The flaws are still the script and the lines. Many of us don’t know how to tell stories ourselves, but we can still listen to them. Therefore, the first impression of most people after reading the story is that the content of the story is too thin, and even not as good as the story told by his grandmother. In fact, if you think about it carefully, this is what most attempts There is no need for other people to criticize the common problem of the Chinese people who create it, because it is very likely that the root of this problem is still in the bones of all of us. The idea of "taking a detour" may be the root of everything. If you have a purpose and tools, you can reach the other side as soon as possible, and you don't care about the scenery along the road. However, all creations, even technological inventions, are inseparable from imagination, and the word "imagination" is inherently roundabout. Every time I try to create a story, I stop there. I have the experience, but I don’t make it up, and I can’t write a good story.
But after watching "Big Fish and Begonia", what I can't stand the most is the hypocritical and sticky lines and the "innocence" style deliberately brought out during dubbing. I can't blame the dubbing teacher. After all, I am very impressed by such a big touch as Baomu Zhongyang. Maybe it has something to do with the whole production style. The lines in the text are pretentious, sometimes there are a few lines of 45° sadness, sometimes a little poisonous chicken soup, and sometimes a little Qiong Yao style. In terms of tone, I don't know if it was deliberately creating a sense of "sadness" and "savage silence". Except for the voices of Lingpo and Qiu, who are a little angry, the voices of others, especially Tsubaki, either have no ups and downs and are dead. Either shouting hard and making it uncomfortable, which can also lead to audience drama.
If you are fortunate enough to have read The Classic of Mountains and Seas, read Zhuangzi’s short essays, or even read books such as Sou Shen Ji, Fengshen Romance, Travel Notes of the Old Can, and Mirror Flowers You will know that the imagination of the old Chinese ancestors is not weak, and how profound the influence of those monsters and ghosts from nature on Chinese mythology and even the culture of foreign countries, especially the cultures of neighboring countries, just after reading "Shan Hai Jing" and "Sou Shen Ji", and then Go to Hayao Miyazaki or "A Hundred Ghosts Night Walk" and the like, and you can see how many amazing and inevitable similarities. It is easy to say that the characters and artistic conception are copied from Hayao Miyazaki and Studio Ghibli. They should know that culture belongs to all mankind. Since we cannot say that Hayao Miyazaki and even the entire Japanese culture "plagiarized" ancient Chinese culture, then in the future it will also be true. Don't raise the flag at every turn, shout less, question more, and question ourselves. Let’s talk about writing fairy tales and doing animation scripts. Let’s not say that our descendants have come up with original creations. Are we really chewing on the stories and customs left by our ancestors? Do we really appreciate it? Can we really see it? Ten years ago, the Hilarious Grey Taro series became popular in mainland China, and now it is replaced by a bald bear. Whether it is the moral of the story, the feelings, or the production, can we see a little bit of progress? This is the forefront of Chinese early childhood cultural education! Can I still laugh and say that I am glad that I grew up watching excellent domestic animation?
We have to tell ourselves and our own children that if you walk slowly, don't miss the scenery along the way, but don't ignore it. Buddha said, a flower is a world. This point, foreigners have realized it long ago, if you don't believe me, go and see the Tinker series. Not only to reach the other side, but also to smell the fragrance of flowers in the wind, and the breath before the storm, and even feel the heavy rain, thunder and lightning waves.
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