天气之子作文练习
本篇来源于学校的作文练习：
All characters on ranch discriminate others in "Of Mice and Men". Do you agree?
其中“Of Mice and Men”是一本小说，被学校拿来当课本了。
作者君在写完了上面这篇之后认为，将作文练习与新海诚结合起来，可谓是寓教于乐的绝佳方针。
所以，题目被改成了：
All characters in Tokyo are solitary in "Weathering with you". Do you agree?
（后面有谷歌翻译版本）
也算是有趣的中外英语水平对比了吧，各位读者不妨试着读一读；作者君是英语为第二语言（教纲与一语不同）的高一生。
(Introduction) Nowadays, loneliness is a social problem widely present in the modern societies, however, no governments have found a real solution towards that yet. Shinkai Makoto’s visual text "Weathering with You" demonstrates the story of a runaway boy and a sunshine girl who can pray for clear weathers cooperate together for their survival in the metropolitan city of Tokyo. Within the movie, Shinkai conveys that despite how many of the characters are separated from each other, some of them wishes to stay with people they love, remains solitary only enforced by reality. In contrast, a minority of characters are usually accompanied and are not victims of loneliness, away from the majority. Ultimately, Shinkai encourages the audiences to think that although the society of Tokyo is cold and harsh, some characters are exceptional compared to the majority, and their presence should not be outshadowed under the stereotypical characters of Tokyo citizens.
(Body Paragraph 1)Shinkai depicts the majority of people in Tokyo as frosty individuals who neglects other people’s feelings. Those people are greatly impacted by one of the aspects of Japanese culture, which is “not to cause troubles to strangers”; since the relationships are usually built with some form of help given from one stranger to another, not much of deep relations can be formed with individuals in such mindset. Shinkai supports this through the character of Katai, the police officer, known for his strict and stern personality compared to his partner. For instance, when Hodaka expresses his desperate need to search for Hina and bring her back by himself, Katai fails to pay any sympathy; in response to Hodaka’s request, he said what Hodaka needs to do is to “step in [to the trial room] and answer some of [the Police’s] questions”. As a police officer, it is necessary for Katai to ensure Hodaka is under control; however, it is evident that from Katai’s bored and impatient tone, he does not care for Hodaka at all, not even attempting to comfort him. The attitude Katai shows to audiences is also a symbolisation of majority of the population towards the sunshine girl, that is, they demonstrate limited sympathy to fate happened upon other people. Similarly, the bully who trips over Hodaka and attempts to hire Hina portrays much of his alone nature when encounters Hodaka besides a rubbish bin, as he trips Hodaka to knock over the rubbish bin on purpose, forcing Hodaka to collect the bottles and cans in showers. As the bully does not portray any regretfulness to his behaviour, it can be predicted his behaviour will not allow him to be truly accompanied. Therefore, it is evident that many characters in Tokyo disregard other characters’ pleasures, which leads to loneliness they deserve.
(BP 2)Despite of the above characters who are alone due to their own personality, Shinkai also portrays some of other individuals keen on some forms of relationships, however, forced to stay solitary due to the nature of the harsh and competitive environment of Tokyo. Fate and hurdles associated with it usually pull those characters back, that other people in Tokyo cannot understand, given the society is already harsh. Shinkai suggests this with character of Suga, who is also the “employer” of Hodaka, and the CEO of K & A. When Yasui, the older police officer, comes to his company for a conversation in regard to Hodaka escaping, he mentions that the rationale is probably for “searching for the girl who was with him”. As the close shot of Suga’s refrigerator (as well as notes written by his wife, Asuka, and daughter beforehand) in this scene suggests, Suga is yet from recovering from his wife’s death and his small family’s collapse. Shinkai then further highlights this, as Suga later contains tears in his eyes, after hearing Hodaka is “throwing his life away”, just because there is “a girl [Hodaka] wants to meet so badly”. This reminds Suga that he is also desperate in terms of hoping his family may ever unite, which unfortunately cannot happen due to how his wife is killed in an accident, that his tears eventually roll out. Furthermore, when Suga made it to stop Hodaka in the tower and police infiltrates as well, Hodaka’s speech of “One more time… I want to see her!” once again reminds Suga to his wife; Hodaka in his own opinion is capable of saving Hina, in contrast, Suga might compare this scene to himself and Asuka, where he is unable to save Asuka. Under the motivation of intervening another tragedy from happening, Eventually, Suga decides to stop the Police from controlling Hodaka. Hence, Shinkai conveys that some of the characters in Tokyo might be solitary, however, this is not due to the mindset of such characters.
(BP 3)Apart from the characters who either meant to be alone or have to, Shinkai also illustrates the characters who are accompanied. Those individuals have close and reliable relationships for many reasons and are relatively unique in the modern society within Tokyo. Shinkai reveals these people via Hina and Nagi, one of the protagonists in the visual and her little brother. As the visual progresses to the scene where child welfares are about to separate the two siblings, Hina decides that “[Hina and Nagi] can’t stay here”. When Hodaka asks “Where would you go”, Nagi also responds “Anywhere will do”, as long as he is “with you, sis”, where “you” and “sis” refers to Hina. The courage for a 15-year-old girl leading his little brother only in the age of attending primary school cannot be estimated, and this is all for not to be separated from each other, even if they are disobeying the laws Through the escape of Hina and Nagi afterwards, Shinkai highlights the importance of relationships for the two compared to falling into loneliness. Parallel can be drawn to Taki, the male protagonist in Shinkai’s past work “Your Name.”, who also made appearance in “Weathering with You”, demonstrates his relations to his grandparents. He “came to help” Fumi, his grandmother, for Obon ceremony without any requests from Fumi for him to do so. His helpful and caring personality is distinct from the indifferent nature of individuals in Tokyo. Thus, Shinkai displays that some characters in Tokyo can be vastly different from the society’s trend.
(Conclusion) Ultimately, Shinkai conveys that although majority of the population in Tokyo are solitary from each other and fails to demonstrate understandings to others, different rationale and cause might be hidden behind the scenes and should be looked over differently. Whereas, some characters have a deep connection to others compared to the rest of the society, and may prioritise to protect such relationships if required. Ultimately, Shinkai suggests the audiences to be more careful to the relationships they already established, and aim to protect those relationships in a similar manner like Hina and Nagi does; if everyone applies a little more care to their relatives, eventually, a better world can be seen in the near future.
【谷歌生草器】
《天气之子》中东京的所有人物都是孤独的、孤独的。 你同意？
【简介】如今，孤独是现代社会普遍存在的一个社会问题，然而，目前还没有政府能够找到真正的解决办法。 新海诚的视觉文本《天气之子》讲述了一个离家出走的男孩和一个可以祈祷晴朗天气的阳光女孩在东京大都市中共同生存的故事。 在电影中，新海诚表示，尽管有多少角色彼此分离，但其中也有一些人希望与自己所爱的人在一起，但现实却迫使他们保持孤独。 相比之下，少数人物通常有陪伴，而不是孤独的受害者，远离大多数人。 最终，新海诚鼓励观众思考，尽管东京社会冷酷无情，但有些角色与大多数人相比是例外的，他们的存在不应该在东京市民的刻板性格下被预示。
（正文第1段）新海诚将东京的大多数人描绘成冷漠的人，忽视他人的感受。 这些人深受日本文化的一个方面的影响，那就是“不要给陌生人造成麻烦”； 由于这种关系通常是通过一个陌生人向另一个陌生人提供某种形式的帮助而建立的，因此，具有这种心态的人不可能建立太多深厚的关系。 新海诚通过警察片泰这个角色来支持这一点，与他的搭档相比，片台以严格和严厉的性格而闻名。 例如，当帆高表示他迫切需要寻找希娜并亲自将她带回来时，片泰没有表现出任何同情； 在回应穗高的要求时，他表示穗高需要做的是“走进[审判室]并回答[警方的]一些问题”。 作为一名警察，Katai 有必要确保 Hodaka 受到控制； 然而，从片泰无聊又不耐烦的语气中可以看出，他根本不关心帆高，甚至没有试图安慰他。 卡泰向观众展现的态度，也象征着大多数人对阳光女孩的态度，即对他人命运表现出有限的同情。 同样，绊倒穗高并试图雇用阳菜的恶霸，在很大程度上描绘了他在垃圾桶旁边遇到穗高时的孤独本性，因为他故意绊倒穗高，打翻垃圾桶，迫使穗高在淋浴时收集瓶子和罐子 。 由于霸凌者并没有对自己的行为表现出任何遗憾，可以预见他的行为不会让他得到真正的陪伴。 因此，很明显，东京的许多角色忽视了其他角色的快乐，这导致了他们应得的孤独。
(BP 2)尽管上述角色因自己的性格而孤独，但新海诚也描绘了其他一些热衷于某种形式的关系的人，然而，由于东京恶劣和竞争的环境的性质，被迫保持孤独 。 命运和与之相关的障碍通常会将这些角色拉回来，考虑到社会已经很严酷，东京的其他人无法理解。 新海诚用菅义伟的角色暗示了这一点，他也是穗高的“雇主”，也是 K & A 的首席执行官。当年长的警官安井来到他的公司谈论穗高逃跑的事情时，他提到： 理由可能是“寻找和他在一起的女孩”。 正如这一场景中菅义伟冰箱的特写镜头（以及他的妻子明日香和女儿事先写下的便条）所暗示的那样，菅义伟还没有从妻子的去世和小家庭的崩溃中恢复过来。 新海诚进一步强调了这一点，菅义伟在听到穗高“抛弃自己的生命”后，眼里含着泪水，只是因为“有一个女孩（穗高）非常想见面”。 这提醒菅义伟，他也迫切希望家人能够团聚，不幸的是，由于他的妻子在一次事故中丧生，这一切不可能实现，他的眼泪最终流了下来。 此外，当须贺在塔内阻止帆高并且警察也渗透进来时，帆高说出了“再来一次……我想见她！”的话语。 再次提醒须贺他的妻子； 帆高自己认为有能力拯救阳菜，相比之下，须贺可能会将这一幕与自己和明日香进行比较，而他却无法拯救明日香。 为了阻止另一场悲剧的发生，菅义伟最终决定阻止警方控制穗高。 因此，新海诚传达出东京的某些角色可能是孤独的，但这并不是这些角色的心态所致。
(BP 3)除了那些本来想独处或不得不独处的角色之外，新海诚还描绘了陪伴的角色。 这些人由于多种原因拥有密切而可靠的关系，并且在东京的现代社会中相对独特。 新海诚通过希娜和凪揭示了这些人，希娜和凪是视觉中的主角之一，也是她的弟弟。 当画面进展到儿童福利即将将两兄妹分开的场景时，雏决定“[雏和凪]不能留在这里”。 当穗高问“你想去哪里”时，凪也回答“去哪里都可以”，只要他“和你在一起，姐姐”，其中“你”和“姐姐”指的是阳菜。 一个15岁的女孩带着才上小学的弟弟，其勇气是无法估量的，而这一切都是为了不让彼此分开，哪怕触犯法律，通过逃亡 雏和凪之后，新海诚强调了与陷入孤独相比，关系对两人的重要性。 类似的例子还有新海诚过去的作品《你的名字》中的男主角泷，他也曾出演过《天气之子》，展示了他与祖父母的关系。 他“来帮助”他的祖母富美参加盂兰盆节仪式，而富美并没有要求他这么做。 他乐于助人、关心他人的性格与东京人冷漠的性格截然不同。 因此，新海诚表明，东京的某些人物可能与社会潮流截然不同。
（结论）最终，新海诚传达了这样的信息：虽然东京的大多数人彼此孤立，无法向他人表现出理解，但幕后可能隐藏着不同的理由和原因，应该以不同的方式看待。 然而，与社会其他人相比，某些角色与其他人有着深厚的联系，并且在需要时可能会优先保护这种关系。 最终，新海诚建议观众更加小心他们已经建立的关系，并像希娜和凪那样以类似的方式保护这些关系； 如果每个人都多一点关爱自己的亲人，最终，在不久的将来我们就能看到一个更美好的世界。
写了这么多，很快又会有一章，下次更新就放到下周二了嗷？
