Katsuhiro Otomo continued his usual style, and he painted the exuberance of machines in the 19th century without any romance. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 info obviously has a scene where a hero saves beauty, but what eats the audience's nerves is still a slightly old, complicated and entangled machine. The Witch's Forest is very different from the previous style of GHIBLI, and the style of the picture is extremely heavy and the colors are plated. When I saw the poster in a CD store, I almost thought it was a European cartoon.

Next up is the theatrical trailer for Conan's new theatrical version and Crayon Shin-Shin West's Life. This kind of painting style is not delicate and really can't be seen on the big screen...... It feels completely rough, the lines are too thick, and the color is too flat...... However, the contrast between the introduced film and the atmosphere of this film is too great, so that the moment Xiaoxin appeared at the beginning, everyone in the theater was laughing.

Then again, even the Innocence doesn't look particularly sophisticated on that large screen. But there is the power of sound and big picture...... I still like to watch it in the cinema ^^

When the trailer was played, the yellow toplight in the front row of the theater was still on. As soon as the five trailers were played, the lights went out silently.

A line of words is typed on the black screen:

"The film is about to begin"

It was a moment of silence, so silent that you could hear the unnatural sound of breathing in your breath. All of the people who will be watching the film at this time -- I think, no one is rushing to the first scene, no one is eating absent-mindedly, no one isn't arriving and sitting down before the opening - is really looking forward to the story.

The screen goes black, and then the night view of the city appears in front of you.

It's not the first time I've watched Mamoru Oshii's film, but I haven't noticed it until I actually sit in the theater and really realize that Oshii likes to use a top-down perspective when he describes. Helicopters hovering overhead, rooftops of high-rise buildings, reflections seen directly above the water. If you look directly at the screen, you will feel that your gaze is tilted, but if you lie directly below the screen, you will feel that the picture is so large, as if the whole city has been pressed down. In the introduction film, there is no doubt that the airplanes with bird wings flying over the huge buildings, the abandoned Far Eastern factories, the Chinese-style festivals on the streets, the big-headed dolls, and the clouds projected on the water in front of the buildings are all undoubtedly showing off the CG. Although I know this, I am afraid to be afraid of the weight and oppression of the huge city above me, and the real illusion that the colors will pour down at any time.

But the most amazing thing is not here, but looking up at the zenith, the angle of looking up completely, the brilliant blue crystal bird bone, hugely and crystallinely, hanging overhead. The light that shines through the bird's bones is a cold, clear transparent blue, and the sunlight pouring down from the high patio is a decadent, gloomy dusky gold.

All other scenes aside, the person who designed it, I would say he is a genius.

Oshii's use of perspective is indeed very intriguing. The first imaginary reality, the birdbones in the patio, are looking up, the second imaginary reality, the headless angel in the patio, is also looking up, and the third imaginary reality, an ordinary seagull in the patio is looking down from the patio, as if it is a living seagull, looking down with its own eyes. I suddenly remembered the scene in the game where Suko looked down from the top of the building, and the scene in the animation where Suko overlooked the city, and I couldn't help but imagine what kind of vision such an angle would bring.

“…… The network is infinitely vast, where am I going?"

In the same scene, when the plane left the ground at night, I saw the light spread out like a spider's web on the dark ground, fading away, like the shape of Andromeda's surface, as if it were infinite cyberspace.

The network is infinitely vast, where am I going?

Before watching this film, I was ready to be depressed. Because when I watched GIS, Suzi used so much force that the muscles of his arms fell off, and the scene where a bullet hit the World Tree, and he swirled and swirled in his head, as if he had fallen under a spell. Oshii said, "I will never allow a pastoral protagonist, and the current protagonist is a ...... with a more painful theme as the absolute condition."

Bitter smile, what a bad overseer.

At the beginning of the film, there is a cloudy and rainy atmosphere. Regardless of Oshii's favorite color and how gorgeous the sea surface is as yellow as a dusk scene, the whole film does not give a scene that makes people feel bright. The city at night, Bart scans the green, the rain, the dimly lit sea, the closed factory with the lights not bright. Oshii is going to completely suppress the mood of the audience, from the beginning to the end.

A few days ago, I read an article in the cloud and saw a conversation like this:

"Bart's eyes ......"

"Can you see the eyes of the bottle cap? ”

Laugh down. The protagonist of Innocence is Bart, and from beginning to end, there is no excessive change in expression, and most of the time it is like that. When he is angry, the lines on his face are only slightly concentrated, and when he laughs, the corners of his mouth are raised so that he can barely see it. Such Bart, however, is alive, desperate, and on the verge of madness. I can't say which action or sentence in the film would give me such an impression, but what I saw Bart was barely making ends meet with the dog, nervous in front of his colleagues, empty, desperate and helpless, as if he was ...... Crazy looking for an exit. At the beginning of the scene, Bart arrives in a large car, slow, silent, stubborn, and cherishes words, Bart stares at the familiar doll for a long time in Ms. Haraway's office, Bart turns into a rock hedgehog because of a word about Suko when Ishikawa drives him home, and sweeps around in the underworld office, and smiles a little smugly at Togusa, whose jaw is about to fall, and says, "I've tried to avoid it" Bart always felt that there was an expression of deliberately raising the curtain, seeking some kind of pillar, or seeking destruction.

Who can say that Bart knowingly disobeyed the order and ran to the red dust to fight, not with the idea that "it would be good if he died"?

Buy dog food on the way home, go back from work to make dog food, and be careful to hold the dog's ears so as not to get dirty when feeding the dog. Bart is a very gentle person, as he was in Ghost in the Shell, and still is in Innocence. In 1995, Suko was gazing at herself in the middle of the sea, confused by what she perceived. After Suzi surfaced, Bart, who knew what to ask just by looking at his expression, remained the same to this day. But it may be this kind of carefulness and gentleness, after the loss of Suzi, the lost space cannot be filled, so gentleness becomes torture.