Risa and Sousuke send signals to their father on a cargo ship at night, which is a relatively ordinary life scene. But this calmness was immediately broken by what happened in the underwater magician's home. Ponyo grew legs, and the magician spent a lot of effort to change Ponyo back again - during this time, the shot of little goldfish filling the screen appeared again. When Ponyo wakes up after the magician leaves, finally breaks through the shackles, and messes up the magician's residence, the imagination explodes again, and a large number of animated symbols that exceed ordinary experience emerge. The tsunami is coming, and Hayao Miyazaki's description is also full of his personal characteristics. First, the section in the nursing home is life-like, and then in the section where Risa takes Sousuke home, the waves become a line. The image of a big fish, and Ponyo's movements of running freely on the back of the fish to chase Sousuke, all appeared on the screen, accompanied by an exciting symphony by Joe Hisaishi, the second most imaginative part of the entire film. The climax arrives.

As Ponyo and Zongsuke got to know each other again, the climax came to an abrupt end, followed by another daily scene of Ponyo living in Zongsuke's home. However, Zongsuke's father's boat broke down in the sea, and Ponyo's mother appeared for the first time as a huge and shining image of a sea mother, which still caused a small disturbance.

From Zongsuke and Ponyo riding a model ship that was enlarged by magic, to when they met a couple and gave their only food to their infant baby, to when they met on the way The villagers organized a search and rescue team. It can be said that this story at sea has raised the audience's requirements for imagination to a new level. Strange fish in the sea and cities submerged under the sea, these images and scenes are no longer enough to create waves on their own. After the last conflict with the magician, Zongsuke withstood the test and came to the new nursing home in the sea, where he reunited with Lisa. Ponyo's mother also cast magic again, turning Ponyo into a human forever. It should be said that in the last episode, except for the splendor of the nursing home and the healing of the old people's legs, Hayao Miyazaki did not show many new imaginative elements. The little goldfish that appeared several times filled the screen. It doesn't seem exciting enough. The imaginative climax that the film wants to set off at the end is not actually expressed in the best way. Although this is a pity, it still does not conceal the magnificent scenery of imaginative climaxes throughout the film.