作品受到台灣藝陣扮裝的祭典做靈感啟發，原作改編自東南亞的民間故事「鼠鹿過河」，並混合各種版本，在動畫裡創造一位半鼠鹿、半狐狸的操偶舞者，舞蹈形象在人與動物之間來回變幻，運用祂的機智愚弄鱷魚，想盡方法踩踏至河的另一岸；藉由裝扮者的肢體表演，穿梭在人與動物之間的形象，重新翻演民間故事的過河情境，帶領觀眾從蒼蠅的眼睛，以複眼的視角，看一個文本的多重面向，來回穿梭在各種相通的各國世界文本裡。藉以提出在地文化相通世界性的可能，討論文化的流動、身份、世界性與在地性等交互相通的寓意經驗。

文本除了印尼日惹駐村收集的「鼠鹿過河」並揉和「兔子與螃蟹」以及「老鼠與水牛」、「青蛙與黃牛」等相似情節，並加以改編，影像的觀點不僅是呈現原作故事本身，而是把民間故事的通則視為一種敘事容器，並將這敘事容器比喻成一片能夠反射身份的鏡子，在母題故事裡，在同一線性的民間故事中，讓身份穿梭在不同的文本裡流動，透過改寫原作，重新創造一個新的敘事情境/容器，詮釋混和的流動界線。

The Film is inspired by the costumes of yi zhen performers from Taiwan’s ceremonial festivals. Originally adapted from the Southeast Asian folktale ‘The Mousedeer Crosses the River’, the work integrates similar folktale narratives from different countries, to create the half-mousedeer, half-fox shaman puppet dancer in the animation. The dancer switches back and forth between human and animal, using his wit to fool the crocodiles in the river, in an attempt to reach the other side.

The video not only presents an interpretation of the original story itself, but also regards the general principles and the morphology of folktales as a form of narrative container. The symbol of a mirror, which reflects identity, is used in the work as a metaphor for this narrative container. Like the fractured perspective of the fly’s compound eyes, the story’s motif leads the audience to travel back and forth through various interlinked narratives from different countries, and know the same thing different position, discussing cultural flow, identity, and the connections between universal and local allegorical experiences.