Feedback.

1. the storyboard is drawn in the wrong order, but the important shots can be understood.
2. too many characters are involved and their relationships are complex, requiring more content to organise and causing confusion. It is recommended that observers be allowed to stay out of the way throughout and comment in real-time so that the focus of the show is on how the protection organisation fights the villains and how it reflects the values of culture.
3. the characters are laid out for a long time and the theme is entered more slowly, which tends to make the viewer forget the focus of the variety show. one could choose to intersperse the footage and content of the cartoonists and designers in appropriate sections, but since it is the first talk so one can understand this.
4. if the focus is to introduce the cartoonists and designers, then the game may be noisy and take away from the main focus.
5. there is a relatively big problem with the timing and the overly long prequel tends to cause tedium.
6. pay attention to the pacing of the editing, the overall bias towards microfilm and less like a variety show shoot.
7. it is recommended to use the moodboard more often, so as to better express the effect of the images you want to produce.
8. the need for better integration of content and text instructions, otherwise it is difficult to clarify the timing of the overhead, flat and sideways shots.
9. judging by the storyboard the overall style may be a bit absurd, try special angles, such as big elevation and big overhead shots or fisheye shots, which are more dramatic.
10. if there is no detailed script, the fifth and sixth words, the act of shaking hands between the observer and the defending organization has some conflict with the following generation of suspicion.
11. the need to plan the camera language for the climax, i.e. to describe it in more detail, and the need to make it clear to the audience exactly what is the point.
12. the most important aspect of how to incorporate comics and fashion does not seem to have been incorporated yet, at least for the time being, at the beginning of the plot.
13. the storyboard is written in such a way that it needs to be both serious and funny, in what details does it show, whether through characterisation or sound effects?
14. the important thing is to highlight the character, the variety show needs the character to have a clear image in order to better characterise the show, what he can do, why he does it, where the conflict points are and why it can show its value.
15. if you want to show the value of these two cultures, how exactly should they be represented, is the game really just about bringing in the funny?
16. pay attention to the time allotment, a brief introduction in the opening scene would be fine, showing that the villain wants to destroy just fine, this is not a film that needs to be made with a deep image of a certain villain, in Variety this is just a premise to assist in advancing the pace.
17. you also require a serious background atmosphere when laying out the introduction to the Watchers, which should contrast with the villains as to whether the audience can immediately understand that they are in fact the good guys. the shots in these scenes do have the feel of a secret agent film.
18. the most important thing about variety is that it’s fun and games are the key, while the value output of the anime and fashion you’re asking for is more important. most of the character padding is unnecessary, so the audience knows who he is and that’s it.
19. How to get the audience interested in still wanting to know is something to consider; if the character is really important, does it have a special meaning?
20. What is the most intuitive way to get the audience to understand the theme you want to express, this is not a film with deep meanings that the audience needs to take their time to understand and guess, this is a variety show, it is about being concise and clear.
21. it’s really hard to see any direct connection between anime and fashion in the current plot, so why not just go straight to the point, instead of laying it out too deep and being hollow.

Reflect：

I do need to reconsider the division between primary and secondary characters, the villains are not really important characters just characterizations to advance the plot. If the villains were introduced with less padding, more space could be allotted in terms of time for key artists and designers. But if the depth of the villains was deepened, giving them a unique personality so that they could combine any bit of anime and fashion it would be easier to move the plot along and deepen the theme. But given that this is a variety show and not a movie, perhaps a weaker portrayal of the villain would have been better suited to a lighter, funnier pace.

As for the Watcher, I myself wanted to explore the value of fashion and anime through an observer’s perspective, and based on feedback it might indeed have been more objective to have it rise above the usual characters and stand in the same light as the audience, which would have resonated better. The Protector’s Organisation setting also needs to be reconsidered, the original intention was to have traffic stars to engage the audience. The original plan was for the artists and designers to be similarly positioned as guests, but perhaps it would have been quicker to place them directly into the plot.

There was some hesitation as to which was more important, the content of the game or the presentation of the artists and designers. I wanted to rely on the game as the focus to convey basic cultural knowledge, but it may not be able to directly convey cultural values, as the game is light and fun but lacks seriousness. If the focus is on the artists and designers, it is possible to bring the audience closer by showing the daily workflow and environment. What the audience wants to gain is unknown information to satisfy their curiosity and thus remove the sense of distance, and I think I should find a balance. But at heart, I still expected the game to be responsible for the attraction and the output of the two cultures to be a gentle transition.

When I conceived the whole story line, I wanted to have a serious atmosphere with a reverse of cute and clumsy, using the contrast to be funny, but this idea might be more like making a film than a variety show, and maybe the style of a single episode could be presented that way, but the overall tone needs to be light-hearted and fun, but in conflict with the content of “spoilers”.