The battle between the shaman and the evil spirit - a return to the orthodox girl image epic comic film. As an investment product with fast returns, low risks, clear target audience and simple operation methods, it seems that it has been burdened with "capital and film" since its birth.

The original sin of "a freak born of a hasty peace" has been labeled as "aesthetically inferior", "crude production relying purely on social media marketing routines", and "lack of intellectual interest, realistic humanistic care and a sense of innovative mission".

There is no need to debate whether the labelers themselves are extreme and pedantic, but for practitioners, if they are not willing to confine themselves in the small circle of the party of face control and nostalgia for the original work, in order to cater to a specific group of fans, they will turn to narrative and boring single audio-visual means.

If you want to entertain yourself and save money, but hope to take a path of growth towards a more mature quality film and connect with a broader target audience, then, like Yamato Uki's ambition in "The Drowning Knife",

The exploration of diversified connotations and deep individual expression is extremely precious, and it is also inevitable and necessary in the evolution of the entire comic industry to break through the constraints of rigid routines and move from nondescript 2.5-dimensional to orthodox three-dimensional art.

On this road of dimensional fusion that is accompanied by risk and vitality, Yuichi Fukuda, who has successfully supervised the highly difficult socially satirical comic adaptation "Nietzsche Sensei", is a pioneer who maintains both hard work and a standard-bearer attitude.

However, when it comes to exploring the psychological aspects of female comic book characters, Yamato may be uniquely endowed with the ability to capture the subtle and delicate inner emotional conflicts with sharp and precise composition and camerawork. Between the surreal and light tones of mysticism and the repressive reality of daily rationality

A balance is reached between logic.

Even though her emotional atmosphere is relatively deep and cold, and her conflict management is relatively restrained and restrained, her narrative expression relies too much on montage fragments and multiple time and space narratives, which makes her visually elegant and magnificent, but the plot is slightly tortuous and obscure, and some editing processes are even more revealing.

There is a flaw in the lack of single-line time awareness. Although the three-part structure of the two fire dance festivals is maintained in the general context of the film, it is still difficult to satisfy mainstream comic book audiences who are accustomed to the fast-paced and noisy atmosphere of joy.

Adapt quickly.

But no matter what, this movie can still be regarded as a highly completed female author's movie. Its blood flavor first comes from the unique visual tension of the movie, which blends the soothing vitality of the forest with the explosive impact of the volcanic lava.

Integration prevents the movie from becoming an appendage or low-level derivative of the comics. This is where the director's dignity and ability as a filmmaker lie.

And if you put aside your prejudices about comic book movies, bring more goodwill, and consider the creators from a more equal and respectful perspective, you may understand that even the most mature genre creations should retain the same characteristics at their core.

The courage to challenge the boundaries of the audience's appreciation habits and the creator's own abilities.

This courage to forge ahead is the prerequisite to ensure that all creations will last forever.

Maintaining courage does not necessarily mean being subversive or aggressive on the surface, but it may be more similar to the still water running deep and slow and unhurried temperament revealed in the entire film of "The Drowning Knife", a concentration on sinking into the inner context of time.

The determination to carve out a unique worldview, this perseverance, determination and creator temperament may stem from the self-confidence, self-knowledge and clear-headed choices of the entire creative team, or may stem from the strong voice and absolute control of the young female director in the specific shooting process.

The power of female authors, or perhaps it shows the natural similarity in the expression methods of the two art forms of film and comic adaptation by female authors - Yamato may not be as a rebellious pioneer and reactionary among comic adaptation directors as many film critics and media have assumed in advance.

The stereotyped miko heresy exists, and she might just be the orthodox defender of the next generation of shojo manga who has the right to rule.

Her emergence was destined to break away from those strange routines in the past, such as putting on a flattering fake smile in medium and close shots, using unrestrained filters and exaggerated persuasion to create a sense of a girl, and being too cute and mean-spirited, resulting in embarrassing effects.

Boundaries, returning to the open mind and strong character of the golden period of the Japanese girl manga industry.

?This strong style, like the ending of the movie version of "Drowning Knife", is very different from the ending of the original comic.

It does not fall into the traditional HE clichés of male and female protagonists being loyal to love but separating and reuniting, overcoming differences in values ??and gradually entering into marriage. Instead, through a play-within-a-play that is both real and imaginary, it reveals how young people are drifting apart.

The freedom and joy that burst out on the road to realizing their respective personal values.

The girl idol Xia Ya, who was born as the incarnation of beauty, overcame her psychological barriers and returned to the world of color that almost swallowed her up. She has never returned since then, enduring the loneliness and bitterness behind the glamorous fame, just because it was the world that stained her with blood.

The arena where she was humiliated yet made her dazzling, the destination that she longed for.

In the fashionable city where day and night are unknown, as a witch with ever-changing faces in the illusion of light and shadow, and as the spokesperson for the god of secret love, she dominates the bizarre man-made landscapes and dreams, and has words that women of the same age in the daily real world have no access to.

Power and control.

Just as the Bole photographer who met Xia Ya's soul through the lens said, not only was she not a victim in this sensory game, but she devoted herself to this dance of soul hunting with far-reaching ambitions.

Early on, through Xia Ya's suppressed aggression in front of the camera, as well as her desire for knowledge and communication that she attempted to see through the camera to reflect on herself, he judged that she would not easily give up control of her own destiny as a witch, so he regarded her as a muse.

Si, have high hopes for her.