 Like Usmar Ismail, Djajakusuma was influenced by realism. However, while Ismail preferred to focus on national-level themes, Djajakusuma was more drawn to simple, locally relevant storylines with educational messages. This realism carried over into Djajakusuma's work in wayang. The settings, traditionally drawn, were instead created as three-dimensional sets, including representations of trees, rocks, and water. According to Soemardjono, who often edited Djajakusuma's films, the director enjoyed experimenting with new techniques to better convey his intentions.
