The advantages and disadvantages are obvious, but I am still willing to call Deep Sea a good movie.
The most significant advantage is that its particle ink production is a milestone in Chinese animation history. As the director Tian Xiaopeng said, the United States and Japan have their mature animation style. At the same time, their team, for the first time, will be the most traditional Chinese "ink" and advanced three-dimensional technology to combine, taking two years to develop a new Chinese style "particle ink," which is genuinely an authentic Chinese style screen display. In the animation, the ink's intensity and dryness, the lines' straightness and squareness, the denseness of the chops, the lightness of the staining, and the warmth and coldness of the colouring all give the audience an excellent visual experience. Modern technology presents the particle ink picture between ink and oil painting, with low graininess and rich layers. The ocean swirl reminds one of Van Gogh's starry sky, and the hometown of Nanhe reminds one of Monet's countryside.
A dynamic shot consists of 2 billion particles to achieve a sense of ethereality. It again shows the audience that there is plenty of sound technology in Chinese animation, and its production modelling can go its own way.
Such a simple story, which needs to support a 2-hour movie and with the help of an otherworldly shell, is an excellent test of storytelling ability and imagination. My overall opinion is that imagination is sufficient, but the ability to tell the story still needs to be improved. I believe that many viewers who have seen the film have had a similar viewing experience: the first 30 minutes are spent marvelling at the beauty of the film's production, the middle hour is confused by the nonsense of the plot, and the final hour is slowly realized to be the main character's near-death experience. The last 30 minutes are hit by touching after being completely confused, which is what the director's narrative is trying to This is what the director's narrative is trying to achieve. Just like the high praise answer before the pearl said, he is betting that the audience will survive the first 3/4 of the film and then realize and tear up. The film consists of two layers of storytelling, one is the near-death imagination of a young girl suffering from depression, so it will seem very jumpy when her inner self-help gradually clears. In the end, there will be a massive reversal of explanation, where it is easy to hit those who have struggled inside the audience. But the risk of doing so is too significant, and I expect this film to be highly polarizing. The director is so narrative, deliberately not picking out the results of this is near-death experience may make many viewers look baffled, and not easy to find many details.
Depression is actually a loss of perception of the real world. There is a very graphic analogy said depression is like a big black dog eating you, but you can not drive it away. Slowly your whole world is only this big black dog, you no longer feel a trace of real-world warmth and goodwill.
The first symbolic image of the nightmare is the sea genie, the sea genie is, so Cthulhu's image shows that it is not a severe genie. Its symbol is more universal, is everyone's greed, extravagant and the most desired thing in the heart, so people who drink the lump soup cooked by it will fall into a happy illusion, the heroine also heard her mother's song through it, but it is also very dangerous, a little carelessness will become huge and devour everything, this It is the embodiment of greed.
It is the heroine's nightmare. It is an illusion of the red sweater, the red sweater is the love left behind by the mother, is the armour of the Senju and escape from the hut, as long as the grief is caught back in the hut by the red bereavement ghost, escape from reality, deceive themselves, get depressed, ostracized by the people around, called "bad luck." Every time Nan He performed magic, he and the helmsman sea otter insisted on going to the Eye of the Deep to help Senjou fight depression. They insisted on going to the Eye of the Deep so dangerous, long ago, not for the sake of sound money (one of the shots is Nan He just saved the coins thrown away to keep Senjou), but to go deep inside the heart of the depressed to find the knot of depression.
This knot is the phone call from his birth mother that came to him in the drawer when he finally reached the Eye of the Deep.
But eventually, the phone sinks to the bottom of the sea, which means that it is precisely the obsession unravelled. The call that finally appears is actually not the birth mother back but the stepmother. The original film of the birth mother is cold, heartless, and doesn't care about the message of the daughter, the heroine, all just the pursuit of the shadow of that love, a floating that is scattered. And along the way NanHe's get-together gave her a sense of home, so she felt the love of family, but also gradually recalled the happy times with her father's stepmother's brother. Hence, she jumped out of the obsession. The birth mother also came back or not is no longer critical. Nanhe took her out of depression and became her spiritual regenerative parent. She was also the last to set aside the call to save the Nanhe. So a reason, many places can be precise.
This narrative has a lot of problems, and it's easy to get confused without looking into it. The characters also have a big problem standing up unsteadily (or maybe it's the unique way depressed people see the world). The story's first half is a villain's image of a money-grubbing villain, and the second half is very calm, brave and righteous. The memories of his hometown and the appearance of the golden fields suggest that Nanhe has an exciting past experience. Unfortunately, what prompted her to save the heroine, what experience formed his character, I can not see for the time being. In short, the picture is a milestone, but the plot still needs to be sculpted as well.
The most significant advantage is that its particle ink production is a milestone in Chinese animation history. As the director Tian Xiaopeng said, the United States and Japan have their mature animation style. At the same time, their team, for the first time, will be the most traditional Chinese "ink" and advanced three-dimensional technology to combine, taking two years to develop a new Chinese style "particle ink," which is genuinely an authentic Chinese style screen display. In the animation, the ink's intensity and dryness, the lines' straightness and squareness, the denseness of the chops, the lightness of the staining, and the warmth and coldness of the colouring all give the audience an excellent visual experience. Modern technology presents the particle ink picture between ink and oil painting, with low graininess and rich layers. The ocean swirl reminds one of Van Gogh's starry sky, and the hometown of Nanhe reminds one of Monet's countryside.
A dynamic shot consists of 2 billion particles to achieve a sense of ethereality. It again shows the audience that there is plenty of sound technology in Chinese animation, and its production modelling can go its own way.
Such a simple story, which needs to support a 2-hour movie and with the help of an otherworldly shell, is an excellent test of storytelling ability and imagination. My overall opinion is that imagination is sufficient, but the ability to tell the story still needs to be improved. I believe that many viewers who have seen the film have had a similar viewing experience: the first 30 minutes are spent marvelling at the beauty of the film's production, the middle hour is confused by the nonsense of the plot, and the final hour is slowly realized to be the main character's near-death experience. The last 30 minutes are hit by touching after being completely confused, which is what the director's narrative is trying to This is what the director's narrative is trying to achieve. Just like the high praise answer before the pearl said, he is betting that the audience will survive the first 3/4 of the film and then realize and tear up. The film consists of two layers of storytelling, one is the near-death imagination of a young girl suffering from depression, so it will seem very jumpy when her inner self-help gradually clears. In the end, there will be a massive reversal of explanation, where it is easy to hit those who have struggled inside the audience. But the risk of doing so is too significant, and I expect this film to be highly polarizing. The director is so narrative, deliberately not picking out the results of this is near-death experience may make many viewers look baffled, and not easy to find many details.
Depression is actually a loss of perception of the real world. There is a very graphic analogy said depression is like a big black dog eating you, but you can not drive it away. Slowly your whole world is only this big black dog, you no longer feel a trace of real-world warmth and goodwill.
The first symbolic image of the nightmare is the sea genie, the sea genie is, so Cthulhu's image shows that it is not a severe genie. Its symbol is more universal, is everyone's greed, extravagant and the most desired thing in the heart, so people who drink the lump soup cooked by it will fall into a happy illusion, the heroine also heard her mother's song through it, but it is also very dangerous, a little carelessness will become huge and devour everything, this It is the embodiment of greed.
It is the heroine's nightmare. It is an illusion of the red sweater, the red sweater is the love left behind by the mother, is the armour of the Senju and escape from the hut, as long as the grief is caught back in the hut by the red bereavement ghost, escape from reality, deceive themselves, get depressed, ostracized by the people around, called "bad luck." Every time Nan He performed magic, he and the helmsman sea otter insisted on going to the Eye of the Deep to help Senjou fight depression. They insisted on going to the Eye of the Deep so dangerous, long ago, not for the sake of sound money (one of the shots is Nan He just saved the coins thrown away to keep Senjou), but to go deep inside the heart of the depressed to find the knot of depression.
This knot is the phone call from his birth mother that came to him in the drawer when he finally reached the Eye of the Deep.
But eventually, the phone sinks to the bottom of the sea, which means that it is precisely the obsession unravelled. The call that finally appears is actually not the birth mother back but the stepmother. The original film of the birth mother is cold, heartless, and doesn't care about the message of the daughter, the heroine, all just the pursuit of the shadow of that love, a floating that is scattered. And along the way NanHe's get-together gave her a sense of home, so she felt the love of family, but also gradually recalled the happy times with her father's stepmother's brother. Hence, she jumped out of the obsession. The birth mother also came back or not is no longer critical. Nanhe took her out of depression and became her spiritual regenerative parent. She was also the last to set aside the call to save the Nanhe. So a reason, many places can be precise.
This narrative has a lot of problems, and it's easy to get confused without looking into it. The characters also have a big problem standing up unsteadily (or maybe it's the unique way depressed people see the world). The story's first half is a villain's image of a money-grubbing villain, and the second half is very calm, brave and righteous. The memories of his hometown and the appearance of the golden fields suggest that Nanhe has an exciting past experience. Unfortunately, what prompted her to save the heroine, what experience formed his character, I can not see for the time being. In short, the picture is a milestone, but the plot still needs to be sculpted as well.