Structurally, it is really top-heavy—similarly, the tightness of the rhythm is artificially stretched out of shape.
When it comes to Kobayashi's films, I can't help but mention Kurosawa - the latter is better at using the creativity in form and putting the content and narrative in the second place. Therefore, he is not as immersed in the meaning as Kobayashi and cannot extricate himself... ...Although Kurosawa's drama is too problematic, in terms of overall effect, it is far more than the former, which focuses on the story (narrative logic) itself and cannot be boldly stylized.
The value of stylization is to create a sense of form, which, like a mathematical model, can encapsulate a certain type of (specifically defined) problem. Thus, a stylized film creates not only a world, but an innumerable group of isotypes.
Therefore, Xiaolin will always be in the circle of a theme, going around.
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