I climbed down the ladder. Step by step Oxygen permeates my body The blue light The pure particles of human air . I went down the ladder. The flippers jolted me and I climbed down the ladder like ants with no one by my side to tell me when I had entered the ocean. - Ya Zhuo An. Adrienne Rich, "Dive into the Wreck of a Shipwreck" Hulk and Subtext Kai Zhiyu's first graphic novel work " Mapatayay no wawa The Children of the Dead " starts from a house that appears repeatedly in a dream and ends (or wanders again) in a sea. Like the depth, intimacy and mystery of the sea, the themes surrounding the whole book (father and son, hometown, memory, death) are also rendered and fluctuated by the gloomy gray-black tones and wet brushstrokes. Zhiyu mentioned that there are several works that inspired the creation of "Children of the Dead", one of which is the Russian director Andrei. Sarkinsev's film "Homecoming"
is also a story about father and son, hometown, memory and death. The father who had been away from home for twelve years suddenly returned to the side of his younger brother Ivan and his elder brother Andre. The serious and almost callous father took them to an unnamed island for vacation, and also "released" them again and again on the way - life is just a matter of time. jungle. In one of the scenes, the brothers were paddling a boat on the side of the island to explore, and met a hulk as huge as a giant whale. The black windows on the hull were like the eye sockets of the skull, and brother Andre put his head into it and shouted. At this time, they still don't wedding photo retouching services know how the mystery of father and father will meet and say goodbye to them. There is also a mysterious father in "Children of the Dead", as well as a world edited by the ocean and the wild, the living way and the road, the living and the ruins. What can be recalled by the narrator is a mixture of the known and the unknown, the visible and the invisible. "When I was a soldier, I often dreamed of that house." The "me" living in the city, and the memory of my father always connected with the road back to my hometown in the east, but after many years "Who would have thought? Spend a year in a scene that you love to talk about.”
The starting point and ambition of this creation may be linked to Zhiyu's personal experience: he grew up in Sanchong, the blood of his grandfather Kavalan and his grandmother Amis, the conflict between his father's Buddhist beliefs and his family's Christian beliefs, and even from the "face". "The beginning of the search for aboriginal identity, the labor export of the youth of the father's tribe... But what he and his works, the intention or the possible response, is obviously more than a clean and clear self-dissection. After all, there are many things that are not known, and there are more things that cannot be seen: they are born in reality, and they exist and meet in the book in the form of dreams or visions, such as the funeral band in the sea, and the wild dogs wandering day and night. When he imagined the labor experience of tribal youths from the uncle’s generation who came to Taipei to engage in carpentry, the sea and the steel frame interlaced. “The sea brings people in from the outside, and then transports people out by road.” Such abstract and realistic movements run through the book. , as big as life and death, as small as flying toads in the military camp. The way back to Zhiyu (geographical and psychological) is both land and water. At the begin