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In a word, Charlotte gives me a feeling of chaos. It's like when a person goes to the buffet and adds anything he likes to the plate, finally the pyramid collapses, leaving only a mess.

Many people have said that if this is a half-year anime, it will be a masterpiece. Of course, I think it will be much better if there is enough time. But Maeda must know that the play can not be easily augmented, why does he write such a story? Can Charlotte's poor performance only be blamed on the director? It's true that the story linking and rhythm controlling are terrible, but ... are they all the director's faults?

I think the daily part of Charlotte is actually very good, and the performance is very interesting, but when it comes to serious storytelling, it drops the ball. The whole work is in the situation that 13-episode is not enough but is added a lot of parts that make no sense, which greatly destroys the rhythm of the main plot. In EP4, it is filled with baseball scene and doesn't explain the story until the end. Almost all the content of the episode is not very helpful to the characterization and the development of the two main characters. EP4 represents Maeda's attitude towards the whole work: I don't know what to choose from, I don't care about the overall situation, and I am addicted to self amuse. Then the so-called poor finish is reflected in it.

EP7 is pretty good. Although I know that the sister is going to die, it seems a little far fetched to introduce her classmates.

A lot of people think EP9 is a choutenkai, but I think Maeda has no choice. There are 4 episodes left but the main thread is not clear, so a dramatic conflict is urgently needed to make the plot come to the climax stage. In the early stage, preparation has did for this but is revealed too little. Then it is all revealed all of a sudden, as well as the story of another time, which can not make people enjoy the process of probing into the plot. But time really doesn't allow it. It's the only way. (why not stop playing baseball when you know there's not enough time?)

Many people know Maeda's ability and believe that it will be a masterpiece if it is a half-year anime. But since he is so capable, why can't he tell a story in 13 episodes? Madoka Magica has only 12 episodes, and AoButa has 13 episodes, to say the least. At least, in my opinion, there is a wide gap between Charlotte and Madoka Magica or AoButa.

As for the ending, I won't say much. However, I still want to mention that Maeda's handling of the grand theme and the controlling of the world view seem naive. Although these animation works are shounen-oriented, it does not mean that as a scriptwriter, he should also see the world from the standpoint of high school students or even junior high school students.

Today, I'd like to tell you a fairy tale written to "ADULTS". "Weathering With You", which is expected by many people, is often compared with the anime film "Your Name". In such a contrast, the two films with different emphasis are dominated by the preconceived concept, which eventually leads to the polarization of the review of "Weathering With You". Now I will make a simple analysis according to the plots of the film. Because it involves the SPOILER, please watch it as you like.

"Weathering With You" tells the story of Hodaka who leaves home, and the young girl Hina who lives with her younger brother. ... During this fantastic trip, Hodaka met Suga-san who is an author of third-class magazines, Natsumi who is a female college student and cannnot find a place to live, and the cow dung head policeman who represents the RULES.

The main story is that the boy who wants to pursue the light meets the 100% sunny girl who can change the weather. The two people work with this special power to change their fate. But in this full rule age, what oneself is not long has the final say. Many people say that after watching this film, there is no logic and bugs are everywhere. For example, why the state didn't intervene in the existence of Hina, why Hodaka always took a gun and pointed at people with it (he said it was a talisman) without common sense, why Hodaka ran away from home, or why didn't realize the cost of flooding to a place. Let's talk about these one by one.

First of all, this is not a movie that looks like this. As I said at the beginning, this is a fairy tale written to "ADULTS". In this sentence, I put double quotes on ADULTS, but not on fairy tales. The adults here do not refer to the people who are at least 18 years old and have full civil capacity, but the children who are fascinated by the hazy world and its colorful scenery, the working class who strive hard and repeat the nive-to-five life, the fresh graduates who just come out of school and are at a loss for what to do next, and "we" who constantly hit the wall, just want to have a rest but find there is no place for us in such a big world. Or, you can say, the adults are children who want to be adults, and adults who want to get rid of the shackles. They are the audience of this movie, and the fairy tale without quotes is exactly a place for these adults to have a rest.

There are many metaphors in the movie. For example, at the beginning of the movie, the bracelet of Hina's mother lying in bed became the necklace of Hina. At last, when the two came back from the world in the cloud, the necklace on Hina's neck was broken, which symbolizes the disappearance of power and Hina's determination to live for herself and not be bound by the past.

In the movie, the first mention of the loss of the private gun is the literal gun. Then, when the gun appears in Hodaka's hands, it is no longer the literal gun. It represents the props to resist the rules and the power to resist the rules. Therefore, when the child with the gun points to the adult who represents the rules, it means that the immature people finally have the right to negotiate with the rules.

The younger brother of Hina is called "senpai" because Hodaka thinks her younger brother's words are all life mentors, but in fact, it can be seen from her brother's casual words that he is forced to mature, forced to become an adult, forced not to act like a spoiled child, and not to cause trouble to others. Because when Hodaka went to Hina's home for the first time, the neighbor woman passing by said that only two children are not good (refer to Hina and her younger brother). You can even understand it's the woman that finally called the police.

The same with Hina, she pretends to be an adult when she sees Hodaka, who is one year older than her, saying that she is "Eighteen", which is a compromise on rules and a bow to fate. In her view, the only way to keep herself from being separated from her younger brother and avoid living under the eaves of others is to make herself become more mature as soon as possible (lie about her age).

We can see the casual man Suna-san wearing two rings. Sometimes he will rotate the first ring when saying something, which is the ring of his dead wife, Asuka. So most of the time, his words and decisions seem to be for others, but actually for himself, or for his wife in Heaven.

As for Suna’s niece, Natsumi, has just graduated from college. She has submitted a lot of resumes in which she says that it's her favorite job. In fact, Natsumi is confused. She doesn't think she's an adult, and she doesn't feel that she has the right to be a child again. She writes a bunch of excellent self-evaluation on her resumes, but she feels that these descriptions are not about herself. She wants to find a direction at the crossroads of her life, but she feels that she is not compatible with the society full of rules.

Until she takes Hodaka to the abandoned building, she feels that she has found the right direction for the first time with her eyes shining. She says: “in this way, Aren’t we "wanted"?” “Wanted” mentioned here by Natsumi can be understood as "the people who resist the rules". The police in the movie represent the rules, the rules made by people, which are only applicable to people. Frankly speaking, the role of cow dung head in the movie is more like a tool man (symbolizing adult) set on the opposite side of the main characters.

Living in the current society, we unconsciously have too many "shackles". As Hodaka says, "I can't breathe because of the pressure of life on the island". When we are "the warm one" among our friends, the "gentle one" among our confidants, the "cute one" in the eyes of our parents, the "progressive one" in the comments of our superiors, and the "accommodating one" among our customers, we can't make it clear whether we are like this or if we don’t live according to what others consider us, all of this will break down and embarrass everyone, at a price that we can't bear the cost by default in our own minds. Obviously, this time Makoto Shinkai doesn’t want to please everyone. The core idea Shinkai exposes in the film is not the mainstream like “doing what is in the public interest despite potential cost”, or “sacrificing one’s love for the whole world”. Shinkai highly criticized the "society", the so-called "maturity" and "reason". Under so many shackles and rules, these maturities are just ripening, and the way forward is not to become adults, but to go to the future of ego loss.

As for the change of the mentality of Suga-san in the abandoned building, why do many people say that it is illogical from wanting to make Hodaka stop fantasizing and talking nonsense to supporting him to do it? But in reality, it is just a dialogue between the senior staff who has been in the position for many years and the junior who has just been in the position. If you surrender to reality, do you want to persuade people with dreams to wither like yourself? Also, many people say Hodaka doesn’t have positive values because he destroys Tokyo simply for saving a person. First, I advise people with this idea to do a mental test. Second, don't forget the beginning of the story. It’s raining. It is just bringing Tokyo back to its original appearance. It's a mistake to measure a 16-year-old boy's values of love and affection with your own values. Especially for a boy who has experienced domestic violence, Hina is kind to him. At that age when one arrive at puberty, even if it happened to me, I would give up the whole world for Hina.

"The world is crazy" and "You don't need to apologize" are what Shinkai wants to convey to us through Suna’s words. The reason why "Your Name" is successful is that it can be easily understood and touching. No one will hate the touching happy end movie. This is the trend of public. However, in "Weathering With You", Shinkai MEANS to chose the audience, raise the height and straightforwardly avoid to tell a story without too many connotation. Some care about the reason why Hodaka leaves home and think it is bad and ridiculous just because Shinkai doesn’t give an explanation. They are ridiculous too. Some care about the reason why Hodaka doesn’t hand the gun to the police. Some care about the reason why the government doesn’t pay attention to Hina and failures to have a more interesting world view. And some care about the sudden ending which can’t compare with “Your Name” as it doesn’t has a romantic picture of looking back with tears or poetic reunion. But actually these can be explained if Shinkai really wants to do it. Hodaka can run away from home because of domestic violence, there can be a better way to deal with the gun found, the higher echelon of government can intervene, and the final encounter can be more sweeter than "Your Name", but this time he makes the film get rid of beautification and become straightforward. In addition, those who always compare the two films have a short vision. Do not forget that it is a fairy tale written to "ADULTS", rather than a film even a fool can understand easily. It is destined to satisfy only a part of the audience, and I am one of them.

Let's go back to the theme. At the end of the movie, Hodaka said that they changed the world after all, because the world was not crazy at the beginning. In my opinion, the world here does not refer to the real world, but refers to the world of him and Hina, the meeting of them, the happiness of them. No matter what the world is like, they will live together in the world belonging to each other. The story ends abruptly here. I may be looking forward to the story after the reunion, but Shinkai tells you from another direction that it is just a small thing happened between two small people in this big world. The weather is not something that people can control. It is not the weather (destiny) that shackles people, but the rules and regulations that people set for themselves. Don't always regard the rules as your own destiny and choose to sacrifice the loved one between it and the rules. You are just you, a little you who likes your loved one. In the future Hodaka and Hina may be ordinary adults, ordinary lovers, or individuals who continue to resist the rules in this crazy world. But it doesn't matter anymore, because the world is originally crazy.

As for me, it must be said that it's almost the best anime I've seen last year.

It wouldn't be so bad though the tempo is too fast. Both the youth atmosphere and the characterization are excellent. Although there are some regrets about the cheap ppt production, the interweaving of the mutual support atmosphere in the community and the story of the character itself conveys the charm of the whole work. Whether it's narrative or character setting, it's a bit reminiscent of Chihayafuru. And it feels like the best youth group besides Chihayafuru. The division of CP is simple, the conflict of story is simple, ... some old-fashioned plots make me laugh bitterly, but generally speaking, the ramarkable characterization still keeps it a good look and feel. All supporting actors have a fresh personality and the plots of other schools are also brilliant enough.

The 2nd season have shown the real meaning a musical anime should have. After several high-quality tunes, "Tenkyuu" is really touching to tears. Whether in plots or on music, it reflects the standard of a winning school. Just for this tune I think it's worth watching.