11月14日，日本动画电影《鬼灭之刃：无限城篇 第一部 猗窝座再袭》即将登陆中国内地大银幕。记者注意到，该片市场表现极为亮眼，截至目前，预售 票房已破1. 2亿元，创下了中国影史进口动画预售票房新纪录。更值得一提的是，该片全球累计票房达6.7亿美元，不但是日本影史全球总票房冠军，更是 跻身2025年全球票房榜前五。 电影上映前夕，扬子晚报紫牛新闻记者独家专访了片中为"嘴平伊之助"配音并担任该片配音导演的皇贞季，以及为男主角"灶门炭治郎"配音的星潮，听他 们分享与这部超人气IP共同成长5年多的幕后故事。 为男主角配音，从意外惊喜到共同成长 《鬼灭之刃》讲述了一家之主灶门炭治郎在家人被鬼杀害后，带着唯一幸存却鬼化的妹妹祢豆子，踏上斩鬼之旅和为妹妹寻找救赎之路的故事。作者吾峠 呼世晴"笔下无情"地让主角面临残酷考验，但正是这种绝不滥情的笔触，让作品中的情感更加真挚动人。 曾参与《罗小黑战记》等爆款作品的资深配音导演皇贞季强调，中文配音并非简单模仿日版，而是一次"本地化"的再创作，"我们不跳出角色的性格框 架，但一些表达方式，比如气息、惊讶或忧伤的反应，应该符合中文语境"。 他进一步解释，这个过程甚至需要对抗自己作为 ...

Core Insights - The success of "Luo Luo Mountain Little Monster" with a box office of 1.3 billion RMB highlights the potential audience for domestic animation, ranking it as the fourth highest-grossing domestic film of 2025 [1] - Despite the apparent prosperity of the domestic animation industry, there is a significant imbalance between the number of 2D and 3D animated films, with only four notable 2D films released since "The Monkey King: Havoc in Heaven" [1][2] - The shift in educational focus towards 3D animation has created a talent gap in 2D animation, leading to a lack of skilled professionals in this area [2][4] Industry Overview - The domestic animation market has seen over a hundred animated films released, but the majority are 3D, with 2D animation facing a creative crisis [1][2] - The recruitment market for 2D animation talent has diminished, as companies prefer to integrate 2D tasks into 3D workflows, reducing the need for dedicated 2D positions [2][4] - The lack of projects requiring traditional 2D animation has led to a decline in job opportunities for pure hand-drawn animation roles [2][4] Educational Challenges - Educational institutions have shifted their curricula to focus on 3D animation, resulting in graduates who are less familiar with 2D techniques [4][6] - There is a significant absence of a structured system for passing down 2D animation skills, making it difficult for new creators to learn from experienced professionals [6] Market Dynamics - The influence of Japanese animation has led many domestic 2D projects to mimic its style, diluting the unique identity of Chinese 2D animation and reducing its market competitiveness [7] - While 3D animation is often seen as more cost-effective, 2D animation offers greater potential for stylistic differentiation and cultural expression [8][12] Production Efficiency - The production process for 2D animation in Japan is highly organized, allowing for lower costs and higher output compared to the fragmented approach in China [12][14] - The perception that 2D animation is expensive stems from inefficiencies in the domestic production system, rather than the inherent costs of the medium itself [12][14] Future Prospects - There is potential for the domestic 2D animation industry to improve by adopting the structured, standardized practices seen in Japanese animation, which could lead to a balance of cost control and artistic quality [14]