御宅族高中生“安艺伦也”，某天在樱花飞舞的坂道上遇见了，不起眼的普通少女兼同班同学“加藤惠”。 想要以惠为主要女主角制作Galgame的伦也，邀请了金发青梅竹马“泽村·斯宾塞·英梨梨”担当原画，年级第一的优等生前辈“霞之丘诗羽”担当剧本，并成立了同人社团“blessing software”。之后堂姐“冰堂美智留”也作为音乐担当加入。 通过努力，他们的Galgame终于完成了一条路线。 两个月后就将面临冬comi的伦也他们，究竟能否顺利完成游戏呢？ 正统的青春涂鸦，再一次在这里开幕——。

春假，为了赚得购入动画 BD 而打工的宅男·安艺伦也在樱花飞舞的道路上遇到了某个少女，对该少女感兴趣的伦也以她为模特制作了相关的同人游戏。一个月後，该少女成为了他的同班同学……为了制作游戏，伦也陆续找了美术部王牌来负责插画、学年第一名的学姐来写作剧本，一行人以 Comike为目标，开始进行相关的游戏制作。 电视动画《路人女主的养成方法》改编自由丸户史明原作、深崎暮人负责插画的同名轻小说。作品讲述了身为御宅族的安芸伦也为了制作游戏，说服同年级美术部的绘画高手泽村·斯潘塞·英梨梨，以及优等生学姐霞之丘诗羽和女主角加藤惠，一起共组同人游戏社团，开始了同人游戏制作的故事。

原作为丸户史明的轻小说《路人女主的养成方法》，本动画为该作TV动画的终章剧场版动画。高中生安艺伦也在樱花飞舞的坡道上与少女·加藤惠命运般地邂逅，并想着要制作以她为第一女主角的同人游戏。他邀请美术部所属、以同人插画师的身份活动的泽村·斯宾塞·英梨梨，以及学年第一的优等生、正在以轻小说作家身份活跃的霞之丘诗羽，共同成立了blessing software。并最终发表了第一部作品—— 之后，英梨梨和诗羽为了开发游戏大作《寰域编年纪》投靠了人气创作者红坂朱音。blessing software的代表伦也继续社团活动，和副代表惠一起开始开发新作。他起用学妹·波岛出海做插画师，并委托出海的哥哥·伊织当制作人，并与冰堂美智留及其乐队icy tail一同着手开发新作。 英梨梨和诗羽的大作究竟如何？伦也和惠的关系将发生什么变化？blessing software的新作将去向何方？围绕路人女主的青春涂鸦，迎来大结局。

某个春日，安艺伦也在樱花飞舞的坡道上与少女·加藤惠命运般地邂逅，并想着要制作以她为第一女主角的同人游戏。他邀请美术部所属、以同人插画师的身份活动的泽村·斯宾塞·英梨梨，以及学年第一的优等生、身为轻小说作家活跃中的霞之丘诗羽，共同成立了blessing software。并终于发表了第一部作品——。 　　英梨梨和诗羽为了开发大作游戏《寰域编年纪》而前往人气创作者红坂朱音之处。blessing software的代表伦也继续社团活动，和副代表惠一起开始了新作的开发。他起用在做插画师的学妹·波岛出海，向身为制作人的出海之兄·伊织发出委托，和冰堂美智留及其乐队icy tail一同推进着新作的开发，然而……。 　　英梨梨和诗羽的大作会变得如何？伦也和惠的关系发生异变？blessing software的新作究竟会走向何方？ 　　围绕着不起眼女主角的青春涂鸦，迎来终幕。

路人女主的养成方法 #0

路人女主的养成方法♭ 第0话

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

影片讲述的是一个发生在30年代的故事，那时爵士乐正风靡全美；吉普赛人德詹哥雷恩哈特是爵士乐坛的传奇人物，他当时被冠以“世界上最出色的爵士乐与吉它…

从孤儿院出来后，第一次开始独立生活的天空找到了一所房子，但她并不知道自己的账户余额已经快要见底。正在她准备迎接新生活的时候，从小一起在孤儿院长大的哲洙出现并决定要帮助她，但是哲洙给了天空一个任务：要找回自己的房子，就必须先找到黄鸟。 　　在韩国，从儿童福利机构或寄养家庭长大的受保护儿童到18岁时必须离开这些机构开始独立生活。为了支持他们迈出独立的第一步，KB国民银行、Gil Story娱乐和文化艺术NGO Gil Story共同制作了这部电影。