How to evaluate the production techniques and costs of "Kill La Kill"

I have been looking for questions about "Kill La Kill", but this is about technology, so I will not talk about technology. Let me talk about my views on this animation. First, the ending: Japanese animation. One of the three new masterpieces, the other two are "Gintama" and (have not seen it yet). The following are some of my own thoughts. I really don’t understand the technical aspects. For supplementary information, you can read other people’s answers:

20140211 Qian Wen Tan "Kill La Kill": Super fast pace and God's unfolding

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Text/dandoliya

No.0005 Why has "Kill La Kill" been able to obtain the highest ratings for video recordings for four consecutive months?

Let’s take a look at a piece of news first:

The ranking of the number of new animation videos in January 2014 was announced. "Shoujo" won the championship by using the PS3's terrestrial digital signal recording function and network signal recording. Function, the practice of recording new episodes has become more and more popular in Japan. According to relevant statistics conducted from December 30, 2013 to February 2, 2014, the work with the highest number of videos last month was "Behead the Girl". "After winning the top spot this time, "Slay the Girl" has won the honor of winning the video record championship for four consecutive months. Currently, this is the only work with an average number of videos per episode exceeding 15,000. It can be seen from the work It has maintained extremely high popularity since its launch, which was very rare before.

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Of course, I have been reviewing "EVA" recently. , while reviewing it, I found that this classic has finally been succeeded by someone, and that is "Kill La Kill"

The official slogan of this animation is "Dress, kill, and thirst." , ghost transformation, and survival, and finally smash the world to pieces! "At first glance, it is a super fast-paced development style, and the painting style inside is extremely "abnormal" (this is a complimentary word). This animation has almost reached the limit of limited animation (for details, please refer to an article on Douban : "Post Office Hong Kong Drama, about the painting style of a girl who is twice beheaded" (Post Office Hong Kong Drama, about the painting style of a girl who is twice beheaded), this style has appeared in episodes 25-26 of the TV version of "EVA", Shinji Ikari in these two episodes He has been troubled by his own psychological guilt and cannot come out of his inner world. In these two episodes, a considerable number of still pictures appeared. Hideaki Anno also received a lot of criticism due to the sudden change in his style. As for how "EVA" reflected the times The psychological state of otakus and the worldview shrouded in a large number of philosophical concepts have almost become the psychological autobiography of Hideaki Anno. How much influence it will have on the future animation industry. I believe that people who are familiar with the second dimension will not bypass this landmark work. .

Similarly, I think that "kill la kill" will have such praise in at least ten years.

I don't know much about the technical aspects of limited animation, just . May I suggest you refer to the previous article on Douban Film Review? Based on this article, I will add a few words: Whether it was then or now, limited animation, as a work that ignores perspective effects, is almost considered to be only a subtitle ( For example, the American animation "Powerpuff Girls" and "My Little Pony"), this understanding is actually a misunderstanding in many cases. "EVA" broke this misunderstanding, but it was only attempted in the last two episodes of TV, and "EVA" "Kill La Kill" uses this technology extensively in animation. On the one hand, it saves money, and on the other hand, it also brings more visual experience to the audience.

Look carefully at "Kill La Kill". The supervisor of "Kill", Hiroyuki Imaishi, will know that he participated in the animation production of "EVA" back then.

So from an animation technical perspective, this "kLK" inherits "EVA". .

In terms of character setting and theme, "Kill La Kill" is also a development of "EVA".

One of the most praised reasons for "EVA" is that in that era, for the first time, a male protagonist with strong negative emotions appeared, which was almost completely in line with the royal family at that time (and perhaps now). The psychological state of otakus (if you are not an otaku, I suggest you read the three masterpieces of otakus: "The Lost Girl", "Welcome to NHK", and "Falling in Love Even with Chuunibyou", which explain how men and women become otakus respectively. There are different reasons and exaggerated manifestations of otaku. From here, I also guess that real homosexuality may largely come from the lack of father's love, rather than genetic and congenital factors. Let's not list it for now, and we will talk about it later). Shinji Ikari has low self-esteem, He is passive, timid when speaking, and completely lacks the passionate aura that a male protagonist should have. Especially in the early days of "EVA", he gave people the illusion of a passionate romance.

And "Kill La Kill" truly does the opposite.

Material possesses all the momentum that a hot-blooded comic hero should have. He is aggressive, bold, wild, and brainless. From the beginning, he gives people a sense of oppression of a real male protagonist. Comparing the otome-oriented animations of the same period, it can be found that among the female protagonists, Mataro's character traits truly achieve a passionate masculine character while retaining female characteristics. At the same time, Yuna in "Saint Seiya Omega", Chitoge Kirizaki in "Pseudo Love", Ai Aida in "Toki Precure", and Miyanagi Saki in "Genius Mahjong Girl" do not have this kind of ability. Traits.

This is not only an extension of the reinforced male protagonist's inherent pattern of "brainless and unhappy", but also breaks the tendency of female characters to be more vase-oriented or lolita-oriented.

Of course, this is also because the animation industry has entered the postmodern cultural context earlier than the real world in terms of spiritual construction. It is a reflection of the rapid collapse of the traditional "dead white American heterosexual male" right to speak. . Matōko in "Kill La Kill" created a concrete representation of feminism gaining equal rights to speak after Shinji Ikari.

The phenomenon of large breasts that has been widely criticized in this animation as a "shame-breaking phenomenon" is actually a way to correct the excessive focus on sex.

In this work, both Matōruko and her old enemy Satsuki Kiryuin are naked and have big breasts when they transform, and during the battle after the transformation, their breasts sway very obviously, because Supervisor Imaishi Hiroyuki worked on the "Breakthrough Tengen" animation, and this phenomenon was also called "Big Breasts Breakthrough Tengen".

But this time, the big breasts were not covered by any highlights or fascinators, and they even appeared on the OP with great fanfare.

There were many big breasts before this animation, but they were more of a physical expression of the relationship between men and women. For example, in "One Rider as a Thousand", a large number of scenes in it were of big breasts. It is an animation work that satisfies male attention. Of course, there are also works that go in the opposite direction, such as "Sailor Moon". Women also have breasts, but when they transform, they use starlight and gray silhouettes that fill the screen to objectify their bodies. .

One is an animation work that exists as a male ornament, and the other is an animation work that exists as a male accessory. They are nothing more than an endorsement of male-centrism.

But this time "Kill La Kill" completely abandons the female discourse that uses men as a reference. In the animation, Satsuki Kiryuin said, "If it is for fighting, I will not feel ashamed. Your so-called sense of shame is just a child's play, and it will only make you unable to fight." This sentence can be called a declaration for women in the new era to regain control over their bodies. Women don’t need to live under the shame of men. Why can’t I choose to display my own body? My body is neither an object of paranoia for men like "Ikki To Senki", nor a vase for men like "Sailor Moon" (the uniform mask in the film will always be there). The most critical moment appears to save the princess, which is still the traditional story mode of a hero saving a beauty). My body will not arouse sexual interest, and I will not hold back because of your so-called shame.

This reminds me of a few months ago when women paraded topless in the streets.

So, in this animation, the breast sway of Satsuki Kiryuin and Mataro during the battle, due to the fierce confrontation in the battle scene, just became a carrier to show the beauty of the female body and no longer has a sexual nature. and symbol of shame.

Even "EVA" didn't do a good job in this regard. In the OP, there are still erotic nudes of Ling Boli and Asuka.

Next is the animation plot and theme.

The theme of "Kill La Kill" starts out as a passionate comic, and then continuously reverses the plot. Almost every episode will reconstruct the plot at an extremely fast speed, especially Chapters 16 and 17. Unlike "Puella Magi Madoka Magica" and "The Melancholy of Haruhi Suzumiya", this animation does not rely on complex worldview settings to complete the plot reconstruction, but selectively leaks secrets under the conditions of a simple worldview setting. This style is quite similar to "When the Sea Cat Cries" and "Attack on Titan". Every time information is leaked, the story will be rewritten.

This is very different from the popular "killing monsters and upgrading" style (such as the "Yu-Gi-Oh" series) and "daily life" style (such as the "Conan" series) plot deductions. In fact, strictly speaking, "Fairy Tail" has changed the "daily life" style of each episode into a set of several episodes. The "Naruto" manga has now entered the filling period, and the amount of information has begun to become denser, but in the The early "killing monsters and upgrading" plots and "daily life" style memories make people sigh.

Let’s talk about "kill la kill". In this animation, if you have watched this work, the audience will have a deep feeling. The strong background music is blaring, the blood-red characters are directly printed on the screen when introducing the characters, and there are very few daily life stories. The main plot has been continuously pushed from the beginning. Every main character in it has made a significant contribution to the plot, not just making vases or paddling water. The amount of information in the story is extremely dense (please ignore the passerby at the beginning of the first episode) The scene where the one-star machine uniform in Koden is completely tortured), whether it is Satsuki Kiryuin or Matoryuko, they are extremely tough when playing against each other, and their gentle side will only be shown to those they trust (it is also explained here On the one hand, Satsuki Kiryuin does not trust his mother and the needle seams. On the one hand, it gives people a "non-male control" side of women. On the other hand, it is also the process of women searching for their own character coordinates.

The theme of the entire animation, after the reversal in episodes 16-17, the traditional passionate "combat life fiber"/friend combat role has become a "host"-"utilization" role. The originally strong bloody and dark temperament of the entire animation suddenly spread, which is similar to the setting of "Puella Magi Madoka Magica". The impact of the leap in style is breathtaking. "Puella Magi Madoka Magica" jumps directly from the fresh style to the dark style, while "Kill La Kill" jumps directly from the hot-blooded style to the dark style.

The three masterpieces of Japanese animation are "Space Battleship Yamato", "Gundam" and "EVA". They have respectively established the cornerstones of "righteous blood", "science fiction theory" and "multiple/no themes" . Under the foundation of these three cornerstones, commercialized animation began to sell meat, cuteness, and harem. If the sexual choices of the three masterpieces are "sexual venting", "sexually cold talk" and "cold confusion", the cute/meaty/harem setting of commercial animation is "sexual openness", so the implicit homosexuality The theme setting is very popular, and humanities such as official matching, CP, and reversibility finally have basic theories that can be developed, and "the story is deduced around the relationship between characters." However, in the animation industry, which entered the post-modern culture early, there are no works that can truly inherit the spirit of the three masterpieces. Douban's "Listen, Listen, Listen" wrote in the film review "You and I were in different times - mourning the passing of Japanese animation" that these animations that appeared in the new century have little to do with the old animations, and are "new animations" ". He has unique views on "Saint Seiya Omega" and "Gintama", and I very much agree with his views, especially when he mentioned that "Gintama" was nominated as one of the three new masterpieces.

"Gintama" actually inherits the "many/no themes" cornerstone of "EVA". The difference between it and funny animations such as "Frog Sergeant" can be found in "Listen, listen, listen" I found it in the article, and I think the new era animation that inherits "Blood of Justice" is "Kill La Kill". "Gintama" is a fusion of "sexually open" commercial animation and "sexually reserved" traditional animation, while "Kill La Kill" is a "sexually normal" response to the popularity of a large number of meat movies caused by "sexually open" Set things right and completely normalize the body and sex, rather than symbolizing it.

This is actually reflected in the nude beach where Mikisugi Aikuro is the main character. Aikuro tried to get close to Mataro with his own body when explaining the ins and outs to Mataro. Mataro said He said, "Actually, you just want to use this to justify this matter (physical proximity)." This sentence is actually a warning to those animations that sell meat as a gimmick and have mediocre plots. In the subsequent battle on the nude beach, we neither saw any physical sexual innuendo, nor did we think that Aikuro's frequent display of his naked body was a sexual innuendo - we are already tired of aesthetics, aren't we?

Of course, it is not just that, "Kill La Kill" also reflects the reality in many places.

In the strict-hierarchical Instinct Academy, as long as you are strong enough, you will be at the top and have a good life, especially in the seventh episode "Can't Hate Useless People". This way of operation almost made Mako and Matoi This pair of good friends turned against each other. It is related to certain social status quo and political tendencies;

From the relationship between Kiryuin Satsuki and his family, we can know that Kiryuin Satsuki’s strong dislike for his mother is a reflection of Ikari Shinji’s attitude towards his father in "EVA" A rewriting of feelings. Shinji Ikari is weak, hoping to communicate normally with his father, and hates his father isolating him because of his work. This is a necessary factor in the development of many otakus' characters, and it is also an important reason why he became Nagisa Kaoru's "lover"; Satsuki Kiryuin is tough , was strongly intervened by the mother, from ability to heir, from the so-called "bridal clothes" to the definition of "clothes", this is an animated version of the forced marriage video on Lily.com, and it is also the gap between many children and their parents today.

From indifference to strong intervention, it reveals the two extremes of the impact of families on their children under the changing circumstances of the times. This is probably because the previous generation felt that their lives had not received the love they deserved after being left alone in indifference, so they gave full authority to the next generation, leading to strong intervention; it may also be because the update of information continues to accelerate, and the discourse model of the empirical society is no longer valid. , resulting in the equation of "age = experience" gradually breaking down. I don't know the reason myself, but an obvious social phenomenon is from "extreme cold" to "extreme heat". This can be clearly perceived in the plot settings of "EVA" and "kill la kill", and even watching The same is true for the main camera: "EVA" is an adult perspective, starting from the detection of apostles by radar technology; "Kill La Kill" is a teenager's perspective, in order to prove his ambition.

Of course, Shinji-style rebellion is not absent now, but their approach is to seek approval from their parents (in fact, Ling Boli and Asuka are also seeking approval), which turned into Matou in "kill la kill" Ruuko-style rebellion (noting that Matoko's father also fostered her in school for a long time, Matoko constantly fights to find her father's secrets); while Kiryuin Satsuki-style rebellion is to get rid of identification, she is against It can be seen from the recruitment process of the Four Heavenly Kings that she does not fight to establish power like her mother, but more to protect the weak. The word instinct is a contradiction. When resisting power, if she does not have power, she still will fail.

From this perspective, it seems that Matōruko actually represents a character who seeks recognition, understanding, and ultimately integration into his father's generation. This is an old concept; and Kiryuin Satsuki He is not a villain at all, but one who plans how to resist power and fight to be recognized. This is the spirit that the post-90s generation in the new era needs.

Of course, these confrontations are all confrontations between peers and have nothing to do with cross-generation. This society and the world have long been no longer controlled by our fathers.

If we look at it from another angle, we can trace out a timeline of rebellion against our parents. In Greek mythology, incest between father and son is for "establishment"; King Oedipus kills his father and marries his mother for "replacement"; Hamlet kills his uncle and scolds his mother for "reminiscence"; Shinji Ikari hates his father for "identification"; And Mataro's father was directly killed by a gangster, and Satsuki and Kiryuin put his mother on a cross in episode 17 for "resistance". From the initial indifferent paternal relationship to the establishment of paternal relationship, the stability of this relationship makes it impossible to replace his father without killing him, and he becomes a stable father; and Hamlet kills his uncle (uncle) because of the original "perfect stability" "The image of his father's generation has collapsed. What Hamlet recalls is his dead father; "replacing" and "remembering" are actually paving the way for "identification". Shinji Ikari simply doesn't care whether the image of his father's generation is perfect, they just want to "Identification" is a relationship that exists in name only, and Mataro's "freedom" and Kiryuin Satsuki's "resistance" represent the complex feelings of humans towards their fathers in the new era. I will only miss the dead, if you If I am still alive, I will resist.

As for animated works that rebel against their parents, it is recommended that the villain bosses in "Saint Robin" are almost all the fathers of the protagonist team, either the father or the mother.

Tell me about my guess, why one of the eyes of Matoi's God-clothed Blood is blind, because her father is also blind in one eye. This God-clothed Blood should be the incarnation of her father, and The so-called bridal makeup of Ghost Ryūin Satsuki's divine clothes should be the incarnation of her mother. Why Matoryuko is "one with human clothes" and Kiryuin Satsuki is "overwhelmed by human clothes", I'm afraid it has a lot to do with the identity of their fathers.

After talking about these two people, let’s talk about Mankanshi Mako.

This will involve the popularity of Tucao culture. I will write a separate article about the impact of Tucao on cultural identity and the impact on the information age. However, I think this is consistent with what Luo Zhenyu said about "information." It has little to do with the fact that people’s tolerance for mistakes has increased in this era. I think it has more to do with the strong operation of the complaint culture. People tend to view mistakes not with a serious attitude but with a playful attitude, but this does not mean that the tolerance for mistakes will increase. The one-sided blame caused by CCTV's surprise attack in Dongguan is a counterexample, whether it is the information society or the traditional society. In society, there are no essential changes in responsibilities/contracts. In traditional society, there are mostly responsibilities, and mistakes will be morally blamed. In the information society, there are mostly contracts, and mistakes will be punished democratically.

Take this year’s Spring Festival Gala as an example. Feng Xiaogang’s reforms did not achieve the expected results. Although he warned himself in advance that “it has become fashionable to scold the Spring Festival Gala”, he also said this in the first three minutes of the Spring Festival Gala. "Watching the Spring Festival Gala is to complain." But he didn't seem to feel that at last year's Spring Festival Gala in Harbin, everyone complained about joy, but this year they complained about it.

It's too far away, but pull it back a little.

I wrote about the difference between complaining culture and nonsense in the film review of "Journey to the West: Conquering the Demons". The sources are different. (The latter) one is self-mockery from the bottom of society, and (the former) one is from the working class. Entertainment and ridicule (including Chinese cross talk). Of course, the upper class also has similar discourse patterns, which we call talk shows. However, now due to the emergence of barrage culture, homemade comedies appear with strong repetition and fast style (perhaps Chinese characteristics). Yes, I am talking about "Wan Wan Wan Fang", which has a Japanese and instant sense; and The openness of society has led to the equalization of sexual culture and the positiveization of so-called "vulgar" culture. Yes, I am talking about the breakthrough "One Hundred Thousand Bad Jokes"; coupled with alternative interpretations of information and advanced satire, yes , I am talking about "Rampage Incident" (note that these three different styles of comedy actually come from the audiences of different class cultural groups at the bottom/middle class/upper class).

Okay, let’s pull it back a little bit.

The emergence of barrage culture has finally integrated this nonsensical/complaint (cross talk)/talk show into an undifferentiated entertainment carnival. Let me talk about the conclusion first. Next time I will use the above three comedy videos as examples to explain my views in depth. I think "Reporting to the Boss" is actually the product of the fusion.

Pull them all back now.

We all know that Naruto is a master of oral escape. This also gives people a feeling that Japanese animation (now developed into global animation) gives people an illusion. In the hot-blooded series Oral evasion/preaching becomes an important factor.

As for the discourse mode of oral escape/preaching, we can get a glimpse of it from the mutual oral escape between Naruto and Obito in "Naruto". This is very similar to ideological indoctrination, which is quite similar to that of Song Gongming. When he was recruited, Lieutenant Su made Liang Shanbo feel like he had moved away with a few simple words.

Preaching has the condescending moral superiority of the upper class; eloquence is a way of speaking that is cloaked with rational thinking ability among the middle class; for the lower class, this way of speaking has Their own name - talkative.

It is also because of the barrage culture, which allows the audience to participate in interaction, preaching/talking/talking (I want to study the etymology and evolution of these three words when I have time, as well as the final fusion trend) It has the meaning of gradually integrating into a pan-culture. Yes, this is the real child I want to talk about.

Recall Mako’s verbal abuse in the anime. She can often use her seemingly illogical words to hit Mataro’s heart and make her strong again. The most typical one is The phrase "You are a profit-driven liuzi now, so you must be very powerful." This derogatory word is a compliment not only to liuzi, but also to the post-90s and even post-00s generations. We are used to listening to the sermons of our elders, we are also aware of the Amway-style MLM brainwashing, and we are used to seeing the male protagonist represented by Naruto's verbal escape. I also know that in "Gintama", "Frog Sergeant", "Q" "My Little Detective Inaba" is also very nonsensical and funny. It can be said that I have almost never really seen the language model that combines preaching / verbal escape / verbal abuse.

Mako, I did it.

This fully illustrates one thing. The animation culture after "Kill La Kill" will become a prototype of cultural development that integrates the high, middle and lower classes. This prototype is also a reflection of our current living conditions in the future. , age will no longer become barriers and groups, and interests will eventually form groups. This is also the different characteristics brought about by "Tiny Times" and "Where Are We Going, Dad? Movie": "Tiny Times" is precision marketing product, and "Where Are We Going, Dad? The Movie" is a product of family-friendly pan-culture.

Finally, LeTV’s Chinese translation of "The Girl Who Beheaded" is much better than the popular translation of "The Girl Who Beheaded". From now on, the "clothes" are the protagonist, and "The Girl Who Beheaded" has the "war uniform" The homophony of "uniform" also represents battle. Resisting one's own destiny is not only what Matōruko and Kiryūin Satsuki are doing, but also what Kamui Xue is doing.

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Four hours later, Zhihu netizens sent comments, which probably meant that I talked too much and it was boring. I recall that my dad asked me, "You like watching "Digimon" so much. What's the point of this kind of low-IQ animation?" My answer was "You can feel friendship, unity and mutual help." My dad said, "Real life Isn’t it there?” I was speechless.

This article is given a curse-free halo. It is called personal opinion and is for reference only. Just like I still haven’t watched "Space Battleship" but it can’t prevent it from becoming one of the three masterpieces. What if I’m right? Wouldn’t this article become popular? Ha ha.

Well, I believe Luo Zhenyu at this time. In the Internet era, everyone’s error tolerance rate will still be relatively high. Just please stop spraying.

Here I will talk about the three new masterpieces that I think are "Gintama", "Slay the Girl" and "When the Sea Cat Cries". They may be changed in the future. In fact, I don’t think the old three masterpieces are particularly good. Where do you put "PreCure", where do you put "Haruhi Suzumiya", and where do you put "Puella Magi Madoka Magica".

At this time, I remembered that Hubei Zhang Kun's "Three Kingdoms" commentary "Weekend Entertainment" is here. He talked a lot about Lu Xun, the first general in the expansion, and everyone found it very interesting. I also want to have some weekend entertainment, something subjective, how about it?