The animated film "The Man Who Knows the Blue sky" has been released in Japan in October 2019, and it has been able to watch it a few days before station b. In keeping with the habit of being a must-see for Japanese animated films, I clicked on it, but after an hour and a half, I was so disappointed that I was even watching it twice as fast.
Sure enough, the rating of the b station is not credible! This 9.6 rating animation, I just want to give it a star. Why? Don't worry, let's first see what this animation is mainly about.
The story is about a small town in a basin, and between a few young people who love music, the triangle (four corners?). The story of the relationship. The heroine, the younger sister in the work, suddenly finds herself lying in the building where she practices bass every day, her sister's classmates - but this boy named "Shinnosuke" is the image of a teenager from 13 years ago! The most surprising thing is that Shinnosuke, who is a real-world line, has returned to his hometown as a musician!
As we all know, all stories should have one or more main lines and several branches, otherwise there is no priority or even a clear story line, then the work is likely to collapse - even avant-garde works such as stream of consciousness, which are known for their "messy", will have a basic story framework.
For example, "Millennium Actress", which is difficult to distinguish between reality and dreams, the depth of the story is also based on the core of "pursuing true love", plus textbook-like storyboarding and editing, which is naturally messy but not chaotic. Every short story fragment can be tasted throughout.
However, in "The Man Who Knows the Blue sky", you can't see the clear story line at all, and the perception is chaotic and clueless, which can really be described as "coaxing you to sing and I appear".
Here are a few storyboards that really portray this messy relationship clearly
This animated film can basically be divided into the following clues: the emotions between the heroine's sisters, the pseudo-triangular relationship between the sister and the young plum Bamboo Ma Shenzhi (介), and the sister and Ma Shenzhi (介). In fact, any of these three lines has the capital to become the main line of the work, but the screenwriter has no intention of dividing the main and secondary, giving each line a similar role, which is fatal for an animated movie that lasts for one and a half hours. Not every work is called Crash.
For example, the emotions between sisters. I think the screenwriter's intention was to express the story that "the young sister tied up her sister, and when she grew up, the sister wanted her sister to regain her freedom." However, the result is that it is obvious that the young sister took the initiative to bind her sister, and as a result, she grew up to despise her sister who was bound in a small world.
To tell the truth, I wanted to spray my sister for the first time.
It can only be said that the screenwriter is too casual, a strong sister image with a big sister alone, not because of the wayward sister and tall, but because of this inexplicable operation has become a bit of ooc.
More casual is not here. Can you imagine an adolescent girl who only met a few times and confessed to her face because the other party had some "Asahi"? Am I not understanding this young girl anymore, or is the screenwriter a bit drifty?
The incompetence and fury of the little fart child can only pull down the grade of the heroine
In the end, the screenwriter directly released himself - here it is really released.
Originally, the young version of Shenzhi was locked in the building by some kind of prohibition, but finally suddenly rushed out of the building under the continuous impact, and even flew! rise! come! finish! Also with the heroine! There is no explanation at all. The relationship between them ended hastily with my sister giving up in tears – I was quite obsessed anyway. It felt like the screenwriter wanted to say something, but nothing was clear.
At the same time of chaos, this work cannot even make a story line have a beginning and an end, and it is self-justified.
As mentioned above, in the sister line, the more touching development is that the sisters have collided, finally understood each other, and recovered as before, accompanied by a new understanding of each other's self, which can also deepen the theme.
But the screenwriter was trapped because of an accident of his sister and suddenly stopped, so it was broken?! The younger sister easily dispelled the unhappiness in her heart, just because she saw her sister making a small book for herself, she completely forgot about it? The most critical thing is that the two sisters have no effective communication and interaction at all, and this "reconciliation" is very thin.
In the same type of story, for example, in "clannad after story", the young Okazaki Naoyuki, after the accidental death of his beloved wife, raised his only son in pain alone, but was recognized by his son as incompetent, unmotivated, and even fought with his son, resulting in a shoulder injury to his son, and hated him for a long time.
If in the logic of "The Man Who Knows the Blue sky", I am afraid that the father and son will most likely be suddenly reconciled due to an accident - but tomo also learned everything his father made through a third party, that is, his grandmother, Okazaki Naoyuki's mother, and combined with the refined memory killing, such a portrayal is not only true, reliable, moving, but also particularly convincing. Anyway, I watched once in tears once.
But "O Man Who Knows the Blue of the Sky" only makes me want to laugh.
The other lines also have such a sloppy and illogical place. For example, the dialogue between the two Shinnosuke is very pale and powerless, and there is no sense of reality. The 18-year-old Shinyuki and the 31-year-old Shinnosuke are the contrast between the adolescent state of mind and the vicissitudes of middle age when people are approaching middle age, the former represents the original heart and passion, and the latter represents compromise and maturity. Originally, this was a very deep, difficult-to-answer, and very open topic, but it was handled very roughly in this game.
The emotional line between the sister and Shinnosuke is not prominent, and the result is that they suddenly get married
The reconciliation between people and themselves has never been solved by a simple slogan or two, a tube of chicken blood, and let alone a heartfelt narrative? In this work, there is a huge fault between the 18-year-old Shinyuki and the 31-year-old Shinnosuke, which is like that of most people; it seems that most of us are different from most of us who can blindly condemn themselves, do not try to understand, and talk to each other.
"The Man Who Knows the Blue sky" is actually a novel setting of the story: through the "untimely" crossing of a past character, the past and reality are intertwined, giving each character the opportunity to recognize himself. Unfortunately, the story line came out, and even the willingness of the work was very grand, but the logic was confused, and it was not told into a good story, which was a pity.