First of all, regarding the character setting of the "disciplinarian" - is it truly necessary? The role could be more effectively rewritten into a "cop-criminal-cop" arc, which carries much greater dramatic tension. By employing the common narrative strategy of "no choice but to," the story would be infused with more powerful conflict and engaging twists.
Secondly, the male protagonist's "transgression" is not pushed to its limits. What he truly needs is an almost maddening obsession - a descent into a near-deranged state. It is precisely this sense of mania that can support the full narrative tension. Whether he should be eternally trapped in this place ought to be one of the story's core philosophical questions, deserving of deeper exploration and reflection.
On the emotional level - be it familial love, friendship, or romance - the current expression feels merely touched upon, leaving much to be desired. These emotional threads should be further deepened and truly woven into the characters' fates and the plot structure, becoming an intrinsic force that propels the story forward.
As for the gun-related elements, they are far too restrained. Since the story deals with gunfights, it should present the violence and cold brutality more boldly and realistically, rather than glossing over them.
In the middle of the series, there are too many lyrical segments, leading to a sagging narrative. This section could be trimmed and replaced with more mentally impactful surreal elements like hallucinations or dream sequences. These could then be echoed at key turning points and the ending, elevating the spiritual tone of the entire work. Currently, the final "spiritual dream" sequence appears abrupt and lacking cohesion. A suggested improvement would be adopting a three-line narrative structure, which could lend the story better rhythm and philosophical depth.
In addition, the advancement of the plot relies too heavily on dialogue. This is not an ideal storytelling method. It would be much more effective to build the narrative through rich, tightly structured sequences - telling the story through action and visuals rather than dialogue alone.
Violence, blood, and passion are not "monsters" to be feared, but rather reflections of the reality that surrounds us. Creation should be truthful, objective, and bold - not timid or evasive.
Regarding genre, the integration of supernatural, horror, suspense, gunfight, passion, and even elements like vice and crime is actually the show's true commercial strength. The organic fusion of multiple genres is precisely what draws market attention and sparks public discussion.
When it comes to characters, they are currently rather flat, lacking truly standout "highlight" figures. Although the editing borrows cinematic techniques - which is acceptable - the execution is somewhat stiff, with a rhythm that lacks precision.
Visually, the overall style leans conservative and lacks a distinct visual identity that belongs uniquely to the show.
Finally, and most importantly - the theme of Born by Borrowed Life deserves a higher level of philosophical elevation. In fact, the male protagonist may have already died during the case, and what the audience is seeing is a spirit continuing the investigation. This concept - "though the body is gone, the spirit endures" - is the most powerful metaphor in the entire show. Unfortunately, the director has not fully articulated this core imagery.
In the Chinese-language film and television scene, very few directors can truly convey psychoanalytic layers. This director has the foundation and the academic depth to do so. We sincerely hope that next time, he will break free of all constraints, fully unleash his potential, and present a work with greater spiritual depth and soul.
