The film focuses on traditional puppetry and socio-political shifts. It lacks discernible LGBTQ+ characters or non-heteronormative identities, adhering to the social structures of the early 20th century.

Women are depicted largely within domestic spheres and colonial social constraints. However, the film offers a nuanced look at how they navigate shifting landscapes, avoiding one-dimensional portrayals.

The narrative excels by centering the Taiwanese experience under Japanese occupation. It provides an agency-driven look at a non-Anglo-Saxon population resisting imperialist power dynamics.

The film prioritizes the preservation of local traditions and rituals over colonial modernization. It frames imperial authority as a disruptive force to indigenous morality and cultural autonomy.

There are no prominent depictions of visible or invisible disabilities that drive the narrative or serve as central character arcs.