What happened behind Ania in MengMeng in House of Spies?

What happened behind Ania in MengMeng in House of Spies? Ania is a typical example of "children in paragraphs"; That is, if the child lives in other people's jokes, it must be funny and cute, but if it is his own child, as a parent, he may not think it will be a good thing. These children are particularly popular with the media, whether in the joke era of Weibo before or in the short video era now. They often say things that are compared with their age cognition, or what we adults think is compared with their age cognition. And these things have become the cute spots in the eyes of spectators, who will smile and ask-I don't know who taught her these words' and the characteristics of this "little adult", coupled with Anya's super power setting, make this cute spot become "daily".

That is to say, Anya's personality is used to create cute spots, and then Anya's ability enables her to successfully create these cute spots in some occasions, such as pretending to cooperate with her parents, for example, improvising that she is a spy and playing house with her friends. This is a specially set family comedy, which is essentially the same as the circle of friends of "noble school" students (at night) and "super high school students" (Qi Mu). There is nothing special about the contradiction between the two countries. This is just a background. Virtual design has nothing to say. Not a real person anyway. Just look at it.

The situation is similar now. The orientation of dusk is the ultimate guarantor, responsible for "magically" solving all the problems in funny stories; Anya is a plot promoter, a basket engineer and a warm engine; Joel is a tall, enthusiastic singer and basketball assistant. When reading comics, I won't worry about whether they will have a happy ending, because maybe I will only read things for two or three minutes in a week or two, holding "Look what Anya did stupid today, and the result is wrong" and "Who did Joel surprise?"

But animation is different. The amount of 20 minutes a week makes it difficult for me to fill the hearts of the characters. Suddenly they seem to be "alive", which is terrible. Feedback from the audience like this may eventually force the author to make corresponding changes. The original ending may not be complicated: whether Joel abandoned everything or abandoned everything at dusk, and then continued to live a happy life of a family of four "magically". But after animation, we need some "realistic fulcrums" and "reasonable suggestions", and that's it. So you ask me how to evaluate Anya. My opinion is that the protagonist in funny comics should not force his realistic logic!