And the most cruel thing about this kind of adventure/growth-type movies and novels for the teenage protagonist is that in order to achieve his final mission, he must complete spiritual weaning and father-killing in order to be truly independent, strong, and "become A real man”—of course, the values reflected behind this narrative routine, especially the definition of masculinity, is another topic worthy of discussion.
Whether it is Kubo or Harry, on their road of revenge (which also happens to be the road to discover their own life experience), the people who once gave them care, guidance and protection when they were weak and confused will be separated from them one by one. Every time they leave, they are forced to be more determined and stronger; and the warmth and love these people have brought to the two protagonists is the "power of love" that protects their hearts from evil.
In addition to the genre narrative tradition, this actually echoes the real life process. As Inoue Yasushi said, his parents are a screen that separates him from death, and when his parents die one after another, there is no one between him and death. Until then, we all need to face the emptiness and fear of the unknown and death on our own.
Thinking of the lyrics of Lin Zixiang's "Remembrance", I lingered on a long road. Today I know that I must always walk alone. Who ever lit up my heart in the past will stay in my heart all my life.
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In addition, a very interesting point is the handling of "righteousness and kinship" in this film.
The villain in the film, Moon King, is the protagonist's grandfather, so if Kubo kills the villain like a traditional genre novel, it is equivalent to supporting the killing of his own relatives (even if it is a heinous crime) in disguise on the big screen. However, if you don't kill, but influence the other party, it will be unconvincing for the audience, so this work compromises, making Moon King lose all memories after Kubo's fatal attack and become a spiritual baby. Completed from the dead to the new life.
Contemporary mainstream cartoons do not dare to directly display plots and elements that are actually very punk, such as "killing the father" or "deceiving the teacher and destroying the ancestors".
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