical version of Pokémon, Pokémon: The Wishing Star of the Seven Nights, Kira Prayer, released in 2002.
First, let's introduce some of the behind-the-scenes stories of this theatrical version:
The filming location of this theatrical version comes from Wulingyuan in China, and its unique mountain and stone scenery makes the entire theater version have a kind of humanistic scenery unique to China.
Secondly, and most critically, the ending song of this theatrical version is the song selected for the 14-year Pokémon Chinese petition promo.
Viewers interested in this short film can search for the keyword "Pokemon Games Chinese Petition Short Film".
Although at that time, after the short film came out, Nintendo did not even have a response, at that time, the new pearl version was still officially Chinese, and there was no news or statement.
But at least Pokémon now has the official Chinese version of the game, and this short film is auxiliary, at least I personally believe it.
Then, on a heavier topic, the voice actress of kiraki, the protagonist of this theatrical version, Tomoko Suzuki, died on July 7, 2003, 12 days before the public release in Japan.
Coincidentally, the Tanabata Festival, which is symbolized by Kira, is also the 7th of July in the Western calendar in Japan, which adds a layer of commemorative value to this film.
Because of this, in order to commemorate the 10th anniversary of this movie and the 10th anniversary of Suzuki Tomiko, the TV version also produced a short story about Kira Prayer in 2013, and did not let Kira Pray speak throughout the tv version (in the setting, it has the ability to speak), in order to maintain the commemorative meaning of Kira Prayer equivalent to Suzuki Tomiko.
As for the look and feel of the entire theatrical version, there is certainly no problem in the hard indicators.
As a Pokémon theatrical version that has been very processed, this theatrical version maintains a consistent flow in both plot and rhythm.
However, the novelty of the work is still insufficient, whether it is the encounter between Xiao Zhi and Kiraqi, the behavior of the villain boss, the flow of the whole story, and even the handling method of finally resolving the incident, you can see the shadow in the previous works.
But even so, relying on the super cute Kira Prayer and the emotional rendering of Xiaosheng and Kira Prayer just right, it is enough to make the audience who aims to see Pokémon ignore this part of the shortcomings.
After all, the Pokémon theater version has become a sentimental existence after the chief screenwriter Shuto Tsuyoshi left. As long as there is no suffocating operation such as a divine beast coming out of a big fight, basically everyone will not scold him for being too bad.
Overall, it is a mid-to-high work in the Pokémon Theater Version, and if you take into account the emotional blessing, you can add a little more points.