StoryAI analysis of Shin XX.

Well, folks, did you read the press release the other day? If you haven't, I hope you will take this opportunity to read it. (Press release is here)

Now, instead of Shin-Ev......, which has started its last run, I would like to introduce you to "Shin Godzilla", also directed by the same director. I haven't been able to go to the last run yet, but I would like to go at some point. I hope it will do well and reach 10 billion yen.

I analyzed Shin - with storyai.

Now, about the "Shin-xx" series directed by Hideaki Anno, since Godzilla, Eva, Ultraman, and Kamen Rider are coming, I guess something will come out every year for a while. Personally, I'm expecting Yamato, Gundam, Tetsujin 28, Atom, Goranger, and other Showa-era masterpieces.

Now that I've got that out of the way, I'd like to get right to the analysis results. But first, a word of caution. Please understand that this is our interpretation, not a guess based on Anno's thoughts and feelings, but a judgment based on the parameters alone.

As for Anno's thoughts on the film, I'm sure they've been fully discussed in pamphlets and various other media, so please take a look at those.

You can also watch "Shin Godzilla" and "Evangelion the Movie" on Amazon Prime Video, so please check them out.


Let's get started with a commentary on the film without being subjected to cognitive bias.

Analysis results by StoryAI

StoryAI is more concerned with the number of lines than the number of characters. There are about 1,900 lines in total, which is long enough for a two-and-a-half hour movie, roughly three to four hours in length.

If we use the unique concept of "pillar = scene," there are more than 350 pillars, which is almost as many as in the Showa-era masterpiece "Hunger Strait. Usually, one minute is considered for each pillar, so if you think about it normally, 350 minutes = about 6 hours.

However, in reality, there are many cases where only the video is shown for a moment, so there may be scenes of only one second. Incidentally, in the case of Hollywood, it is necessary to think of one minute per A4 sheet, and if this is not adhered to, the script will be sent back at the script stage.

That is how strict the time management is in Hollywood. In Japan, there are some cases where the time is converted to one minute on 200- or 400-character manuscript paper, but there are probably few places where this is strictly enforced.

If we don't change Japan's fuzzy (a dead language) sense of the field to a more strict one, we may not be able to produce works that compete with the rest of the world.

Clear three-act structure

It's a three-act structure, supposedly proposed by Aristotle 2300 years ago, but explicitly divided into Part A, Part B, and Part C. (That's where Syd Field, Blake Snyder, and Robert McKee just dropped the details from, and that's where mythologists like Joseph Campbell and Levi-Strauss end up, too.)

When you actually watch the movie, the structure is easy to understand: Godzilla's appearance, the battle with Godzilla's fourth form and the collapse of the Japanese government, and the counterattack from Tachikawa.

And I think it's Anno's style to create a lingering atmosphere around the transition between the three acts. For example, in Star Wars, which is a masterpiece of the three-act structure (based on mythology), the characters are on the edge of their seats until just before the change of acts, and as soon as they get out of the pinch, they have a few minutes of leeway and a new crisis, and the story unfolds like a roller coaster. (For example, in EP7, you get away on the Falcon on the ground, go into space, meet Han Solo, but get attacked by space creatures.

However, as you can see from the graph, before and after Part B, the Japanese government is largely limp, although there are minor ups and downs. And this is foreshadowed in Part C. Once Godzilla returns to the sea, we are relieved, but then he comes back from Kamakura, lands on the bank of the Tama River, goes to Uchisaiwaicho, launches radiation, the cabinet resigns, and then goes to Tachikawa.

The so-called slapstick drama at this time becomes an interlude, and the development of a completely different alien entity that destroys everything without any consideration is what makes this big valley so telling.

Incidentally, the scene where Uchisaiwaicho is burned to the ground is actually shorter than the scene before it where the Self-Defense Forces do their best, so although it has a strong impact, it does not affect us for that long. On the contrary, it is a scene that is cut out and introduced in commercials and TV commercials, so we can say that it leaves a strong impression on us, and in terms of the production of the scene itself, that scene is so strong that it seems relatively long, but in terms of physical time, it is short. As you can see, the fact that physical time and relative (sensory) time are different is also discussed in the negative universe of Shin Evangelion, so I guess Anno was aware of the quantum sense of time in this area.

I also learned about the complementarity of quantum theory and time in Dr. Rovelli's Time Doesn't Exist and Amazing Physics Lectures, which I referred to in my own work, augument aruma, so I must have had some input.

But more importantly, I can't overlook the fact that I have primary information about the genetic engineering knowledge that led me to this point. At the same time, he also obtained engineering knowledge in cooperation with universities, and in terms of compensating for budgetary barriers with knowledge, I would say that Mr. Anno is one of the foremost experts in the field today. (Of course, there are many things that are made with deep knowledge in various fields, and I believe that putting knowledge into a story is really worthwhile.

Death, resurrection, and the final battle and return with the treasure.

This can be seen in the theory of the twelve divisions proposed by Christopher Bogler, and the part in Part C where the temporary cabinet is established in Tachikawa is the resurrection. From this point on, we prepare for Operation Yashiori until the final battle, and what is the treasure gained from the final battle is a brief peace that is the time until Godzilla is reactivated.

The fact that there are two final battles in the film is miso, one is Japan's battle against the visible wonder that is Godzilla, and the other is the Allied Forces, led by the United States, who tried to annihilate Japan with Godzilla.

And I think it is ironic that this reality is a metaphor for Corona and the Olympics in 2021.



The maximum emotional value we defined is 54 and the minimum is 10, and we rarely see a work with a range as wide as 44. I've measured quite a few of them, but none of them had such a huge ups and downs. (This 10 may be a measurement error due to lack of corpus.

Next, the average emotion value on the right side is about 38 points at the upper limit and 35 points at the lower limit, with a difference of 3 points. The difference between the two is 3 points. The longer the work, the more the average is stretched, so the points become lower.

In the case of Ulala Infinite Desire, which we recently released, the maximum range is only 1.5 points, and Shin Godzilla, which has double the difference in sentiment, is just as impressive.

Also, although it is often misunderstood, it does not mean that a higher value is good and a lower value is bad. It should depend on the content of the work, and since Godzilla is more of a downer work with a minor tendency in terms of music, the emotional average value is below 40 points. If it is a general work, it moves up and down around 45 points, and if it is Ulala, it is an up-tempo story, so it hovers around 50 points.

In other words, the number itself has no meaning, since it varies depending on the category of the work, but the waveform produced by the number.

What is often said here is, "So you have waveforms of the best sellers, right? However, we know that it is not easy to produce the same waveform as the one we have produced. It's more important to find your own pattern.

The more famous writers have their own style and are not dominated by anyone, and I can see that. I think it should be used as a debugging tool.

If it starts well, all's well that ends well

In fact, you can't fix it by writing a few sentences while looking at the StoryAI. The reason is that it is designed in a way that does not affect the whole structure without tweaking it.

In such a case, it would be better to start from the beginning of the story.

This Shin Godzilla is a panic movie, after all, and it starts with the disintegration of everyday life, so it has an avalanche of waveforms from the beginning.

In this way, you can also check whether your writing style is appropriate for the work, genre, or category you want to create, whether you have enough skill, and whether you have enough knowledge.

Also, I know that the more famous the work, the more similar waveforms will be covered from year to year, so although it is a traditional method, it is probably very important to look at, read, and copy good works.

Since this is a major work, I have not presented any kaizen points, but in the future, I would like to show some bad waveforms (anti-patterns) and what kind of improvements can be made. (In that case, the title will be kept secret.)

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Graphs in this article

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The images used in this article are from Pixabay by djedj.