'Ne Zha 2:' Why Chinese animation rules the world

When asked about his favorite animated films, Yang Yu (Jiaozi), director of "Ne Zha 2" – the world's highest-grossing animated film – quickly rattles off a list: the Shanghai Animation Film Studio catalog, Hayao Miyazaki's masterpieces, Disney classics, and more. It feels almost fated, as if his journey is part of a larger, circular story – a creative loop stretching back for decades.

It all began in 1937, when Disney's "Snow White and the Seven Dwarfs" revolutionized animation, ushering in a new artistic era. Across the globe, the Wan brothers (Wan Guchan, Wan Laiming, Wan Chaosen, and Wan Dihuan), pioneers of Chinese animation, took note. In 1941, they released "Princess Iron Fan," Asia's first animated feature, inspired by "Journey to the West."

The film made its way to Japan, where it profoundly influenced young Osamu Tezuka. Inspired, he left medicine behind to create "Astro Boy," a character drawn from the Monkey King, and became an animation legend admired by Yang. Another animation giant, Miyazaki, was similarly influenced. Early works from Shanghai Animation Film Studio – especially the Wan brothers' "Ne Zha Conquers the Dragon King" – became some of his favorites.

For Yang, the cycle came full circle in 2003. After watching Miyazaki's "Spirited Away," he left medical school to pursue animation. Over two decades later, "Ne Zha 2" – Yang's reimagining of the iconic character – surpassed Disney's "Inside Out 2" to become the highest-grossing animated film worldwide. Rising Japanese animator Naoko Yamada, captivated by the trailer, remarked: "The CG in this film feels like something you don't often see in Japan. I'm sure the Japanese audience will love it."

What began as an American innovation, carried through China, and transformed by Japan, has now evolved into a global dialogue. Chinese animators, after decades of ebb and flow, are now shaping global trends. The cycle of creative influence – one country inspiring the next – continues to evolve across borders and cultures.

The century-long journey of Chinese animation is more than just a resurgence; it's a transformation, with each generation passing the torch, contributing to an unbroken loop of artistic evolution. Let's explore this evolution through the timeline below...

The dawn

The Wan brothers were the pioneering visionaries who sparked China's animation revolution. Their bold innovation laid the groundwork for the industry's growth.

1922: In a modest 7-square-meter garret in Shanghai, the Wan brothers used makeshift equipment to create China's first animation – a one-minute ad for the Shu Zhendong Chinese Typewriter.

1926: The Wan brothers released "Uproar in an Art Studio," China's first true animated film, blending live-action and animation in a groundbreaking short. It was two years before the birth of Mickey Mouse.

1935: With "The Camel's Dance," an animated short based on "Aesop's Fables," the Wan brothers introduced sound to Chinese animation, creating the country's first sound film. Notably, they used Peking Opera drumming for camel footsteps.

1941: The brothers created "Princess Iron Fan," Asia's first full-length animated feature and the world's fourth after "Snow White and the Seven Dwarfs," "Gulliver's Travels," and "Pinocchio." This 73-minute film, based on "Journey to the West," blended traditional Chinese folk art and woodblock printing with animation, while its action scenes, inspired by Peking Opera and acrobatics, marked the beginning of Chinese animation's search for a distinct national identity. Released to wide acclaim, it quickly made its way abroad, influencing Japanese animation giants such as Osamu Tezuka, the "father of manga."

The first golden age

The first golden age of Chinese animation began with the rise of the Shanghai Animation Film Studio, a creative powerhouse that established a distinct Chinese animation identity – an influence that still resonates today – and thrust Chinese animation onto the global stage.

1946: China's first fully equipped film production base, the Northeast Film Studio, was founded, laying the groundwork for the country's animation industry.

1950: The animation unit of the Northeast Film Studio relocated to Shanghai, merging with the Shanghai Film Studio. Under the leadership of Te Wei, the 22-member team quickly expanded, attracting pioneers such as the Wan brothers, Qian Jiajun, and Yu Zheguang.

1955: The unit released "The Magic Brush," China's first internationally acclaimed animated film. The team gathered inspiration from folk art, architecture, and sculpture to create this color puppet film, setting a precedent for animation in China.

1955: The unit produced "Why the Crow is Black-Coated," China's first color animation. This groundbreaking film was a pinnacle of its time in terms of visual effects and won an award at the 7th Venice International Children's Film Festival. Its success marked the beginning of China's color film era in animation.

1956: The unit released "The Proud General," an animated fable inspired by Peking Opera and ancient Chinese murals. Traditional Chinese opera gongs and drums enhanced the soundtrack, enriching the film's cultural depth.

1957: The unit became an independent entity, establishing the Shanghai Animation Film Studio under Te Wei's leadership. This led to a surge of films deeply rooted in traditional Chinese art forms.

1958: The studio produced "Pigsy Eats Watermelon," China's first paper-cutting animation.

1960: The studio released "Baby Tadpoles Look for Their Mother," the world's first ink-wash animation. Inspired by Qi Baishi's paintings, the film captured aquatic life in stunning visuals, complemented by traditional Chinese music. It won six international awards and was praised in "Le Monde" for its profound artistic atmosphere.

1961–64: The studio produced "The Monkey King: Uproar in Heaven," China's first color animated feature. The iconic portrayal of the Monkey King influenced Japanese animators and earned international recognition, winning awards at the London and Karlovy Vary international film festivals.

The second surge

The 1980s marked a defining golden age for Shanghai Animation Film Studio, birthing timeless classics and sparking a second creative boom in Chinese animation. Amid the country's sweeping reforms, a flood of foreign animated series entered the country, catalyzing a shift toward serialized animation production.

1979: "Prince Ne Zha's Triumph Against Dragon King," China's first wide-screen animated feature, produced by Shanghai Animation Film Studio, was a milestone in Chinese animation. Drawing from China's 16th-century classic "The Investiture of the Gods," it follows Ne Zha's battle against evil dragons and builds on the legacy of "The Monkey King: Uproar in Heaven." With its vibrant portrayal of Chinese art – including influences from Dunhuang murals and folk door god paintings – the film introduced a bold take in character design. It was lauded both domestically and internationally, and became the first Chinese animated film screened at the Cannes Film Festival.

1981: "The Nine-Colored Deer" emerged as another masterpiece of this period. Based on a classic Dunhuang mural, the film explores themes of betrayal and punishment, reinforcing the unique artistic language of Chinese-style animation.

1983: "The Legend of Sealed Book" is widely regarded as one of Shanghai Animation Film Studio's greatest artistic achievements. It blends bold, comic-inspired character designs with a strong national style. Based on the ancient tale "Quelling the Demons' Revolt," the story follows a boy's quest to stop three malevolent foxes who use a magical book to wreak havoc.

1984: "Mr. Black," a five-episode animated series adapted from the novel of the same name, became a beloved children's classic. It followed the clever Black Cat Detective as he led a team to defeat mischievous hamsters and solve cases threatening the safety of the forest. The series became a nostalgic memory for children of the 1980s and 90s.

1986: Shanghai Animation Film Studio produced "The Calabash Brothers," China's first paper-cutting animation series. With 13 episodes, the classic story of seven brothers vanquishing the evil Snake Queen with unique magical powers became an iconic work of this period. It received numerous domestic awards and won the Bronze Prize at the 3rd Cairo International Children's Film Festival in 1992.

1989: "Adventure of Shuke and Beita," based on the works of Zheng Yuanjie, the "King of Fairy Tales" in China, was produced. The story of two mice, Shuke and Beita, who refuse to steal food like their counterparts, follows their journey as they become pilots and tank drivers, respectively. The series became an enduring favorite of young audiences.

Struggles and shifts

In the 1990s and early 2000s, as television spread across China and foreign animated works flooded the market, Shanghai Animation Film Studio adapted by focusing on animated series. While a few hits emerged, the broader Chinese animation industry faced significant struggles. Limited funding, outdated technology, and a talent drain left the industry lagging behind industrialized foreign counterparts. Traditional animation styles such as puppetry, paper-cutting, and ink wash dwindled, while Japanese and Western animation dominated. This stagnation pushed the industry toward TV animation for young children, reinforcing the perception of domestic animation as simplistic and immature, leaving little room for innovation.

1995: "Big-Headed Kid and Small-Headed Father," a beloved TV series co-produced by Shanghai Jinri Animation and Shanghai Oriental Animation, aired on China Central TV. Adapted from Zheng Chunhua's book, it became one of the country's most adored animated series, capturing the hearts of multiple generations.

1999: "Lotus Lantern," produced by Shanghai Animation Film Studio, became China's first cinematic animation release, telling the story of Chenxiang's quest to rescue his mother, a goddess, with a magical Lotus Lantern. With a budget of 10 million yuan (US$1.38 million), it incorporated new music, dialogue techniques, and digital stereo recording, along with iconic songs by superstars Liu Huan, Coco Lee, and Jeff Chang. The film was a major success, grossing 29 million yuan at the box office and surpassing the earnings of Disney's "Mulan" in China.

2001: Shanghai Animation Film Studio's "Music Up," China's first campus-themed animated musical, captured the spirit of high school students chasing their musical dreams. Featuring catchy songs by Hu Yanbin and professional bands, the series resonated with teenagers and quickly rivaled the popularity of Japanese anime. Its success paved the way for new genres within Chinese animation.

2003: "Heroes of Sui and Tang Dynasties" became the first cross-Strait animated series, a joint production between Shanghai Media Group and Shanghai Animation Film Studio. With character design by Taiwan cartoonist Kao Yung, the series featured a soundtrack from Taiwan's Rock Records, with performances by artists including Richie Jen and Fish Leong. The series quickly gained popularity among teenagers, marking a new chapter in Sino-Taiwan collaboration.

2005: "Pleasant Goat and Big Big Wolf," produced by Guangdong Creative Power Entertaining, became a massive hit with Chinese children. The series, which follows a group of goats and a clumsy wolf, spawned multiple films that replicated its success, becoming a cultural phenomenon in China.

Renaissance

In the past decade, Chinese animation has experienced a true renaissance, or perhaps a third surge, driven by a fresh wave of creativity rooted in Chinese mythology, folklore, and ancient legends. This revival stands apart from previous eras, fueled by cutting-edge technology and a broader, more diverse audience. Studios such as Coloroom Pictures and Light Chaser Animation are reshaping the landscape, focusing on industrialization, IP development, and digital innovation. Animation's growing importance within major streaming platforms, such as iQiyi, Tencent and Bilibili, is also contributing to a new era of Chinese animated content.

2015: "Monkey King: Hero Is Back" marked a pivotal moment in the renaissance of Chinese animation, ushering in the xin guoman (New Chinese Animation) era. With its modern narrative style, cutting-edge 3D and CG techniques, the film grossed 956 million yuan, outperforming Hollywood hits such as "Kung Fu Panda 2." The film's success sparked a cultural phenomenon and revitalized interest in traditional Chinese characters.

2016: "Big Fish and Begonia," Coloroom Pictures' debut 2D animated film, captivated audiences with a visually stunning Eastern fantasy world. Inspired by Taoist philosophy, particularly Zhuangzi's "A Happy Excursion," the film grossed 575 million yuan, blending deep philosophical themes with breathtaking animation and securing a place in Chinese animation history.

2019: "Ne Zha," a collaboration between Coloroom and director Yang Yu, became China's highest-grossing film of the year, earning 5.036 billion yuan. The rebellious protagonist and "smoke-punk" aesthetic of Ne Zha struck a chord with audiences and solidified the film as a cultural sensation. It remains the second-highest-grossing Chinese animated film after "Ne Zha 2."

2019: "White Snake," the first film of Light Chaser's "New Legends" series, reimagined the classic "The Legend of the White Snake." The film's innovative blend of ink-wash animation with modern elements shaped the studio's vision of retelling Chinese mythology with a fresh, contemporary lens. Light Chaser later expanded the universe with the "New Gods" and "New Culture" series, continuing the trend of modernizing traditional Chinese stories.

2020: "Legend of Deification," the second film in Coloroom's "Chinese Legends" series, continued the success of "Ne Zha." Inspired by the legendary Jiang Ziya from "The Investiture of the Gods," the film grossed 1.6 billion yuan, further cementing the New Chinese Animation movement and deepening the roots of modern Chinese animation.

2021: "New Gods: Ne Zha Reborn" by Light Chaser reimagined the mythological hero Ne Zha as a motorcycle-riding youth, blending steampunk with traditional myth. The film grossed 456 million yuan, launching the "New Gods" series. "New Gods: Yang Jian," released in 2022, expanded the universe with stunning 3D ink-wash animation and grossed 555 million yuan, surpassing the success of "Minions: The Rise of Gru in China."

2021: "I Am What I Am," a heartwarming story about a left-behind boy's journey from sickness to strength, blended Guangdong's traditional lion dancing with a coming-of-age narrative. With a focus on balancing urban and rural development and the integration of intangible cultural heritage into modern life, it offered a refreshing new direction for Chinese animation.

2021: "Click Link," Bilibili's original animated series, became one of its most successful worldwide. The series, featuring Cheng Xiaoshi and Lu Guang's superpower-driven photography adventures, has aired three seasons. It was also one of the first Bilibili original animations to air on "B8station," a Japanese channel built in collaboration with Fuji Television.

2023: Light Chaser Animation's "Chang An" redefined the historical epic genre, telling the rise and fall of the Tang Dynasty through the lens of legendary poets such as Li Bai, Gao Shi and Du Fu. The film, featuring 48 classic Tang poems, earned 1.825 billion yuan at the box office and sparked a nationwide craze for poetry recitation.

2024: "Yao: Chinese Folktales," a collaboration between Bilibili and Shanghai Animation Film Studio, captivated audiences with fresh takes on eight classic Chinese tales. The series reimagined the concept of yao (demon or monster).

2025: "Ne Zha 2" broke box office records and propelled Chinese animation to global prominence, further fueling interest in traditional Chinese culture.