Open between the first statements, “Drifting boy” is a very strong work. Its power is multi-faceted and three-dimensional, which is reflected in its ambiguous and polysemous image language, which makes the whole work reflect each audience’s own interpretation like a multi-prism, which is undoubtedly one of the potentials of a great work. However, its stereoscopic features are reflected in that, when shaping youth stories, it does not fall into the tone of moaning and empty words, but tries to constantly close to/restore the cruel, short and restless characteristics of youth with allegory and image language. This paper mainly consists of three parts:
The first two parts explain the title of this paper. First, why “Drifting Boy” is a work with metamotype temperament, and what is the core of mystery and ambiguity wrapped in this work. Secondly, how the excellent and interesting picture performance adds a new aesthetic feeling to the work. The last part, from the core spirit of Japanese youth stories, talks about the predicament of this kind of animation at present and reflect on what kind of youth stories with Chinese spirit and aesthetic temperament should be, and what kind of unique potential is waiting to be explored. But, before us start will issue a complaint on the animation itself, the so-called “want to advance”, honest that also.
Teasing one, aesthetic fatigue caused by human fatigue. After Eva, the famous (the root of all evil), introduced the loser hero (passive, evasive, traumatized and with a long arc of characters in the play) into her work and accidentally won the attention of teenagers in the late century, I don’t know when this character was introduced so often in the play that it finally fell into a rut. It causes aesthetic fatigue of the audience. In the academic circle, there is no clear definition of the period of “postmodernism”, and even the term itself is controversial. And if there is such a thing as a postmodern node in the second world, I don’t think there is one that fans would rather talk about than the scene of Shinji Ikaria standing by a phone booth.
“The apostle did not come, nor did Miss Katsushiro Mire.”
The background of the birth of New Century Evangel ion is Japan’s economic bubble era. There are many strong psychological suggestions in the animation. The character design of Ikaria Shinji has the tendency to cater to the escape psychology of the Chinese people, which is well in line with the immaturity and inferiority of teenagers. This is originally a good application and transplantation, but in many youth animations, as the hero of the character design, often lose a strong sense of interaction with the reality, shy, self-abandon, against the heart is just a kind of commodity packaging, just to make people around (mostly middle school girls or seniors) have a desire for redemption and protection. To drive the momentum of the plot，The growth pattern caused by this helpless world-weariness complex has finally become more and more detailed, resulting in the aesthetic closure of the self. Although it can be considered as a commercial property to harvest the tears of women who do not go out for a long time, the so-called resonance of youth, but strictly from the source, this is really the vision of the spiritual core of Japanese culture. Coincidentally, when I see “drifting boy” decadent Changing in the face of drifting lying flat on the ground indifferent, I frown in the heart of the fire will not play a place to come, and concluded that the story must be around the dynamic desire of this little boy. Think carefully, this view of the story has a strong sense of “self-pity”, and often in real life such men get low attention, let alone sunshine or indifferent women to save you from the shadows, this is in the end self-deceiving moved. I confess that I hate Eva, but as far as Shinji Ikaria’s emotional interactions in this show are concerned, they are more inward than outward tug, plain, not self-indulging, not exaggerated, which is good. By the way, compared with the setting of male characters, the setting of female characters in youth animations is often richer and more diverse, and more perceptive and three-dimensional, not as empty as decadent men. “Drifting Boy” even a series of youth school drama hero Settings is downright boring. However, this kind of animation is self-enclosed in more than one place, the focus is summed up in the third part, and here is really a long time to ridicule.
In the TAB of color, line, story, setting, music and intention, perhaps the only thing I am not satisfied with is the operation lens. Or if it is replaced into the film language (assuming there are several cameras), the montage power of the lens is slightly weak. No matter it is the contrast impact of the energy of elements in the lens, or the sense of fantasy created by the scene switching between different worlds. It is very intuitive to see this drifting story, which is undoubtedly a work in which the picture expression is far superior to the literary narration, and the final effect presented by the work is more like the equalization of the two forces. I don’t know whether it is because of the production cost. The audio-visual expression ability of the work is even weaker than the excitement and language power of the fable itself, for example, when presenting multiple “this world”, It is mostly the castaways’ self-narrative and speculation, and the presentation of “the world” itself is weak. In my opinion, if sunny boy had the courage to remove 50% of the lines and dialogue, the work itself would be forced to become even more sublime. Those of you who have seen Yuasa, Satoshi Kong, Matsudo Oromo, and Mamoru Yoshi’s purely audiovisual friends may understand this regret better.
