Special feature of 1905 film network Children’s Day is not counted as Children’s Day without Doraemon. This is true.
From 2015 to this year’s Treasure Island in Daxiong, this soft and cute blue fat man who accompanied the "four generations" has become the standard of "six-one file" for four consecutive years, setting off an annual memory killing.
The latest release of "Treasure Island in Nobita" easily won the title of "No.61" with 160 million box office, with almost no rivals. Although it is difficult to surpass the 530 million achievements of Walk with Me, it is proud enough compared with the average level of Japanese animation in the mainland market.
Many people don’t remember that the theatrical version of Doraemon was first introduced to the mainland in 2007.
A remake of The Dinosaur of Nobita, a classic theatrical version from 1980, landed on the mainland screen as the first show of the series. At that time, the opponent he faced was in full swing.
In the end, in the case of limited filming, it still grabbed 21.71 million box office, which was enough to satisfy all parties in that era.
The following two films, due to various reasons such as schedule and announcement, were unsatisfactory, and the introduction of Doraemon came to an end.
Until 2015, the first 3D version of "Doraemon" made a comeback, and once again set off a memory killing. We were surprised to find that the "blue fat man" in the deep memory never seemed to go far.
With excellent word of mouth, marketing boost and national popularity, the film finally won 530 million box office, which was an out-and-out phenomenal "miracle" in that year.
In the following three years, Doraemon became a "six-one file" fixed configuration, and the box office also stabilized at the "100 million+"level.
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On the other hand, every post-80s and post-90s childhood is always full of Japanese cartoons, but it is an indisputable fact that Japanese animated films are frequently ignored in the domestic market. IP is as big as "Detective Conan", and "Pokémon" can’t escape the fate of acclimatization, and the box office is only tens of millions.
From this perspective, Doraemon, which has contributed more than 100 million box office every year, can definitely be regarded as a true national animation.
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So, what does the magical word "Doraemon" mean to countless post-70s, 80s and 90s?
It is difficult to simply use the word "feelings" in a word.
Tracing back to its source, Doraemon, originally called Robot Cat, was officially introduced to the mainland in 1991, and it was the first sci-fi cartoon with a growing theme that was exposed to the post-80s and post-90s.
In the story, the whole Doraemon is about the daily life of a cat robot and an obscure pupil. Around the hero, it is not a great adventure, but a daily past.
Those tired of exams, bullying classmates, rich second generation, female students who love to take a bath, and fathers who come home late and nagging mothers together form a picture of daily life. Therefore, although the theme is science fiction, Doraemon has gained an incredible sense of real life.
In terms of imagination, there is not much black technology in the sci-fi setting of Doraemon.
The dead can’t be resurrected, and history can’t be rewritten. Conventional props such as arbitrary doors and bamboo dragonflies will always fail at the right time. As a result, an adventure that seems to have a black technology blessing will always become a difficult trek relying on manpower in the end.
Moreover, in the setting of the story, Nobita Nobita, who has Doraemon, will not use the "ability" of Doraemon to do anything that makes the gods cry. What he does is just some piecemeal "trivial things" belonging to children.
It is precisely because of this neighborhood temperament with sci-fi elements that Doraemon has become a partner to accompany many teenagers to grow up.
Almost every teenager will have a "robot cat dream"; Will be tortured to death by exams. As these audiences become the mainstream of society, Doraemon has become a cartoon character and animation for all.
Therefore, it is not surprising that an annual theatrical version of Doraemon always laughs at the "June 1" schedule, making children and adults other than their parents pay for their own memories.
In the Treasure Island of Nobita, Doraemon and a group of friends once again started the adventure mode, and after necessary misunderstanding, adventure and loss, they will usher in a positive, bright and United tomorrow.
This is a routine, a way of telling stories, and everything that people hope to gain when they go to see Doraemon.
It is a pity that compared with Doraemon, which is an episode of ten minutes, the theatrical version tends to deal with some more grand structures and narratives. Therefore, the role of Doraemon props in the film is not so clear, and its fun is much less.
It is worth mentioning that Treasure Island in Nobita is more like a "remake". Because in 1998, The Great Adventure in the South China Sea by Nobita told the story of Treasure Island.
Old terrier’s new edition is nothing new. However, in Doraemon, it is because of repetition and the appreciation process of the whole people that stories, characters, themes and even props themselves are more nostalgic.
The reason why people want to satisfy their feelings is to find old souls in new skins.
Daxiong wants to be bullied, Doraemon wants to come up with new gadgets, Shizuka wants to take a bath, Pang Hu wants to use violence, and the husband, as always, brushes his sense of existence. Therefore, the Doraemon movies that have achieved good results in the China market are all movies of this number.
Even in the minds of many film critics, the film is nothing new, even it is well-behaved and familiar with pet phrase, but this formula still works.
It is not surprising that Doraemon has become a national animation, because family themes, appropriate imagination and years of constant bombing of works have made animated characters integrate into time and people’s lives.
People want to watch these, not because the animation itself has great magic, but because of the years of the audience attached to the animation.
