This work draws inspiration from the idealized worlds depicted in ancient Chinese novels and supernatural records — such as Flowers in the Mirror and Miscellaneous Morsels from Youyang. In these stories, individuals traverse freely across different eras and realms, where boundaries blur and myriad phenomena converge, weaving together the real and the fantastical.

The stories unfolds through a corridor-like passageway. Mirrors serve as a spiritual medium that bridges reality and the otherworldly. Through their transparent yet light-reflective surfaces, viewers glimpse hazy images — fleeting silhouettes of deities and spirits. For example, the first character introduced in the short film is the Ram-Headed Deity, set against a backdrop of ancient carriages and chariots. These vehicles, while rooted in antiquity, are subtly infused with modern design elements, blending past and present to construct a layered, multidimensional worldview where time flows and folds upon itself.

在这部作品的世界构想中，灵感源自古代小说与志怪典籍中描绘的理想世界 — 如《镜花缘》《酉阳杂俎》等作品里，不同时空与朝代的个体自由穿梭，跨越境界。

故事以一条“连廊”作为通道展开。镜子成为连接现实与异界的信仰媒介，观者透过透明却因光影反射而显现模糊影像的镜面，若隐若现地捕捉到神明与妖怪的身影。比如短片中出现的第一个角色 — 羊头神。他们的背后，是古代车马的图景。在设计这些交通工具时，也融合了些许现代元素，使过去与当下交错相融，构建出一个层层折叠、时间流动的多维世界观。