Although the work "Yun Bi", which is also a huge world view, solves this problem by using angles to cut small and fewer characters, but in this open background, the inevitable scenes are rich in clues, so Cheng Ge, who is good at small scenes, finally Scheduling is out of control. By the way, comparing the second five and the character set of this work, Cheng Ge greatly imitated the style of Mr. Miyazaki, so that Cheng Ge, who is not good at characters but good at scenes, loses his own style.
Even in this work, Cheng's narrative has lost his own mastery of telling stories-pure touch and resonance, using a large and improper industrial civilization criticism and paranoid resurrection complex as the theme of the whole film. Under this magnificent narrative, Cheng's unique scene style cannot incorporate personal unique emotions, and has become a distant scene that can be viewed from afar. So this becomes an orthodox adventure story that can be directed by anyone. The
heroine's emotions towards each character are also very vague, and I think it is an improper narrative vagueness. The teacher's wish to resurrect his wife can be felt but it is also unclear.
By the way, there is no particularly big inner connection between this work and the stars. Even the main work of the protagonists is chasing the sun to avoid the danger of shadows. Brother Cheng, your own script is off topic. Comparing to the Yunbi and the Voice of the Stars, which have been read dozens of times and dozens of times, this huge work may only be read two or three times to do some detailed textual research instead of repeating it over and over again to find the inner feelings. Resonates.
In general, I feel that Makoto who chased Hayao Miyazaki fell over.
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