1999, Shanghai Animation Film Studio produced and released the first official animated film "Bao Liandeng". Although the box office income of more than 30 million yuan is not small (mainly relying on those three theme songs), it can be clearly seen from Bao that Chinese cartoons have lost their own characteristics and completely imitated Disney's style. Take "new journey to the west" which is being broadcast on TV stations all over the world, you can also see the shadow of Disney. In fact, this is a big misunderstanding of domestic animation positioning. More than 95% animation lovers in China are influenced by Japanese cartoons, and they are loyal readers of Japanese cartoons, so Japanese-style animation is more acceptable. The first impression of cartoons is the characters. Beautiful characters can attract the audience. Disney's animated characters don't meet the aesthetic standards of China audience, so it lost a large part of the audience from the beginning.
Second, there is no good script.
Almost all domestic animations are classical fairy tales, and there is no plot to attract the audience at all. Take new journey to the west as an example. I don't know how many cartoons in the history of domestic animation are adapted from The Journey to the West. It's nothing more than a story about the Tang Priest's learning from the scriptures and the Monkey King's fighting monsters one after another. I saw it ten years ago, and I'm still watching it. It's strange to smell it. Moreover, domestic animation can be roughly divided into two kinds from the plot: one is low-quality children's animation, which is worthy of the name (in the eyes of ordinary people in China, animation is for children). The other is educational, not entertaining, that is to say, educating children in truth. In domestic animation, you can't see what education and entertainment are at all.
3. Inaccurate positioning of the audience.
Perhaps it is influenced by feudal tradition (what does this have to do with feudal tradition? ), most people think that cartoons are for children. Therefore, animation in China is mostly young, while the age of watching comics (animation) in Japan is 5-40 years old. Of course, there is no decent work, because the audience can't locate it correctly.
4. seiyuu
Seiyuu is also a voice actor. One of the main factors for the success of an animation is its excellent voice. Good dubbing can better shape the role and drive the atmosphere. The level of seiyuu between China and Japan is too poor, so we should take the model package of domestic animation as an example. The dubbing actors in Bao are all famous actors in China, but their dubbing level is really flattering, and their tone is blunt and emotionless, especially Tian Liang's dubbing. A pupil may read the text better than he does. Some Japanese animations imported from China are dubbed by seiyuu of companies such as Pretty Woman, and there is still a certain level. In Japan, there are schools and companies specializing in cultivating seiyuu. They gradually made seiyuu famous through animation (games), and then attracted the audience through their fame, thus entering a virtuous circle (Chisa Yokoyama and Jin Yue Zhenmei dubbed the protagonists of sakura wars and Memories of Heartbeat respectively, which became an instant hit, and entered the music scene one after another, releasing solo albums and holding solo concerts). If the domestic animation does not improve the level of seiyuu, it will be difficult to launch good works.
5. Animation music.
Some people may say, what is the relationship between animation and music? In fact, music plays a vital role in successful animation works. When watching animation, the audience first sees and hears the theme song, a nice song with beautiful pictures. Will the audience still reject it Look at how many Japanese animation CDs are on the domestic market now, and then look at how many animation CDs are in China, and you will know the gap. The songs in Japanese animation are usually sung by seiyuu, and some of them are also sung by famous singers, such as Chihiro Micang, Ryoko Hirosue and TWO-MIX. The theme song of domestic animation has no masterpiece except the bag. In fact, Bao Gong's success can clearly see the importance of music.
Propaganda of intransitive verbs.
Needless to say, every time a new work is shown in Japan, it will be widely publicized through various media before that. Needless to say, domestic animation is unprecedented.