If you map the movie to the production environment, Kenji IwaisawaFeatures debut gaku: Our voice Perfect for it, this is a self-taught animator-developed project that embraces your love for art despite your talent level. His sophomore characteristics 100 meters Not very clear, but also starting from reflection, that is, it is too late, not just for passionate things.
In this sense, despite the fundamental tone difference between the two films, in many ways it feels like a perfect follow-up. Adapted from comics fall ((ORB: About the Movement of the Earth), Iwaisawa’s contact 100 meters Over the years, questions have been raised about finding and maintaining meaning in your ongoing career. It does this from different angles through its dual protagonist togashi (Tori Matsuzaka) and komiya (shōtasubtani). We first met two people during their adolescence. Togashi is a genius sprinter with a child, calm, naturally talented, relatively popular, perhaps on these talents. Komiya is exactly the opposite: slow, awkward and nervous.
Even if it’s just the style they run, it reflects perfectly. Togashi is composed, with technically refined and clean haircuts as clean as his hair – Komiya is exactly the opposite. He ran for his life, as if he was chased – as he waved wildly the world around him melted a crazy blur, Togashi drove straight past. Komiya’s despair in running was because he “has nothing else” so he did it to escape reality and focus on anything else. But Togashi gave him passion for the sport, a great desire.
From this point on, Iwaisawa patiently illustrates the shape of each character’s life, dividing the film into three parts – during their childhood, then high school, and then adulthood. In their brief friendship, each chapter destroys both, making their life more textured and illustrates the bet of the game, and then the moment in the sense of the sense of each person. fan ballIntergenerational storytelling may also find something you like, even if it’s just a bunch of people.
However, the film doesn’t give up on both roles – iwaisawa and screenwriter Yasayuki Muto (Mobile suit Gundam Hathaway) Also considerate and support the actors. Togashi’s classmate Nigami’s arc is especially melancholy as he transforms from a bizarre talent to someone who catches up with the younger generation (warning signs of the late stages of the film). The Childhood Zone feels like a prologue in both plot and style. After time skips to junior high school, the animation moves from regular 2D to most rotation animations.
The rotating mirror does not mean any form of limitation of expressiveness here – in some cases, realistic movements may have an impact on the design, but 100 meters There is no such problem. Apart from the physical expressions they explain, the animator leaves room for the animator. It feels natural. Have a holistic feeling about work Keisuke Kojimathey work in character design and execution animation direction. The character is made with a wide chin and a ghostly eyed nose. In line with Rotoscop’s animation, this adds to the stressful feeling of the character when it runs. Their bodies feel more like flesh, blood, and more susceptible to strong distortions of the surrounding frames, and the game becomes more intense when the design starts to twist under body pressure or the lines themselves tremble.
This constant experimentation means that every sequence in the 100-meter race sequence is exciting, amazing and new. A man starts with a cute low angle shot, the runner leaves the starting block, the camera remains, pointing towards the sky. In one of the film’s most amazing sequences, another track race sequence takes the time to showcase the game’s settings. Long time indicates that the racer is preparing for heavy rain. The camera slowly detached from them, with the background gleaming, and there seemed to be dozens of alternating paintings courtesy of the art director Keikankun Yamaguchihe also served as painter and artistic director On wine. Their work on this film deserves emphasis: the background art is particularly adorable, with incredible touch and consideration of color, whether it is the colorful freedom depicting the track or the oppressiveness of the school, monochromatic interior.
This helps the running conversations are often shown with similar energy, such as the fast-paced character Kaido, talking about how he finds the motivation to win. but 100 meters Not about being the best movie, but about not being the best movie anymore and accepting that with grace. By comparison, this is an interesting story ball As much as possible On winegenerations contributed something greater than themselves, usually at the cost of their lives so that knowledge could move forward beyond the end of life – the characteristics in this regard were always thinking about the end: the track, the race, the profession, their profession, their dominance. It’s easy to wonder in a sport like this: Why do you do this? Is it worth over-attention on short records? What is the point of competition when the younger generation is always waiting for you to pass? Just like On wine It is a rough film about prioritizing techniques, one might think that higher production value will begin publishing papers on some unique expression gaku: Our voice So eye-catching. 100 meters Perhaps more button-wise, but it still feels like a movie of people excitedly exploring different visual possibilities – revealing various possible angles in a sport about running straight lines.
