本篇來源于學(xué)校的作文練習(xí)：

All characters on ranch?discriminate others?in "Of Mice and Men". Do you agree?

其中“Of Mice and Men”是一本小說，被學(xué)校拿來當(dāng)課本了。

作者君在寫完了上面這篇之后認(rèn)為，將作文練習(xí)與新海誠結(jié)合起來，可謂是寓教于樂的絕佳方針。

所以，題目被改成了：

All characters in Tokyo are solitary in "Weathering with you". Do you agree?

（后面有谷歌翻譯版本）

也算是有趣的中外英語水平對比了吧，各位讀者不妨試著讀一讀；作者君是英語為第二語言（教綱與一語不同）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】

《天氣之子》中東京的所有人物都是孤獨的、孤獨的。 你同意？

【簡介】如今，孤獨是現(xiàn)代社會普遍存在的一個社會問題，然而，目前還沒有政府能夠找到真正的解決辦法。 新海誠的視覺文本《天氣之子》講述了一個離家出走的男孩和一個可以祈禱晴朗天氣的陽光女孩在東京大都市中共同生存的故事。 在電影中，新海誠表示，盡管有多少角色彼此分離，但其中也有一些人希望與自己所愛的人在一起，但現(xiàn)實卻迫使他們保持孤獨。 相比之下，少數(shù)人物通常有陪伴，而不是孤獨的受害者，遠(yuǎn)離大多數(shù)人。 最終，新海誠鼓勵觀眾思考，盡管東京社會冷酷無情，但有些角色與大多數(shù)人相比是例外的，他們的存在不應(yīng)該在東京市民的刻板性格下被預(yù)示。

（正文第1段）新海誠將東京的大多數(shù)人描繪成冷漠的人，忽視他人的感受。 這些人深受日本文化的一個方面的影響，那就是“不要給陌生人造成麻煩”； 由于這種關(guān)系通常是通過一個陌生人向另一個陌生人提供某種形式的幫助而建立的，因此，具有這種心態(tài)的人不可能建立太多深厚的關(guān)系。 新海誠通過警察片泰這個角色來支持這一點，與他的搭檔相比，片臺以嚴(yán)格和嚴(yán)厲的性格而聞名。 例如，當(dāng)帆高表示他迫切需要尋找希娜并親自將她帶回來時，片泰沒有表現(xiàn)出任何同情； 在回應(yīng)穗高的要求時，他表示穗高需要做的是“走進(jìn)[審判室]并回答[警方的]一些問題”。 作為一名警察，Katai 有必要確保 Hodaka 受到控制； 然而，從片泰無聊又不耐煩的語氣中可以看出，他根本不關(guān)心帆高，甚至沒有試圖安慰他。 卡泰向觀眾展現(xiàn)的態(tài)度，也象征著大多數(shù)人對陽光女孩的態(tài)度，即對他人命運表現(xiàn)出有限的同情。 同樣，絆倒穗高并試圖雇用陽菜的惡霸，在很大程度上描繪了他在垃圾桶旁邊遇到穗高時的孤獨本性，因為他故意絆倒穗高，打翻垃圾桶，迫使穗高在淋浴時收集瓶子和罐子 。 由于霸凌者并沒有對自己的行為表現(xiàn)出任何遺憾，可以預(yù)見他的行為不會讓他得到真正的陪伴。 因此，很明顯，東京的許多角色忽視了其他角色的快樂，這導(dǎo)致了他們應(yīng)得的孤獨。

(BP 2)盡管上述角色因自己的性格而孤獨，但新海誠也描繪了其他一些熱衷于某種形式的關(guān)系的人，然而，由于東京惡劣和競爭的環(huán)境的性質(zhì)，被迫保持孤獨 。 命運和與之相關(guān)的障礙通常會將這些角色拉回來，考慮到社會已經(jīng)很嚴(yán)酷，東京的其他人無法理解。 新海誠用菅義偉的角色暗示了這一點，他也是穗高的“雇主”，也是 K & A 的首席執(zhí)行官。當(dāng)年長的警官安井來到他的公司談?wù)撍敫咛优艿氖虑闀r，他提到： 理由可能是“尋找和他在一起的女孩”。 正如這一場景中菅義偉冰箱的特寫鏡頭（以及他的妻子明日香和女兒事先寫下的便條）所暗示的那樣，菅義偉還沒有從妻子的去世和小家庭的崩潰中恢復(fù)過來。 新海誠進(jìn)一步強調(diào)了這一點，菅義偉在聽到穗高“拋棄自己的生命”后，眼里含著淚水，只是因為“有一個女孩（穗高）非常想見面”。 這提醒菅義偉，他也迫切希望家人能夠團(tuán)聚，不幸的是，由于他的妻子在一次事故中喪生，這一切不可能實現(xiàn)，他的眼淚最終流了下來。 此外，當(dāng)須賀在塔內(nèi)阻止帆高并且警察也滲透進(jìn)來時，帆高說出了“再來一次……我想見她！”的話語。 再次提醒須賀他的妻子； 帆高自己認(rèn)為有能力拯救陽菜，相比之下，須賀可能會將這一幕與自己和明日香進(jìn)行比較，而他卻無法拯救明日香。 為了阻止另一場悲劇的發(fā)生，菅義偉最終決定阻止警方控制穗高。 因此，新海誠傳達(dá)出東京的某些角色可能是孤獨的，但這并不是這些角色的心態(tài)所致。

(BP 3)除了那些本來想獨處或不得不獨處的角色之外，新海誠還描繪了陪伴的角色。 這些人由于多種原因擁有密切而可靠的關(guān)系，并且在東京的現(xiàn)代社會中相對獨特。 新海誠通過希娜和凪揭示了這些人，希娜和凪是視覺中的主角之一，也是她的弟弟。 當(dāng)畫面進(jìn)展到兒童福利即將將兩兄妹分開的場景時，雛決定“[雛和凪]不能留在這里”。 當(dāng)穗高問“你想去哪里”時，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”指的是陽菜。 一個15歲的女孩帶著才上小學(xué)的弟弟，其勇氣是無法估量的，而這一切都是為了不讓彼此分開，哪怕觸犯法律，通過逃亡 雛和凪之后，新海誠強調(diào)了與陷入孤獨相比，關(guān)系對兩人的重要性。 類似的例子還有新海誠過去的作品《你的名字》中的男主角瀧，他也曾出演過《天氣之子》，展示了他與祖父母的關(guān)系。 他“來幫助”他的祖母富美參加盂蘭盆節(jié)儀式，而富美并沒有要求他這么做。 他樂于助人、關(guān)心他人的性格與東京人冷漠的性格截然不同。 因此，新海誠表明，東京的某些人物可能與社會潮流截然不同。

（結(jié)論）最終，新海誠傳達(dá)了這樣的信息：雖然東京的大多數(shù)人彼此孤立，無法向他人表現(xiàn)出理解，但幕后可能隱藏著不同的理由和原因，應(yīng)該以不同的方式看待。 然而，與社會其他人相比，某些角色與其他人有著深厚的聯(lián)系，并且在需要時可能會優(yōu)先保護(hù)這種關(guān)系。 最終，新海誠建議觀眾更加小心他們已經(jīng)建立的關(guān)系，并像希娜和凪那樣以類似的方式保護(hù)這些關(guān)系； 如果每個人都多一點關(guān)愛自己的親人，最終，在不久的將來我們就能看到一個更美好的世界。

寫了這么多，很快又會有一章，下次更新就放到下周二了嗷？