Link:/Question /35962489/ Answer /8 1905994

Source: Zhihu.

Copyright belongs to the author. Please contact the author for authorization.

Undoubtedly, don't ignore that the tastes of China people don't represent the tastes of people all over the world.

In fact, in China, the audience of this kind of sci-fi animation is much smaller than that in Europe and America. Because China developed late and didn't develop the sci-fi culture in Europe and America, our appreciation of it is bound to be limited. And we are not sure whether China people's aesthetic preference will affect China people's evaluation of it-it may be too low.

This principle also applies to Japan and other East Asian regions. We find that there are great aesthetic differences between East Asia and North America, especially this year's Death Parade, which is undoubtedly a powerful masterpiece in North America. As far as I know, The Death Parade is second only to One Punch Man in popularity in North America, and at least ranks in the top three. If you consider that he is 1 time instead of hitting Superman1time, you will eat it at the end of the year.

On anime news. com, the score of Psychology Pass is as high as 8.2. Considering that this score contains many classic works (alchemists of steel, etc.). ) and classic animated films, the ranking of PP is actually underestimated, so I searched ANIMENEWSNETWORK for all works from 20 12 to * * 4 years ago. Based on the standard of PP rating of 8.2-8.3, I found that in terms of rating, if I refer to the number of comments in the same period of PP (which can indirectly infer the number of viewers), I will find that the level of PP is at least about 5- 10, which is about 2% of the animation in recent years, so I can say without hesitation that Psycho-—Pass is definitely a work with high reputation in North America.

At the same time, I have to say that whether Gen Urobuchi's plays have their own "characteristics" is not a key issue, especially when I know that most North Americans don't know who Genuro Buchi really is, which does not prevent Europeans and Americans from giving high praise to his works.

Gen Urobuchi's three outstanding works-Xiao Yuan, FATEZERO and Psychological Tong-all have a very high reputation, and they all have a very high rating in the new animation website. The rating of the witch is as high as 8.6-this rating is almost equivalent to that of Chungong Chunchun and Lu, while FATEZERO and Psychological Tong are both as high as 8.2 (the number of evaluators is almost the same at the same time, that is to say, their audiences are basically the same).

In East Asia, few people think that "The Story of Scare" is as good as "FATEZERO", but in the western world, which prefers science fiction, their acceptance is almost the same, and even I have been recommended PP more times than "FATEZERO". Therefore, it is obviously not enough to look at this work only from the perspective of East Asians. Although FATEZERO is more popular, it seems that it may be attributed to the huge popularity of FATE series, which also has a certain audience in the West. If this influence is removed, it can be said that Psycho-Pass may be better in the eyes of westerners.

At the same time, most of them don't know that the author of this work likes to let the characters die. In fact, they think the death of many characters is meaningful enough. For example, Tsunemori Akane's friend is undoubtedly the most critical deceased, and he exists as the inspiration for Tsunemori Akane's growth. Female high school students and remolding the rich also represent a reflection on the future world, and the success of this reflection depends on the individual.

This is also intuitive, because when it comes to the theatrical version of PP, the reaction of many European and American houses is that they can't wait. If we deny that The Story of Scare is an excellent work under such circumstances, it doesn't seem to explain its success in Europe and America. Is North America playing another version of PP?

~~~~~~~~~~~~~~~~~~~~~~~~~~

The answer to the questioner's first question is that the setting of PP is actually very reasonable.

Makishima Shogo finally tried to attack the Japanese agricultural information system, which is undoubtedly an extremely reasonable setting, unlike many people's criticism. In fact, I have also studied the economic history of Japan (please refer to the part I answered) and have my own understanding of this issue.

In PP, Sipis system is only used in Japan, which means Sipis system exists as a political system. In this case, in fact, if we think about it carefully, this is a realistic setting. Japan, as a country that invented Sipis system as a political system, cannot be extended to all parts of the world due to international political factors. In fact, we also saw in the theatrical version that Sipis system tried to transform "Southeast Asia * * * and Republic" into a country controlled by Sipis. It exported a number of Sybil systems to this fictional country in animation-this is actually a promotion of values, just like the promotion of democracy now.

Therefore, in the first quarter of PP, Japan, as an isolated country, chose to maintain itself, and the problem that must be solved is the so-called self-sufficiency in resources. Makishima Shogo seized this weakness of the investigation and protection intelligence system and tried to force the investigation and protection intelligence system to reopen international communication. This series of worldviews is reasonable enough. Considering that Japan is only 1.6 million square kilometers of arable land, and the Japanese people have a high enough living standard on PP (if resources are insufficient, it is impossible to maintain a high level of living conditions), we can certainly draw a conclusion that Japan relies on improving agricultural efficiency to maintain the self-maintenance of this society. From the point of view of logical self-consistency, PP has done this well enough.

If it is unreasonable to rely too much on a delicate balance setting, then it is difficult for us to conclude that 1984 is more reasonable. Does anyone think that it is possible for three superpowers-regimes with the same level of science and technology, the same population and the same brutality-to launch a "joke war" with the same tacit understanding? This subtle setting, which only maintains a critical point, may not be reasonable enough, but it is enough to attract people to say what the author wants to say.

Therefore, from the world view, the setting of Psycho—Pass is actually an excellent work in Japanese animation.

unfinished

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To answer the questioner's second question, we should first discuss the narrative creation technique of Psychological Pass.

The role of steel alchemist mentioned by @ Nalan Shantou is flesh and blood, but PP is not. The so-called "sense of substitution" is actually the difference in narrative style. This is also the mainstream animation creation method in Japan-a way of judging under the character-centrism.

We must recognize the works of steel alchemists (devil's tail, One Piece, etc. ) adopts the narrative mode of travel, which can expand the narrative of world outlook during travel, so it is more conducive to creating a grand narrative background and shaping the feelings of characters, which is also the mainstream narrative mode of Japanese animation. The Iron Alchemist is undoubtedly one of the most successful works.

However, another hit work, The Attacking Giant, adopts a very strange and rare narrative way-the narrative way of stronghold defense, which greatly restricts the advancement of a story and makes the ending of the story unpredictable. It is an internal and passive narrative method, but this passive narrative method has not been adopted by the animation industry after the EVA era, which is also an important reason why Attack Giant was not adopted by JUMP.

In the history of cartoon development, this passive narrative method was mostly active in ancient cartoons before 1980s, which was correspondingly influenced by Osamu Tezuka's thought of emphasizing plot over role. Therefore, we can see that the characters in The Attacking Giant are often not as bright as other works. In fact, in the previous episodes of animation and comics, readers and viewers have almost no impression of characters such as Ani. With the development of the plot, we can gradually understand the character.

This narrative mode continued until the era of parasitic beasts. Obviously, we will find that works such as Parasitic Beast are more inclined to the narrative of the plot than the shaping of the characters. Without exception, we are all more attracted by the plot than by the shaping of the characters.

After Kazuo Koike invented the word "set the role" (キャラクターをてる), the animation industry began to tend to be "people-centered", and we are still dominated by this Japanese animation creation method. This narrative method is conducive to shaping a unique character image, and in the long-term serialization of comics, popular characters are often used to maintain the popularity of the works. With the continuous exploration of the surrounding economic model, the whole Japanese industry has also realized the economic possibility of the products around the role, so the positioning of the role and plot in Japanese animation creation has undergone tremendous changes.

In fact, the question of human design put forward by the questioner is actually a discussion standard in this "character-centered" creative environment.

However, The Story of Scare is actually more similar to The Attacking Giant than the mainstream Japanese animation. In the plot, the protagonist Tsunemori Akane is set as a policeman in the police station, who is responsible for cracking down on terrorists and anti-socialists from unknown places. The inevitable result of adopting this narrative method in Psychological Pass is that the development of the plot takes precedence over the exploration of the role.

So your question is.

Are the people and stories told by PP attractive enough?

Must be considered separately. In fact, there is a great conflict between people's creation (role shaping) and story (plot shaping) in animation creation, and the creation of "Story of Scare" is more biased towards plot creation than role shaping.

The characterization of "The Story of Scare" is an animation with a so-called juvenile theme, and it is an anti-Japanese tradition-the mainstream anti-Japanese boys and girls.

~~~~~~~~~~~~~~~~~~~~~~~~

As for what many people have mentioned, they have not put forward the transformation method.

I think it's far from it. From the perspective of political philosophy, we will find that he actually discussed a series of issues of gradual reform and drastic revolution. It happens that I have some research on political philosophy and history. In fact, it can be compared with the French Revolution and the British Revolution. What can we do for an imperfect regime?

Is it to completely resist, crush it, overthrow everything and rebuild the new world? China people are hard to understand, so we should change him step by step. Unlike democratic countries such as the United States, China lacks a mechanism for individuals to change the status quo, so it is difficult for some people in China to understand the concept of gradual reform.

Just like at the end of America19th century, Luzhou blacks were deprived of voter qualification by cultural examination. In the 1920s, the political power of white people persecuting blacks in Texas reached its peak-the so-called Democratic serial election case. In order to exclude black voters, the Democratic Party claimed to hold endless round-robin elections until all black candidates were excluded.

Instead of violent revolution, blacks used the American political system to bargain. At that time, black people went to the High Court several times in a row, even if it failed to change the discrimination at that time, it also caused a great wave of exaggeration. In the Roosevelt era, the left-wing justices came to power and finally recognized the legitimate demands of blacks and set things right. ...

These things are hard to see in China, so just from the information transmitted by Psychological Transmission, many times the influence of culture is enormous.

In the 22 episodes of animation, it is impossible to discuss the "specific methods" I mentioned above, but only give a specific idea, that is, non-violent gradual reform in the context of Japan, a democratic country.