How to evaluate Makoto Shinkai?

Of course, it can be said that this is the style of Makoto Shinkai. When we are used to a movie with characters as the center and predicting possible plots throug

Of course, it can be said that this is the style of Makoto Shinkai. When we are used to a movie with characters as the center and predicting possible plots through the performance of characters, Makoto Shinkai emphasizes the plot itself in a maverick way. All elements of the work no longer have special significance alone, but serve the plot and pave the way for emotional expression. This also leads to a possibility that many viewers did feel the emotions that Makoto Shinkai wanted to express, but in retrospect, they were somewhat vague about the places that triggered their emotions, which was somewhat inexplicable and somewhat beautiful. So in my opinion, not letting the audience directly understand the meaning expressed by the director can explain two things: 1. The director can't tell stories; This director does have some connotations. In fact, Makoto Shinkai himself is "not very keen" on characterization. For a simple example, many people have seen many works by Makoto Shinkai, but after reading them, they can't even remember the names of the protagonists. It is true that it is impossible to show all the characteristics of a person in a work to the audience in two hours. However, we can recall that the protagonists in Makoto Shinkai's works are actually ordinary people. Perhaps their personality is a bit unusual, but it definitely does not affect that they are classified as ordinary people, or ordinary people set by "island high school students". As for why this happens, I personally agree with the existing views of many commentators: that is, Makoto Shinkai's role is set to be close to the public, so that the audience can gradually find their own shadow in the slow progress of the story, thus spreading the emotional value they want to express. I think this is actually proof that he can't tell stories. But to tell you the truth, the appearance of "The Court of Words and Leaves" really makes me very happy, and I feel that Makoto Shinkai has finally found a way to tell stories. The work itself inherits Makoto Shinkai's great efforts in photography, and at the same time, it is very complete in the story, ordinary but tasteful. Of course, this time, there is no ambiguity like reading prose, and everyone can clearly understand the context of the story. Personally, I think this is the second turning point of Makoto Shinkai's style change. (Actually, there is another interesting thing. I bet gay friends in high school that Makoto Shinkai's next work will be a masterpiece if it is still at this level. Gay friends said incredulously: The story of Makoto Shinkai is incomprehensible. If he were a work like God, he would go to the movies naked ... What happened later ...) As for Your Name, I think many people are analyzing it now, so I won't go into details. I just want to define my personality: this is an excellent phenomenal work, but it is definitely not the peak of Makoto Shinkai's works. It may be a bit off topic, turning character evaluation into film criticism, because personally, talking about characters from works may be the best way to understand this person.