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Re:Zero is that kid that just learned a new 3-syllable word and just spews it out at every opportune moment in a sad attempt to appear intellectual. There're some elements here that demonstrate some semblance of writing chops, I would give the show that, but the way the writers flaunt their ability to come up with said ideas comes off as conceited, especially when these moments wallow in content that's tantamount to idiotic orchestral displays. It's a proud peacock, flaunting its ideas, while strutting around with toilet paper stuck to its ass. As it navel-gazes, everyone else looks on in amusement.
When I said it points things out with neon lights, this is what I mean.
“Hey, the camera is shaking excessively. Hey, we're giving Suburu a manic expression, one step away from having him foaming at the mouth. Hey, we literally added a 10% darkness opacity filter to Suburu's color scheme. Hey, all of these scene compositions literally bathe Suburu in a constant shadow. Hey, his eyes are big and bulgy. HEY, HEY, HEY!! Do you get it yet!? Hey, are our actions to paint him in an obscure light after a big altercation with Emilia not made clear yet? Please reward us.
Yamada said she was "determined to confront the topic with integrity and treat it gracefully", stressing that it "is by any means not the right decision". [23] Stylistic means[edit] The narration of Shōya's story, starting from his past to present, describes how he slips to the lower end of the hierarchy that he established at the beginning. From his perspective, it is shown how bullying can affect an adolescent's psyche and prove his resilience. Shōya faces many challenges: the rejection of Shōko's mother or the avoidance of former classmates, who don't want to confront their past behaviour when he and Shōko work through their past. [24] Shōya's alienation and inability to look at his fellow people are symbolised by crosses (✖️) on their faces. [25] This behaviour is often emphasised by camera framing, which avoids the faces of people around him as Shōya shies away from eye contact, often focusing on body language instead. [26] In some face-to-face conversations, Shōya's interlocutor's face is cut out of the frame; the empty space left behind him achieves an unsettling effect for the viewer. [21] Symbolism[edit] The film relies on subtle and sensuous motifs. [27] Yamada uses flower language to reflect feelings and personality of the characters. Shōko is juxtaposed with white daisies, symbolising purity, and blue or red cyclamen, which can represent resignation, leave-taking, but also deep affection. [28] Cherry blossoms often enclose Shōko and Shōya: they appear when the two first reconcile and when Shōya befriends Tomohiro Nagatsuka.
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