創作理念和劇本創作

在訂下以「對比」這個手法來談論「神秘學」、「犯罪」這兩個內容後，並有著「陰暗」這個主題，我們找到了「傳統」這個詞。無論是「宗教上」的服膺（基督教與道教）、「事業利益承襲」的傳統（世代傳承的家業）、「家族身份」的世襲（德國有貴族血統的同學）、更從這些「傳統」中找到了「信仰」這個更大的字詞。

於是我們開始尋找聖經與道教經典的經文，華國對文字經典的崇拜、台灣人對自己在地化的宗教儀式與慶祝（或哀悼）的形式。將這些結構架構出來。我們選定了出生、婚禮、喪禮，談生老病死。

決定好形式後有點像填空，媒合進演員與參與的同學們的故事，試圖書寫出一個看起來像「新神話」、「都市傳說」的內容。

劇本有許多的「觀察」跟我們對這些觀察本質的「小變動」，不過它不太有「結論」，我們也沒有特別想在此刻書寫出評論，只是如實的把我們經歷過的感覺記錄下來。也許有一些嘲諷，也許有一些哭笑不得，或某些地方我們不知所措，而這些部分我們也想如實呈現，而非試圖找到一個「理想」的樣子。

Creative Concept and Script Writing

When we decided to use the technique of "contrast" to discuss "mysticism" and "crime," while embracing the theme of "darkness," we identified the term "tradition." This concept encompasses various aspects: religious adherence (Christianity and Taoism), traditional business inheritance (generational family businesses), and hereditary family identity (a German student with noble lineage). From these "traditions," we derived the broader concept of "belief."

We then began to explore texts from the Bible and Taoist scriptures, the Chinese reverence for literary classics, and the localized religious rituals and celebrations (or mourning) in Taiwan. We structured these elements around key life events: birth, weddings, and funerals, addressing the cycle of life and death.

Once the framework was established, it was akin to filling in the blanks, integrating the stories of the actors and participating students. We aimed to create content that resembles a "new myth" or "urban legend."

The script incorporates numerous "observations" and subtle "modifications" to the essence of these observations. However, it does not draw any definitive "conclusions." We did not intend to write a critique at this moment but rather to faithfully record our experiences and feelings. There might be some irony, some moments of bittersweetness, or instances where we were at a loss. We wanted to present these aspects truthfully, without striving for an "ideal" portrayal.