We still don’t know the name of the flower we saw that day: We always pay attention to miss too much, but do not pay attention to how much you have

This April, the popularity of falafel flowers is high, especially that one. It appeared on all the lists before it was finished, and in anemone’s first half of the year, Anemone beat out Jib Yu small round Face for the top1 spot.

Only, I do not know what everyone thought of the flower’s last words, the end of crying through sobbing. It seems that there are a lot of people or said to follow the tears from the beginning to the end, do not know how many of them have a subtle feeling of “being” moved.

As for me, I couldn’t help taking a second look at the script’s name, Mo Okada, after this incredibly Japanese ending.

Personally, that flower had a pretty good opening. The overall production is excellent, the design, the picture, the soundtrack performance is good, end’s secret base is the focal point like the collection of tears, the production team has no too many problems to be picky.

My personal complaint is probably about the script.

The theme itself is chosen to have a great space and easy to resonate, and the complex heart and subtle interaction of the characters are also performed quite well.

At the same time, however, individuals feel somewhat inadequate in terms of how to create complex plots (suspense, conflict resolution through plot rather than emotion, etc.) and emotional climax. This also causes the overall sense of rhythm of the story is not very good.

One example of the so-called plot complexity problem is that we all have “a hundred thousand whys” to tease about face code, the ghost of various skills. From the first episode, it was shown that she could make physical contact. After that, she carried out various activities that made people wonder why no one had discovered the existence of ghost bodies here (such as eating =-=~). It was only in the eighth episode that she thought of proving the existence of face code. For another example, the conflict between the mother of the face code and the children is quite explosive, but how to solve the conflict, there is obviously no reasonable treatment on the plot.

As for the grasp of emotional climax, the final episode is too hard to prove it.

As for the specific diversity, the first episode tells the story characters and the changes in recent years, the layout is good; the second and third episodes show the delicate relationship between the past and the present and their respective dilemmas. Episodes 4, 5, and 6 spread out the problems of Ski, Turku, and Anteing, and the pace slowed down slightly, which was a minor climax. 4 episodes of the final crash snow women’s clothing part and later restrained plot handling, personally feel very successful.

And after that, there begins to be confusion about where the story is going. Look at the tone of the first episode; this will be the final healing of the ending, each person to solve their own problems, face code to achieve the wish to leave. Halfway through the episode, however, everyone’s problems have been laid out, but there’s no progress in their aspirations (the plot barely advances), and the mismatch between the emotional and the advancing aspects of the story makes the pace of the story begin to feel hectic.

Then the second half of the seven episodes inexplicably unfolded a firework wish, and for some reason everyone suddenly decided that this was it. So episodes 7, 8, 9, and 10 finally find a way to break new ground and bring new plot conflicts (such as the involvement of the family). However, in terms of emotions, although everyone finally talks out, the development is basically unchanged, and the characters’ hearts and relationships are described again. Compared to before a few words and pointed to the weakness of the power is no longer so rich in content, but without hesitation to cheat tears pure love drama direction, the rhythm is more and more procrastination. Of course, this part does deepen the image of 6 people, but as a result, it subtly tends to strengthen the sense of set attributes of each person, making the three-dimensional sense weak.

The fireworks in Episode 10 were a big climax, and I think the ending was handled quite well. But it’s also because it’s so well handled that it makes it hard to wrap up with only one episode left.

It’s worth noting that Episode 10 actually negates the plot direction that Episodes 7, 8, and 9 have struggled to find. In other words, the plot has come full circle once again, and there is a foreshadowing process to start over. And at this time the emotions of the characters have come to a climax, the shaping of the characters and the relationship between the characters if there continues to be no new progress; it is basically completely to fall into the dog entanglement stage. If the normal pace goes well, the narrative should be reworked for three or four episodes, and the relationship and emotional problems of the characters should be resolved (or broken). But with only one episode to go, there’s no room (and presumably no other plot line the script wants). Therefore, the script does not know what to do, so simply use the emotional vent to solve all the problems of kidnapping emotion method.

So, episode 11 is almost completely abandoned in terms of storyline (why did the noodle code appear so many years later, to keep Hit from crying? Face code why peace of mind to go, because everyone was crying goodbye … Do you really think it makes sense), and give up on relationships and emotions (yelling it out solves the problem? Who has never passed the threshold of the heart before, who has not been cured, cry an all past? All that was left was the childhood that was fired again, and the common use of the fixed model of the final episode of Japanese TV series. I summarized every role, and by the way, I gave close-up shots to every main actor. Then everyone cried and ushered in the inevitable ending that had been set in tune from the beginning. Thus, the film is swept away by the new delicacy and restraint, and goes straight to the big, forgettable genre.

In my opinion, one way to save the ending is to change the episode 10 ending. They have to disappear in 10, and then 11 episodes give each character a plot to sort out their relationships, and then pick up x months later. It’s a formula, but at least it’s firmly in the same vein as before.