Film Name: 三小强 / Super Three
If you ask me whether I laughed while watching “Super Three,” I’ll tell you I did; but if you ask me whether it’s a good animated film, I’ll tell you it isn’t. Because I believe the quality of a film isn’t measured by whether it makes you laugh, but by whether it leaves you with something meaningful.
I don’t consider myself so conservative that I can’t accept new things or parodies catering to popular tastes. I’ve always hoped to see diversity in animation and for domestic animation to broaden its audience. But I believe parody must have underlying motivation—not just for the sake of parody, but to show what you truly want to express behind subverting traditions and classics. That motivation can bring people insight or even a sense of awakening. Unfortunately, “Super Three” fails to achieve this.
In truth, the original intent behind comics is often “parody”—though the ‘malicious’ here is in quotation marks. It stems not from “malice,” but rather from a “benevolent” desire to expose societal hypocrisy and lay bare its darker aspects. British caricatures, Japanese ukiyo-e prints, and similar works all stem from artists’ intentions to exaggerate certain subjects, subverting their traditional forms to provoke thought. The essence of parody is freedom of expression; its motivation is to “see the world through different eyes.” High-level parody is an art form. Like any great art, it can profoundly move your soul. Low-level parody, however, is like a hooligan harassing you—not your body, but your spirit.
I don’t oppose parody, just as I don’t oppose free speech or “seeing the world through different eyes.” But I oppose parody that mocks audiences and parody that lacks substance—this is worlds apart from the spirit of free speech. “Super Three” falls squarely into the latter category. Last year’s “Boonie Bears” experimented with prank culture in the market, and later realized that even if audiences enjoy it, films still have boundaries of appropriateness. This year’s “Super Three” experiments with the market through spoofing. It too will inevitably learn that such empty, so-called subversion may satisfy adult audiences online, but its grand entrance into theaters doesn’t necessarily signify progress. Still, I’d rather view both experiments as necessary stages of reflection in the development and evolution of Chinese animation.
Here, I still recommend the anime “Gintama.” It satirizes Japan’s Edo period, mocks the samurai class, and subverts everything possible. Yet ultimately, you discover that even in this radically transformed world, the spirit of bushido endures. The concept of “family” and the warmth and support it provides to each member remain intact. This is what the creator sees through his “alternative lens.” We’re not saying you can’t do parody, but before you do, please be fully aware of what you’re doing.
Please specify：Anime Phone Cases » Super Three 2014 Animation Film Review: Don’t confuse pranks with harassment.