Core Viewpoint - The article discusses the success of the animated film "浪浪山小妖怪" (Wang Wang Mountain Little Monsters), which has surpassed 600 million in box office revenue, becoming the highest-grossing domestic 2D animated film, with projections of total earnings reaching 1.77 billion [2][3]. Group 1: Film Overview - "浪浪山小妖怪" is based on the short film "中国奇谭之小妖怪的夏天" and features a unique perspective by focusing on minor characters, the little monsters, instead of the traditional hero, Sun Wukong [2][3][5]. - The film's narrative aims to humanize the monsters, portraying them as characters with emotions and struggles, contrasting the typical villainous roles they play in "Journey to the West" [4][10][12]. Group 2: Production Insights - The film's production faced challenges, particularly in developing a watercolor style that lacked industrial precedents, requiring the creation of a new teaching model for the animation team [8][9]. - The production team, consisting of nearly 600 members, utilized video tutorials and remote feedback to maintain progress and ensure a cohesive artistic style [8][9]. Group 3: Character Development - The film features four unnamed little monsters who impersonate the main characters from "Journey to the West," each undergoing personal growth and self-discovery throughout their journey [11][12]. - The choice of lesser-known animals for the characters was intentional, aiming to create relatable figures that resonate with the audience's everyday experiences [11][12]. Group 4: Market Context - The success of "浪浪山小妖怪" reflects a broader trend in the Chinese animation industry, which has seen a shift towards narratives focusing on ordinary people's lives, moving away from traditional heroic tales [13][14]. - The film represents a new direction in the adaptation of Chinese mythology, seeking to find a unique niche within the established paths of animation [17][18].

Core Insights - The past decade marks a significant industrialization phase for animated films in China, evolving from niche artistic endeavors to a major genre that consistently contributes to the film market [1] - The expansion of the Chinese film market has provided ample space for diverse themes and artistic experimentation in animation, moving beyond the traditional children's entertainment label [1] Group 1: Mythological Adaptations - The most impactful animated films have involved the reinterpretation of Chinese mythology, driven by the need for creative innovation and the modernization of outdated values [2] - Films like "The King's Return" and "Nezha" series have shifted the narrative focus to personal stories, emphasizing themes of love and familial bonds over traditional heroic narratives [4][6] - "The King's Return" uniquely redefines the relationship between Tang Seng and Sun Wukong, reflecting modern existential struggles [3] Group 2: Original Works and Unique Narratives - Original animated films like "Big Fish & Begonia" attempt to create entirely new mythological worlds, though they often struggle with coherence and depth [12] - "The Guardian" stands out for its unique dystopian narrative and artistic style, blending childlike innocence with serious themes [13] Group 3: Historical and Realistic Themes - Films such as "Chang'an 30,000 Miles" and "Lion Boy" explore historical and social themes, highlighting the emotional struggles of characters against the backdrop of significant historical events [14][16] - "Lion Boy" incorporates a strong sense of realism, addressing the socio-economic challenges faced by families during China's economic rise [16] Group 4: Common Themes and Future Outlook - The best animated films of the past decade share a strong humanistic value orientation, balancing emotional depth with entertainment [19] - Despite the influence of foreign methodologies, there is a strong desire among creators to establish a unique Chinese animation identity, indicating a hopeful future for the industry [19]

2023年，光线传媒董事长王长田在北京电影学院影视金融班的一节课上，做出了一个过于前瞻的预测："我更大的期望是寄托在明年2024年，看看有没有可能 带动中国的电影票房进入70亿时代。我希望这部里程碑的片子名字叫《哪吒2-魔童闹海》[1]。" 能懂他的人并不多，包括人均迷影的豆瓣，彼时对这件事的最高赞评论也是"他没事吧"。 图片来源：豆瓣网 对于 当时的电影行业来说，三年的疫情冲击，加上小帅小美三分钟演完全片的短视频夹击，电影消费陷入疲软，阿里影业、腾讯影业等互联网资本巨头也逐 渐收紧开支，即便是被认为受疫情影响较小的动画电影行业，在《哪吒之魔童降世》达到50亿元票房之后也露出颓势，2020年至2022年动画电影的平均票房 仅为36.47亿元。 今年春节档之前，大多数电影播客主理人预测的票房冠军还是唐探1900，《哪吒2》的定位更多是黑马备选。然而，短短20多天的时间，《哪吒之魔童闹海》 的累计票房就突破了120亿元人民币，超越《头脑特工队2》的同时登顶了全球动画电影票房榜首。王长田结果还是错了，但错的原因却变成：太保守了。 还是同一个豆瓣帖子，最近的评论区画风已经变成了"接王长田事业运财运（无副作用）"。 图 ...