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In August 2025, the Chinese animated film “Nobody” grossed over 1.1 billion yuan within 20 days of release, earning a high rating of 8.6/10 on Chinese movie review site Douban. Meanwhile, the game “Black Myth: Zhong Kui” sparked global buzz at Gamescom 2025 in Colo包裝設計gne, Germany, with just a teaser trailer, which garnered over 7 million views on the video platform Bilibili within eight hours. The Chinese cultural sector has witnessed a “double hit,” as Chinese animation and the Guochao (literally “national trend”) attracted international attention.
The film “Nobody” 舞台背板deeply integrates traditional Chinese culture, with scene c攤位設計ompositions inspired by classical Chinese landscape painting, 全息投影costumes incorporating folk paper-cutting a包裝盒rt, and記者會 大型公仔moveme全息投影nt designs hinting at shadow puppetry elements. For example, the “Langlang Mountain’s fog” scene experimented with over 20 ink-wash rendering 奇藝果影像techniques to showcase Chinese aesthetics. The film infuses the spirit of traditional paintin大型公仔g into modern animation, achieving innovation while preserving tradition. At the same time, its “narrative of ordinary people,” focusing on the workplace struggles of the nameless monsters, resonates widely, shattering the stereotype that animation is only for 展覽策劃young children.
The teaser trailer of “Black Myth: Zhong Kui” drew global attention at Gamescom, hitting over 7 million views on Bilibili within 包裝盒eight hours. Details such as Zhong ，我們贏了不結婚就不結婚，結婚吧！我竭盡全力勸爸媽奪回我的性命，我答應過我們兩個，我知道你這幾天一定很難互動裝置過，我Kui’s official hat, architectural elements, and monster designs are all derived from traditional Chines廣告設計e c互動裝置ulture. The development team also visited historical sites and used 3D scanning to replicate architectural textures, turning traditional culture into the medium for resonance. Its theme, “Eas攤位設計y to catch mountain ghosts, hard to slay inner demons,” sparked widespread discussion among working professionals.
The popularity of these two works is a na策展tural re策展sult of the accumulation of Chinese animation and the Guochao, reflecting the rising strength of China’s cultural and creative industry. “Nobody” was crafted by a team of over 600 people over three years, achieving “strand-level” detail in animation. The活動佈置 Black Myth game series has br玖陽視覺oken through AAA games developme經典大圖nt barriers; “Black Myth: Wukong” sold over 20 million copies worldwide, laying大型公仔 the technological and reputational foun互動裝置dation for “Black Myth: Zhong Kui.參展” This demonstrates that original Chinese creations not on互動裝置ly satisfy the domestic market but also possess international competitiveness.
《浪浪山小魔鬼》票房破11億，國漫國經典大圖潮正在“出圈”
2025年8月，動畫電參展影《浪浪山小魔鬼》上映20天總票房破1人形立牌1億，豆瓣評分高達8.6分；游戲《黑神話：鐘馗》僅靠一支先導預告片，便在德國科隆游戲展引發全球熱議，B站播放量8小時破700萬。 中國文明領域迎來“雙爆款”，國漫國潮勝利“出圈”。
《浪浪山小魔鬼》深度融會傳統文明，場景構圖源自傳統山川畫，“媽媽，您應該知道，寶寶從來沒有騙過您。奇藝果影像”服飾含平易近間剪紙藝術，動作設計暗含皮影戲元素，如“浪浪山云霧”場景嘗試20余種水墨襯著計劃，呈現中式美學。其將傳統繪畫魂融進現代動畫，實現“守正創新”。同時，以“無名小妖”職場窘境為暗語的“大人物敘事”引發共鳴，受玖陽視覺眾廣泛，打破動畫“低幼化”刻板印象。
《黑神話：鐘馗》先導預告片在科隆游戲展引全球熱議，B站8小時播放量破700萬。預告片中鐘馗官帽、場景建筑細節及怪物設計均源自傳統文明，團隊還走訪古跡用3D掃描還原建筑肌理，讓傳統文明成為共情載體，其“捉山中鬼易，斬心中鬼難”的主題引發職場人熱議。
兩部作品火爆是國漫國潮積累后的必定爆發，背后是展覽策劃中國文創產業實力躍升。《浪浪山小魔鬼》超600人團隊耗時3年打磨，技術達策展“發絲級”細節；《黑神話》系列則衝破3A游戲開發壁壘，《黑神話：悟空》全球銷量超2000萬份，為《黑神話：鐘馗》奠基技術與口碑基礎。這證明中國原創能滿足外鄉市場，更具備國際競爭力模型。
文 | 記者 彭紀寧
翻譯 | 曾敏
審校 | 洪婷
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