This cinematic work is an experiment that employs a surrealistic plot to give COSPLAYERS (young people dressed as game characters) the ability to traverse the city at will, and to engage in combat within their imaginary world. They expect their costumes will grant them true magical power, enabling the wearer to transcend reality and put themselves above all worldly and mundane concerns.

All COSPLAYERS are very young, with dreams in their heads, spending all their waking hours in the virtual world of video games from a very early age. Hence when they eventually grow up, they discover they are living a life style frowned upon and rejected by society and family members alike. With no channels open to express their feeling and aspirations they resort to escapism and, becoming alienated and out of touch, they turn into ever more unbecoming characters. However, in that moment when they are turned into genies, chivalrous knights, fairy princesses, or geeks, the pains of reality are assuaged, even if the "real" world they are standing on has not changed to the slightest.

In recent years a group of COSPLAYERS, growing up in and around China's coastal cities, have been confronted by both the traditional values of the Chinese education system and subjected to the pull of invading foreign cultures in the new century. As a group of adolescents who refuse to grow-up, they choke themselves with passionate impulses and an undisguised infatuation with personal fancies, expressed through ways and manners only they can understand and be comfortable with. Their characters are often filled with violence, a thirst for power, as well as magical powers but, compared to the boredom, emptiness, rebelliousness, and violence that accompany the lives of many of today's adolescents, escaping inside this sub-cultural cocoon merely seeks to affirm the value of their own existence in society. They frequently and eagerly appear in all kinds of large and small commercial events or trendy places, gaining exposure in the news media, and setting themselves up as spoke-persons for young people today. In the process they attract the attention of many curious onlookers and a sizable peer group following. The satisfaction they gain from their contrived fantasy world counterbalances their despair and despondency in the real world. In fact, since they seek to hide their personality, the pleasure and sense of honor they gain derives from their virtual characters, not their natural identity. They are prepared to shoulder the burden of a split personality in the everyday world, for such a duality of reality and fantasy soothes and comforts their cravings in the same way as fairy tales have become an indispensable part of their lives.
Nowadays the majority of video games are played over the Internet, in video game arcades, or on video game consoles in the home. Consequently, though entertainment for adolescents normally takes place in a relatively confined space, the culture of the COSPLAYERS had brought this group of young people out of the cyber community and into everyday life in the real world. As they emerge from their digital, cyber communities, they begin to appear in various public activities, showing their faces in trendy residential communities. Using the surrealistic fantasy image of their game characters they provoke a new aesthetic sense for the public. Yet at the same time they are being increasingly used by business interests for promoting consumption, generating for themselves an enviable value as promotional and entertainment commodities.