Author: mjn
Cover source: Full-time Hunter
(If the video link in the article cannot be opened, please go to Anitama to browse the original text and watch the video. The original text address is shown below the article)
In the movie and TV series, the actor expresses the feelings of the characters in the play through his own expressions, expressions and actions. Animation is the original artist expressing the feelings of the characters in the play through his own imagination and painting power.
The original artist with superb skills, like a powerful actor, can accurately convey the emotions of the animated characters to the audience.
Click to watch the video
The above clips are selected from "Death Game" and the new version of "Full-time Hunter", both of which are painted by the original Chinese painter Liang Boya. This time we invited her to talk about animation paintings.
She entered madhouse in 2011 and participated in the young animation producer breeding program at the end of 2012, "Death Billiards" of the future of animation. She was promoted from animation to original painting, and was promoted to painting supervisor in the eighth episode of this year's sequel "Death Game" and participated in a large number of madhouse works mainly "Full-time Hunter". Now that I have left madhouse, I have begun to participate in more different works. The first part of
mainly talks about the drawing steps in animation around the position.
- Q: What are the steps to draw an animation? Or what is the job of original painting?
A: Generally, the original painting will get the storyboard and area division table, as shown in the figure below:
(area A B C represents the scene where the story takes place, BANK means the material and lens that can be reused)
Since it is necessary to ensure that the plan can be completed on the schedule, it will generally be divided more carefully, with an average range of about 10-20.
Original paintings will be selected from the scope you want to do, and will hold a painting meeting with the performance (i.e., executive director, on-site management), determine some requirements and schedules for paintings, and then you can start your homework. The original paintings that are responsible will first draw LAYOUT (the design draft, including the grassland, which is commonly known as the first original painting, as well as the background original picture and the law), then hand it over to the performance for the first time to check and give modification opinions, then go to the painting supervisor for refinement and correction, and finally return to the original painter to clean the lines, and then cut it in the animation. Generally speaking, the same original artist will take on a complete shot until the animation is cut. If the original painting encounters a collision period, someone will be invited to clean the original painting. This is what we commonly call the second original painting. In addition to cutting the middle frame in the animation, you also need to draw the original painting again. Because the original painting cannot be directly scanned and colored, the animation needs to be drawn into lines that can be directly colored. We see on the screen that are actually all animation lines. If the animation is not well drawn, it may directly waste the hard work of the original painting supervisor, which is also a very important link. Generally, animation painters are in the order of animation, second original painting, original painting, and painting supervision. They learn step by step and accumulate experience step by step and slowly improve.
- Q: Responsibilities for painting supervision and performance in each episode?
A: For series, single-episode performances and painting supervision are relatively fixed combinations, which is convenient for running-in. The performance is responsible for supervising composition, acting skills, time, camera effects and editing; the painting supervisor is responsible for the quality and degree of refinement of the episode. The focus of the two is different and complement each other.
- Q: Responsibilities of general painting supervisor?
A: The general painting supervision is responsible for the picture quality control of the entire series. It is generally accompanied by character design, supervision of various series, OPED supervision, DVD, BD and other activities copyright posters.
- Q: So how to supervise the quality of paintings in an episode?
A: Generally speaking, the storyboard is stuck more severely, and there will be less interference in painting, because that is the work of painting supervision w
In addition, the supervision will randomly check some shots for each episode to perform the performance correction. If time allows, it will also attend the sample test many times and put forward modification opinions. The second part of
mainly revolves around "Death Billiards", which was first involved in the original painting. "Death Billiards" is a work in the development plan of the young original artist - the future animation project. It is produced by Madhouse, supervised by Tachikawa, and supervised by Shinichi Kurita's paintings.The sequel to "Death Game" will be released in January this year and has been completed now.
- Q: What was the opportunity to participate in "Death Billiards" at that time?
A: I didn’t know about this before I entered madhouse. After passing the original painting exam, the company came to us and told us that there was such a plan, so it was seamlessly connected. It can only be said to be lucky.
- Q: From that time on, I was helped by the supervision of Shinichi Kurita (Weibo: http://weibo.com/u/5646402873) and Tachikawa. I feel that I have a lot of interaction with them?
A: Yes, they have brought our original paintings from 0 to today, and they are like a master.
- Q: Tachikawa makes the supervisor seem to have more realistic films. What are the personal characteristics of making films? For example, in composition photography?
A: The selection of lenses is closer to real shooting in terms of focus. I remember he said that he wanted to be a real shooting director in the past, and he probably only did the animation after failing, haha.
Click to watch the video (the video is the part that takes on the original painting for the first time. The size is about 7MB)
- Q: The original painting you are responsible for in "Death Billiards" is very powerful. It is amazing that an original painting that just debuted can achieve this level. Did you spend a lot of effort at that time?
A: Puff, it's not amazing at all. OTL Now, there are still many flaws when you look back. At that time, I was indeed seriously re-repaired, especially when the young man rushed to the piano platform (Figure 1) followed the pool table to cover his mouth and staggered (Figure 2) These two shots were re-repaired the most times. OTL
Figure 1:
Figure 2:
2
I searched for a lot of films, and I did it in front of the mirror many times at home, like a psychopath. The reason for the first shot to be re-repaired is that it is not able to reflect the anxious feeling during running. The director prefers the feeling of real shooting, so he also prefers the real one in his acting skills.
The second shot is rare, except for the acting skills, it is a wide angle three-point perspective. The wall is still round, making it even more difficult to draw, and it has been repaired 6-7 times. OTL
Because I was so formal in the first time I drew such a formal original painting, I had no experience except that I was very nervous. The plan was still relatively ambiguous at that time. The supervisors still taught very patiently and learned a lot.
- Q: The scene setting of "Death Billiards" is also very detailed. This is also a lot of time in the Layout stage, right? (layout, referred to as L/O, is the overall composition of the original painting based on the storyboard, and the background is also drawn based on the layout.)
A: Haha yes, because there is only one main scene in the whole article, and it is all indoors, except for a few memoir shots that can be created by us. But this supervision was intended to let us learn, so we set up many levels in the scene, such as the wall is round, and the proportion of this circle is calculated accurately. The ceiling is very high, and that sense of space is very difficult for newcomers, especially by hand-drawing the perspective line to unify the positional relationship between the front and the back.
- Q: Is it changed to 3DL/O in "Death Game"?
A: Yes, because considering the schedule, there will be plenty of time for animation to think about in the future, and the number of people is easy to control. Once the series is reached, the scale is not that simple. In order to reduce the large amount of rework time consumed by perspective errors, all the scenes in the bar use 3DL/O for assistance.
- Q: Does it have any negative effects or negative effects in performance when it is made into 3DL/O?
A: Yes, the perspective will be fixed and rigid, which will also have certain restrictions on painting. When you get used to this kind of 3D L/O, you will become unfamiliar when you draw back ordinary composition without auxiliary.
- Q: What kind of work experience did "Death Billiards" come later?
A: After the billiards ended, the Hunter's GI chapter (Greedy Island chapter) was coming to an end. Just as the Ant chapter was about to start, I became a Hunter, and the schedule was still smoothly connected. He was officially joined in about half a year later and became a freelancer. The third part of
mainly revolves around a special clip of the new version of "Full-time Hunter", which talks about painting ideas and some interesting things related to painting.
- Q: You are all the middle and last parts of "Full Time Hunter" episode 146, right? It lasts for nearly 5 minutes and has nearly 60 shots, and the overall performance is very outstanding, and the characters' acting skills are very meticulous. There is a different way to paint the overall painting. What were the considerations at that time?
(the part with different colors on the overall painting)
Click to watch the video
A: I was also very worried about how to express that mood when I read the original comic. There are almost blank spaces in the original work. It is OK if it is a manga, but for animation, it will appear boring over time.
(sliced from the original comic of Cecio Yibo)
At that time, the supervision had only one requirement, which was to have the spotlight effect and highlight the feeling of loneliness. On the other side of the performance, I let go of the whole story and let me take responsibility.
I really want to highlight the texture of the pencil lines, so I chose some softer pens, and emphasized them with the side tip on some edges. Aruka's hair and some of the original blackened areas have also been changed to line lines to increase the transparency. The remaining lines are vibrating, and there is no choice to use the plug-in to vibrate later, but to reflect it by increasing the number of pictures of the same-scanning vibration. I feel that using this effect at this time can increase the feeling of unstableness in the picture and reflect the complex mood in the character. But such lines will bring great burden to the cutting and scanning coloring in the animation. I thought that since such a rare opportunity, please let me be willful ww
In order to maintain the quality, the lines and colors must be separated. Later, I heard from the production that the girl who painted the coloring cried and deducted the color. Thank you very much. Unfortunately, I didn’t have time to add the effect of crayons to the photography. Later, I asked if I wanted to be the effect like that of Princess Zhu Ji? Maybe it happened to be the release period, but it was really just a coincidence. I didn’t even remember this when I did it. I also wanted to pursue that light white water color with blurred edges. When I first started because I didn’t give a more specific impression picture, I was not very satisfied with the effect I did in the later stages. The color was much darker than what I saw now, but when I was testing the collective sample, I didn’t seem to be dissatisfied with the supervisors, and there was really not much time left before the broadcast. But after the disbandment, I appealed again out of my paranoia, asking for a change of color and I provided the impression picture myself. It was 12 a.m. at that time, and there were more than ten hours left before the final film was handed in the next day. So I quickly borrowed my colleague's computer and handwriting board and started drawing while eating instant noodles in the company. Then he turned his head but was surprised to find that the supervisor and P had not left for a long time. It turned out that they were waiting for my final effect! ? To be honest, I was very moved at that time. Everyone was the same in order to make the work better. So there is the film effect I see now.
: When it comes to the difference between the storyboard, it is probably the third TB lens. The rotation and rise effect was proposed by me. I also thought it was good and adopted it. It turned out to be just an ordinary backward TB. I feel that there will be a kind of drifting away at that time and the atmosphere is entering a climax. Using such a lens will highlight my intentions. In terms of acting skills, what I am personally satisfied with is the second shot. Killua hugged and stroked Aruka's head while slowly burying his head into Aruka's hair, because at this time, Killua's various entanglements, distress and other complex moods in his heart would definitely not be summarized by a simple action of stroking his hair. There may be a subconscious action that temporarily wants to escape reality and choose to bury your head. This is how I understand w
Generally speaking, when we do our homework, we don’t know which scene to use what BGM, at most we just make up for it ourselves. It is rare that the BGM used in the whole segment this time overlaps one of the BGMs I have imagined, so the atmosphere is still very consistent with the effect I originally thought.
- Q: The following one is also very thoughtful when standing up and shaking. It is not very evenly shaking, but has a little inertial center of gravity effect. It is also a matter of thought, right?
A: Yes, from the front camera, Aruka has been sitting on his brother's thighs. After getting up, he must go around the position of his brother's legs and retreat directly before he can walk to the position where he is talking to his brother. So I designed it as a perspective from Killua, following the characters' movements. At this time, Aruka was very excited and was in a hurry to get up, so he might not stand too steadily when he got up, so he gave some buffering movements in the last part. Since you can't see the movement of your feet throughout the whole process, you still need to consider many things outside the photography frame when drawing. If you don't appear, it does not mean that they do not exist. At the same time, you also want to bring the audience into this process.
Different original artists have different fields of expertise. Some original paintings are suitable for fighting, and some original paintings are suitable for smoke explosion and other special effects. The fourth part of the interview mainly revolves around Liang’s acting skills and painting.
- Q: I feel that I am responsible for acting now, and there are many parts like expressions. Do you intend to lean in this direction?
A: Yes. Personally, I prefer delicate emotional performances more than action scenes. I was most impressed by the animation before. Some of the scenes that impressed me the most were basically like this. Haha, although the action scenes look very pleasant, I feel like I will soon forget them.
- Q: How are these acting skills with changing expressions conceived? Have you ever had the experience of acting in front of the mirror and then watching the painting by yourself? XD
A: Yes, what you think is actually more important is that you have to get involved in the show, and what you draw with your emotions can be conveyed to the audience.
(Shot of the Wind in the Death Game Episode 6)
When drawing the Death Game Episode 6, Mayu's face was blown by the Wind in the Death Game, because she didn't know the structure of the internal teeth, she was shaking her face in front of the mirror and putting on various strange shapes. Fortunately, her seat was in the innermost part of the innermost, but no one came here, otherwise it would be shameful to be seen PLAY to the extreme wwwwww
Click to watch the video (the painting part of the full-time Hunter episode 116)
- Q: This whole detail is very attentive. I used to make a painting note specifically for this: http://blog.sina.com.cn/s/blog_67c895020101htoq.html It seems that I spent 8 hours writing it, and you can see the bits and pieces of the original painting in the design picture, as well as the efforts of performance and painting supervisors. Now I don’t know if there are any new ideas? It took unprecedented effort and time to draw this whole part at that time?
A: Haha yes, especially this scene is intertwined by a senior whom I respect very much. The pressure is very high. I am afraid that the effect will be compared. My lack of experience will be exposed all of a sudden, and the audience will be disappointed. After all, I like this original work very much and don’t want to destroy it with my own hands. When I watched
again, I felt that I could study the changes in the lines and make some effort. Because one shot that inspired me a lot afterwards was the shot of Xiaojie raising his head by his senior:
Xiaojie leaned forward slightly and his expression became even more ferocious and subtle movements. Here is a 1-beat-1 painting. The senior said he wanted to experiment with expressing the anger by adding the shaking of the lines caused by the middle cut details. Then he finally thought about it but didn't expect it to be such an effect. This idea is something I have never thought about. In the past, my understanding of the number of centered numbers was only at the stage of fluency or not, and I didn't expect it to be used like this. The same effect of using lines to shake the remnant anger also appeared in the next 131 episodes:
Click to watch the video (the shot at 11 seconds, painted by Madhouse's top original artist Hidehiko Sawada)
In addition, it is the shot of Xiaojie bursting out. Now it feels too conservative, and you should be able to draw more tension haha. The overall design draft space feel is relatively weaker. At that time, I didn’t master some remote perspective compression at that time, although I am still working hard now.There are also some light source positions projected from the pierced ceiling in the background. One of the reasons why the design drafts on the senior side were beautiful is also found. I was too focused on the action design of the characters at that time, and my consideration of other things was too casual. I did not arrange the light source positions very well, which led to the atmosphere of many shots being very ambiguous. Compared with the series of shots of the seniors behind, the connection between the shots in the middle is really a bit bad, laugh. I really admire the actions designed by my seniors on a series of shots, the allocation of time, and the feeling of being done in one go. Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh ! Feel sorry! ! ! Become a senior painting sharing session OTL. . . The fifth part of the interview with
revolves around "crying". It turns out that crying in the animation is also divided into many types according to the type of film.
- Q: I feel that you are good at drawing tears, and the big beans feel like the tears rolling down. Have you studied it yourself?
Click to watch the video (intercepted from the second episode of the Death Game, 1.5M)
A: Actually, I am not very good at drawing haha. I am still constantly studying and experimenting. At present, this shot in the second episode of the Death Game is one of the most satisfactory results of my experiment during that period. I have also found a lot of references, but what impressed me the most is the episode of Xiaomai and Wang Lin's death drawn by a colleague of mine. Xiaomai cried while talking to Wang.
Click to watch the video (intercepted from the new version of Full-Time Hunter Episode 135, 3.2M)
Here is a distraction. In terms of style, the overall atmosphere of the Death Parade is still facing the older people. Most of the guest characters designed in it are adults, and their acting performance is more mature and realistic. Even the crying scenes will not be as "heart-wrenching" as the crying acting mentioned in the white box.
click to watch the video (Episode 3 of the Confession box, 1.4M)
has relatively fewer changes in the video and is quieter, so that the audience can concentrate on paying attention to the subtle changes in the atmosphere caused by the dialogue between each character. From death billiards, death games to Tokyo Remnant, I really think that director Tachikawa likes to perform such psychological warfare dramas (laughing
Back to this scene, the plot happens to be Machiko feels extremely desperate for her collapsed husband Takashi, but when she looks at the ring on her hand, she recalls all kinds of happiness in the past. The director gave a close-up camera, and the background uses the giant crystal lamp on the ceiling to make a relatively strong contrast between light and dark with the foreground characters. He wants an atmosphere that is quiet on the outside but extremely surging on the inside. After all, it is What kind of tears can reflect such an effect? It is also quite troubled for me, who has not had much experience in life. According to the above habits of some directors, my final judgment is that the focus should be on the performance of the tears itself, rather than the dynamics of the actors. In fact, there are some details hidden in this shot. The two shots used together are similar, but the parts of the screening are different and the effects are different. I also made subtle changes to the expressions of Machiko in the two shots. The first one is before the memory. As shown in the picture:
Because her husband's extreme distrust of herself deeply hurt Machiko. She was puzzled, so she kept frowning, tears kept spinning in her eyes, and she felt very aggrieved. Because her emotions were complicated, the director didn't want the audience to see too clearly Machiko's expression too early and cut off the part of her mouth.
Then some past proposals flashed through the scenes. Machiko remembered the oath she promised to her, and slowly began to immerse herself in that sweetness, comparing her current self I looked embarrassed and felt helpless. So I loosened my eyebrows a little, and a wry smile appeared at the corner of my mouth. Tears finally couldn't help but burst out. This was the part where the director wanted to fully display Machiko's expression, so he moved the cutting frame down to the part where he could see his mouth. As shown in the picture:
I observed it carefully. The tears were gushing out very quickly, but the speed of falling along the cheek was not fast. At the same time, I also wanted to give the audience a longer time to see their dynamics.The original number of pictures in this shot is still used more than before. I thought that there will be some subtle differences every time I fall, and then these differences will enrich the changes in the rhythm. In addition, when you are a hunter, you will find that adding color to your tears is not very good. This time, you will simply leave only the lines, highlights and shadows, and some slight glow. But I still felt that there was some difference in texture. I suddenly remembered that in the past, when Hunter Theater 2, my sister helped me with an effect. At that time, there was only a drop of falling tears. She added a ripple effect to the tears. This effect will have some unique twisting effect in the water, and using it here just adds some water texture. Also, considering that the character's emotions must be quite excited at this time, it is a state of extreme patience, so I also used a speed of 1 times faster than usual to achieve the highlights on my eyes. As a result, the overall effect is quite satisfactory (Laughing
interview part 6 talks about expressions and action scenes.
- Q: The expressions of the two pictures below are very interesting. Did you take the time to modify them? Did you have this impression in your mind before, or would you slowly modify them to get closer?
A: Yes, I really thought about it for a long time when I was painting, because it was too detailed, and the angles between the eyebrows, the corners of the eyes and the corners of the mouth were really subtle. I remember Superintendent Tachikawa once explained to me at a painting meeting how to use the shape of the corners of the eyes to express emotions, so that I knew that the only thing that could tell the story was not only the eyebrows www
Drawing Before taking some shots, my mind was actually a little blurred. When I actually operated on paper, new ideas and various contradictions would constantly emerge. However, what was presented to the audience is the result of our original painting struggle with ideas ww
If we combine the character of the character, the meaning of the gentle smiles of the two people in the picture is also completely different. Dejim in Picture 1 understood the emotion of laughter for the first time since his birth, which came from thanks and reluctance to knowing happiness. Killua in Picture 2 is very rare. As an older brother, he shows his love for his family.
- Q: Although this action scene is very short, the details are still very attentive, such as the expression changes of the characters in the above card, the speed of coins, and the fluttering earrings. Is there any difference between the process of action scene painting and ordinary scenes?
Click to watch the video
A: In fact, it is mainly because once the amplitude of the lens changes increases, it will increase the chance of painting on large paper. Unlike paperless painting, the size of the paper will also affect the speed of work.
In addition, the amplitude of the lens movement also needs to be drawn very accurately in the draft stage, otherwise when drawing the background for later use, you will find that the size is not as good as the length. Many people may think that the calculation of the amplitude of the lens movement should not be the job of the original artist, but is adjusted by the post-production personnel according to the atmosphere. In fact, Our original artists need to be responsible for all the details of the lens at the beginning. The lens moves a few centimeters and needs to be coordinated with the actions they designed. Such instructions also need to be conveyed to the people in the subsequent production process, but we cannot do every shot and talk directly to the post-production personnel. In the case of some other companies' later outsourcing, the original artists almost never see the post-production personnel, so they must communicate information with each other through some general instructions on paper. This is also recommended that the original artists take time outside their functions to understand how people in other processes work, know how they handle their own materials, what problems they will encounter during the processing process, what they draw can be used and what they cannot use, and then improve their shortcomings based on mutual communication and enhance team efficiency. After all, the production of animations is linked together, and the team needs to be united to exert its maximum strength.
Another thing that needs to be noted is that the linkability between each shot of the action scene and the time allocation between the actions. The difference between several frames has a great impact on the rhythm, and the higher the requirements for this when it is necessary to create a sense of tension. The last part of the interview with
talks about the experience of different positions in different places.
- Q: There are many different experiences and feelings every time, right?
A: Yes, the more you go up, the more you will find some problems you can't find before. Learn to look at the work in the next link from a different standpoint, and pay more attention when doing the same work again. For example, when you make an animation, you will know where the middle cut will easily collapse when you draw the original painting. When you draw the original painting, you will consciously add some reference sheets; after doing painting supervision, you will know where the accuracy of the original painting will be improved, and so on.
Recently, I learned that there are more detailed divisions in the positions of painting supervisors. In addition to the painting supervisors in special fields that we are familiar with, such as special effects painting supervisors, food painting supervisors, figure painting supervisors, action painting supervisors, mechanical painting supervisors, etc., there are also two positions: original painting supervisors and work supervisors. Generally speaking, a main painting supervisor will be released in a single assembly, responsible for supervising the L/O and original paintings or modifying the law table, and the cut number will naturally be fully covered; when there is insufficient staff, assistants will be recruited, that is, supervisors will be assisted, and the scope of functions is similar, that is, the number will be about half or even about 3 minutes. The original painting supervisor is only responsible for the modeling, and does not repair the L/O and original paintings, and the number will be about 30-50 shots, sometimes even less.
- Q: The main job of being a supervisor is to correct it. Will such a work be boring? It seems that some original artists just don’t like to be pretentious.
A: I think it will still vary from person to person. Some people are suitable for painting supervision. Some people are not suitable for painting. For example, some original paintings are good at motion design and are very sensitive to time and lens control. Instead, they are not interested in drawing some very detailed and exquisite things. Such people may not be very suitable for painting supervision. And the more troublesome thing about painting supervision is that. Because I have to take care of the quality of the whole episode, I can't relax until the last moment of the film. I checked the errors and omissions over and over again, and modified the broken places like a nanny, unlike the original painting. After clearing the lines, there is nothing to do after the cut in the animation, and the broken places will not be modified by the original painting. Some people don’t like such troublesome things and will not choose this direction to develop.
- Q: However, at the end of the film, we can only see painting supervisors or painting supervisors assisting (cooperation) and there are a large number of painting supervisors, such as six or seven in one episode? It’s not a good thing to have too much painting supervision, right?
A: Yes, the style and processing methods of the picture will become very messy, but sometimes there is no way to keep up with the schedule. OTL
- Q: Also, what do you think about overseas outsourcing? Now when it comes to outsourcing, it seems that it is synonymous with poor quality, but it is not necessarily true?
A: I don’t think it’s generalized. Sometimes, domestic homework in Japan will encounter situations where the quality is not up to standard, and sometimes overseas will even do better than domestic Japanese. Some scattered work is different from the outsourcing of the whole episode. The whole episode will involve many communication issues, and various restrictions such as distance and transmission will also increase. It is also a very troublesome thing for supervisors to monitor remotely. OTL
- Q: What is the experience of working in madhouse?
A: I hadn't applied for another company before entering MAD, so I don't know what other companies look like. The feeling of working in mad is generally very quiet, and no one can speak too loudly (this answer is the answer. OTL) There are definitely many great people, but because of their low qualifications, there are not many opportunities to deal with, such as Asaka Moriyoshi, Hamada Hanako, Kanamori Yoshinobu, Kenichi Shimizu, etc. Senior Hidehiko Sawada in the hunter group has been in contact with many people because of work and the seats are also adjacent. In the last six months, they participated in the same episode and learned a lot from him. I am really grateful to w
- Q: If you are free, you will be exposed to more works. Are you mainly busy with those works now?
A: Now I am mainly busy with the second season of Little Volleyball with Snow White, and OP2 of Arslan's Battle a while ago.
- Q: What suggestions do you have for students who want to learn from you to do animation in Japan?
A: This really requires careful consideration of the financial burden. It doesn’t matter if you come here to study for two years. It just means that if you want to stay and work, you will face a series of cumbersome visas and low income issues that you will face. If there is really a burden at home, please don’t force yourself and communicate well. I have met many students who have been reluctant to come over, thinking that they rely on working to help make up for their family plans while studying. The idea is good, but people's energy and physical strength are still limited. Students with good self-control can achieve both work and study. On the contrary, they will slowly stay away from their goals and eventually return to China without fulfilling their wishes.
In addition, you must maintain a down-to-earth study mentality, and don’t think that you can’t study hard in China and everything will become better after going abroad. This will eventually lead to your losses. When you go abroad, you are more concerned about self-study and progress. If you don’t take action without someone teaching yourself, it will definitely not work.
(If the video link in the article cannot be opened, please go to Anitama to browse the original text and watch the video. The original text address is: http://m.anitama.cn/article/4dccc8249c5e4cc8)
This article is for Anitama to publish only. No unit or individual may publish part or all of the content of this article in any form.
Official website: http://www.anitama.cn/
Official Weibo: @AnimeTamashii
WeChat public account: AniTama
Cooperation email: [email protected]
