So sorry when I look back

Maverick 2022-03-23 09:03:32

Although DA has always been praised as a masterpiece, especially the ending performance has left an imprint on the hearts of countless children, and I really have been a DA fan for about seventeen years, but I really watch it now as a quasi-professional (maybe it can be removed). Its words are not as good as everyone's impression, except that the people who make all fans crazy are constantly wandering in the series.

I probably mainly want to say that the role of Tachikawa Mimi is very prominent in the script, but she has never had anything to do with the main thrust. It is a very good entry point for discussing the DA script. Of course, the other reason is that I grew up to It's been a long time. I hate her to the point where I suddenly understand that I like it and regret it, but the starting point of these emotions is basically the pot of the play.

I probably know everyone who pushes Tachikawa Mimi like me and prefers her in Muji, but I like Triri more and feels like she's finally been made into a really lively and reliable person otherwise she's always just been The catcher, the thrower and the troublemaker

It's really hard for me to like the plot of Tachikawa Mimi in DA Muji. It's a classic supporting role in the last century. The woman is still a primary school student. It's too exaggerated in various places, and the plot of most of her single protagonists is actually in the whole DA. It's very well written in the fifth episode. What is the plot design of the toy city in the fifth episode? Although Maeda Ai's song is very good, why do you want to write a fourth-grade girl and start to build herself with pride? The concept of class domination is too dark, and in the Tokyo chapter, how she wakes up the badge also makes people feel that the praise of her innocence in the play is very false. Obviously, it is the setting of the awakening of a naive magical girl. How Sakura Kinomoto awakened the key's new skills magnificently. It's just a level of hanging. Whether it's in the script or in the performance...

Her image is gradually broken back from the theatrical version, it makes people feel that she is living in Tokyo, living a hot summer, thinking of going to the beach to play, but she can't let go of her friends, so she lies in the computer room and watches everyone There are some eldest girls looking back and I will feel that the regret that DA gave me is that it really made me almost hate this girl completely

The functionalization of DA characters is serious, which is actually concentrated on three characters. Mitsuko Tachikawa and Mitsuko Yagami are almost completely tool people. One is emotionally timely and needs to disturb everyone's emotional symbol. The human body container and the brother's good sister during serenity (this part is actually acceptable) Think back and think about the main setting animation of the DA world view. In the main setting animation of the DA world view, I dare not tell the elementary school audience that these eight children are just randomly selected by the computer for use It's just a tool to solve the bug problem. I haven't considered that their lives will be greatly affected. This problem was discussed in tri in veiled manner by the seniors, so I always feel that the script of tri is not bad at all. Only people who have deep feelings for DMs will see these questions...

So go back and blacken DA's plot, it's life details and capture "children's attachment to summer vacation" is really good, although Japanese animation at that time was good at capturing life details and only DA made it cruel and cold with the city The mild contrast is something that children can understand and it really impressed me the most when I was a child (it was always the part where they went back to Tokyo and the first four theatrical versions), but the overall story structure is really fake and dramatic. In the end, the reaction of the characters with narrative needs seems to be almost completely functional. In the end, the whole work is very didactic. I look at it at this age, and I always feel that I can't stand it anymore. Isn't it more empathetic to join NHK than it is? In fact, it is the truth of the entire series of DMs. It is too difficult for children to bear it. Adults like NHK are more suitable.

What's more, DA's standard pipeline-style plot rhythm is so tight that the character's reaction is too tolerant to describe it as "rough". In many places, it is used to make people's emotions as a tool to advance the plot. Only a few are emotionally full. There are probably only Taichi Akong and their own personalities (though I still think that there are no such mature elementary school students, even adults are rare) and the stumbling senior elders (I think trili has his characteristics and autonomy Sex is better. DA Mujiri still feels more like the harlequin-style students of the Taisho period who study hard to support themselves by copying books. It is a laughing embellishment.) Two fourth graders, one rational and one emotional symbol The symbol of the two second-year brothers and sisters being guarded is really looking back and thinking about it, "None of them are people." When chatting with friends about DM, she said a statement that seems to have been mentioned before is "people are pendants of beasts." "Thinking about it, it's really not bad at all.

It's about the summer vacation that must end the dark is doomed to be defeated by hope, the heart will find a way to move forward if there is hope, and the experience of these things is completely rational. How did everyone get back their beliefs when they turned into code? It is the Digimon who tell them through words, but considering the Digimon, are they really portrayed as very vivid characters? Their basic protection and fighting motives are completely unsustainable mobile settings. In fact, it gives children a kind of "knowing" There is an imaginary friend who understands you to answer your confusion about yourself and the world, and you can continue to go down." On the other hand, look at how Cardcaptor Sakura Kinomoto Sakura finally used light to break through the darkness and let her be the master. The card is like an adult waving to her on the opposite side of the road, "Just try harder and you can come over!" A friend who does her best to help her is like holding her hand and telling her that she can use such force. This is true and the audience can. Experience the emotional motivation of real social relationships

To a certain extent, I always felt that the DM's system of mutual assistance between Digimon and humans was almost harmful. It would ignore the real emotional response of people as human beings, which is probably why I always felt that the real soul role of DA was Izumi Mitsuro because the whole The series is as rational as him and almost no feelings exist... and the only one that can reflect this useless emotional experience is the late DA's Tachikawa Mimi, but in fact, she didn't mention the point. She is not because the friends around her treat her too much. After a period of emotional release, she finally decided to stand up. After a period of emotional release, she was able to let her sensibility catch up with her rational cognition and accepted what was happening around her. She stood up. This is probably the most depressing and useless in the entire work. It makes people feel very empathetic, but in fact, it's very floating. That's why I later became very fond of her. She is probably the person who can bear the cute and helpless shortcomings of human nature in the whole work, but can still live a very happy life by herself. I am very happy that this point is continued and even dig deeper in tri :)

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Extended Reading
  • Magnus 2022-03-27 09:01:21

    The only feeling is that Digimon is so ugly...

  • Easter 2022-03-18 08:01:01

    I've always had a strange resistance to Digimon because of Pokemon preconceived notions

Digimon: Digital Monsters quotes

  • [while falling]

    Takato Matsuki: Where are we going?

    Henry Wong: You really think I have any idea?

    Terriermon: Momentie.

    Henry Wong: Oh, momentie yourself.

  • [while falling]

    Terriermon: Momentie.

    Rika Nonaka: You're kidding right?