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The Anime View

Presented by: Peggy Wood

Editor, The Anime View

My name is Peggy Wood and I am the editor of The Anime View, a small blog which you can see at theanimeview.com.

The Anime View started as an outlet for my obsession with the anime and manga I was viewing at the time, however it has since developed from a solo blog into a small blogging team wherein we aim to create content that provides our audience of animation and comic fans with a mix of content that engages the mind to look critically at the media we love and consume. This panel will very heavily explore that idea of media criticism, so please keep this in mind!

Recently, many posts have centered on manhwa and other Korean publications, shifting away from the heavy Japanese influences of the blog’s origins, but we’ve been expanding outward to look at sequential art media from all over. With new contributors joining, and people submitting posts as well, we’ve begun discussing some games, American animated and comic media, industry knowledge, and other news to share with our growing readership.

This presentation is a combination of work I’ve been doing on cultural influences of media, and I’ve tried to make it more broadly comprehensive of things to consider in this rising media.

Outside of The Anime View, I am also a copyeditor and occasional reviewer for the journal of anime and manga studies--JAMS--and I work as a full-time English instructor at a Technical college in South Carolina.

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Animation Depicting Chinese Culture, but not Chinese Anime

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The United States & China

Historical Context

Political Differences & Human Right Concerns

Competition Economically

Cultural Differences

Media Representation (Negative)

https://www.cfr.org/timeline/us-china-relations

The history between China and the United States is long and complex. It's challenging to discuss the rise of Chinese media without acknowledging the U.S.'s historical biases against China and elements of its culture.

For context, I will reference the Council on Foreign Relations (CFR), an American think tank specializing in U.S. foreign policy and international relations. Founded in 1921, the CFR is an independent, nonpartisan nonprofit organization.

In the U.S., perceptions of China have been shaped by a mix of cultural, political, historical, and media-driven factors. These perceptions are not universal and vary widely among individuals and groups. However, there is a noticeable tendency toward negative portrayals of Chinese animation and broader cultural products here in the West and understanding this requires examining the historical, political, and social contexts in which we exist.

From a historical context, Chinese immigrants have been part of American history since at least the mid-1800s. While this history includes instances of racism and exclusion, there were also periods of mutual benefit and positive relations. Moving into the modern era, however, the legacies of the World Wars and the Cold War created sharper ideological divides between the two nations, particularly around capitalism and communism.

The Cold War and subsequent proxy wars deepened mutual suspicion between the two countries. The rise of Communist China under Mao Zedong was often portrayed as a direct threat to Western democracy. China’s support for North Korea during the Korean War and North Vietnam during the Vietnam War further strained relations with the U.S..

These historical conflicts contributed to a perception of China as an authoritarian government characterized by corruption and dishonesty, one that has carried to today. Moreover, China's one-party system stands in stark contrast to U.S. democratic ideals. While U.S. presidents have acknowledged this one-party system to maintain diplomatic relations with the country to preserve foreign policy goals, there is a significant strain on the US populace in regard to the topic and the U.S.'s substantial financial debt to China, currently exceeding $300 billion, further complicates this relationship.

More contemporary issues people generally know about include China's efforts to reclaim Taiwan and reports from citizens and activists about poor living conditions, human rights violations, censorship, and restrictions on political freedoms have drawn sharp criticism from the U.S.. These concerns resonate deeply in a nation like ours where human rights advocacy is viewed as a core part of our cultural values and identity.

At the same time, the two countries remain interdependent as global superpowers. China's economic and military growth has made it a formidable competitor on the world stage, prompting concern about its intentions and influence. These dynamics are impossible to ignore when analyzing the portrayal of Chinese media in the U.S. and on an international scale.

While negative stereotypes about China and its media persist, many Americans—myself included--appreciate aspects of Chinese culture, including its rich history, technological advancements, cuisine, and art. Increased cultural exchanges through tourism, education, and entertainment has helped in fostering a more nuanced perspective.

However, it’s essential to acknowledge that much of the media we consume—both from and about China—is curated to shape perceptions. This curation influences not only international audiences like us but also domestic viewers within China. Recognizing this helps us engage more thoughtfully with media originating from China or depicting Chinese culture.

https://www.cfr.org/timeline/us-china-relations

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What is Donghua (动画/Dònghuà)?

(Image from: Soul Land [Douluo Dalu])

So, with that said, let's talk about Chinese anime. Or, more specifically called, Donghua. Donghua is a term used to describe animation produced in China. It can refer to all animated works in Chinese, but in English it's more commonly used to refer to animation specifically from China. While Donghua literally translates to "animation," it is commonly used outside of China to refer specifically to Chinese animation, much like how "anime" typically refers to strictly Japanese animation.

Donghua is often associated with 3D and CGI animation, but it can also use more traditional 2d-style.

In recent years it has been gaining popularity and what I want to talk a bit about today is how quickly this animation field is growing and advancing. Particularly as it has historically been overlooked and faced a reputation stigma due to clunkier animation and being associated with bootleg products.

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One major factor contributing to the rise of Chinese animation is the rapid expansion of the industry within China.

According to Statista, an online data collection platform, "In 2023, the Chinese entertainment and media market was estimated to be valued at about 241 billion U.S. dollars... China is the second-largest entertainment and media market after the United States, contributing almost ten percent of the industry's revenue."

A English.news.cn article, which is a Chinese based news website, titled "Economic Watch: China's Animation Industry Becomes Investment Hotspot" highlights this growth, stating that "Data shows that the total output value of China's animation industry has skyrocketed, rising from 88.2 billion yuan in 2013 to 221.2 billion yuan in 2020, revealing strong growth momentum." The same 2023 article notes that "50 million yuan [is invested] in special funds each year to support industries related to the animation sector.”

This investment is closely tied to China's broader strategy to expand its soft power—a term referring to the use of economic and cultural influence, such as entertainment media, to shape international perceptions.

A report from the Council on Foreign Relations (CFR), in an article titled “China’s Big Bet on Soft Power” states that "The funds China steers toward its soft power campaign are hard to pinpoint due to the country’s limited transparency, but experts estimate them in the billions of dollars." The article also notes that "Beijing [the Chinese capital, which is journalistic shorthand used to essentially stand-in for the government and large economic shakers in the country] has thrown its weight behind its foreign language news outlets to establish greater control over narratives about China. This allows Beijing to reach a broader audience—not only for high-profile summits between Chinese leaders and their foreign counterparts but also for China’s more underreported activities around the world."

China's leadership has framed this push as an effort to "give a good Chinese narrative and better communicate China’s message," both internationally and domestically—an initiative emphasized by President Xi Jinping (SHEE Jin-ping).

***

https://www.statista.com/statistics/237772/value-of-the-chinese-entertainment-and-media-market/#:~:text=Value%20of%20the%20Chinese%20entertainment%20and%20media%20market%202022%2D2027&text=In%202023%2C%20the%20Chinese%20entertainment,of%206.1%20percent%20until%202027.

https://english.news.cn/20231111/e76f44a4350549ada05e6c064e2f92b3/c.html#:~:text=Economic%20Watch%3A%20China's%20animation%20industry%20becomes%20investment%20hotspot,-Source%3A%20Xinhua&text=BEIJING%2C%20Nov.,investment%20destination%2C%20industry%20insiders%20say.

https://www.cfr.org/backgrounder/chinas-big-bet-soft-power

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A recurring issue with China’s soft power approach—one that is evident even in media like Donghua—is the country's censorship and strict media regulations.

The same article referenced earlier, "China’s Big Bet on Soft Power," highlights this challenge:

"China’s soft power campaign is limited by the dissonance between the image that China aspires to project and the country’s actions, experts say. Rising nationalism, assertiveness in territorial disputes, crackdowns on nongovernmental organizations, censorship of domestic and international media, restrictions on foreign ideas, and political repression constrain China’s soft power.

'If China’s narratives don’t address the country’s shortcomings, it becomes very hard to sell the idea of China as a purveyor of attractive values,' says CFR Senior Fellow Elizabeth C.[ ]Chinese culture and ideas have the potential to appeal worldwide, but only when there is 'honesty in the depiction’”

This challenge ties into Wolf Warrior Diplomacy, a confrontational approach to foreign policy that aggressively rejects and counters criticism of China. Like other entertainment industries in the country, its leaders, and culture.

There is a lot of censorship here and Donghua, as a medium made within the culture, reflects how media is shaped by broader cultural and political influences.

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Douluo Dalu / Soul Land

Censorship therefore is something we must also discuss as it plays a significant role in Chinese media. A striking example of this, I believe, is the author of Soul Land, Tang Jia San Shao. For this discussion, I will refer to the author as Shao.

I believe that Shao’s influence on novel censorship in China extends beyond literature, shaping broader media trends, and is a case example of someone both shaping the narrative and being shaped by it. Allow me to explain.

Shao created the Soul Land web novel, which later became a comic, manhua, and animation, donghua. With 17 seasons, it remains one of the longest-running and most popular Chinese animated series, amplifying his impact on the industry. When I first started watching donghua, this series was often in the top five titles recommended for people looking to get into this media.

Before his rise to fame, Shao had a mixed reputation in the web novel community, often criticizing other authors. He benefited from an older contract system that maximized author profits, helping him succeed. However, from what I have understood, after gaining prominence, he reportedly used his influence to advocate for stricter censorship policies and contractual changes—making it harder for new authors to replicate his success.

Shao eventually joined the Chinese Communist Party (CCP) and became more involved in politics and entertainment, shaping the industry to his advantage. Online discussions, including YouTube videos and Reddit posts, often label him as the "most hated" figure in the Chinese novel industry.

One of his most controversial actions was an open letter calling for stricter content regulations, condemning novels with violent or sexual themes. This aligned with the Chinese government’s efforts to control media narratives seemed to prompt widespread censorship online. As a result, numerous novels were removed from Chinese platforms, authors lost years of work, and many had to rebuild their careers from scratch.

Despite successfully influencing policy, Shao faced backlash from fans and fellow writers who saw his actions as self-serving and damaging to progress. He later downplayed his role, claiming to be a minor figure in the CCP with little influence. However, the selective nature of the censorship—seemingly sparing many of Shao’s own early works—suggests otherwise. Though, I want to note, that it is likely that other CCP-affiliated authors also had their works protected while competitors were targeted.

Is the criticism toward him justified? I would say yes, though there are nuances to consider.

Personally, I believe his actions were harmful. Censorship and book bans suppress ideas, and as an American, the extent of censorship in China is deeply concerning. According to Reddit user Alternative-Path2712 and others, Shao played a central role in the cancellation of many popular works and had a part in pushing the broader waves of censorship that hurt the novel-writing community. The people who are part of that community are justified in their frustration.

Still, this case highlights the complex interplay between celebrity influence, government control, censorship, and media survival in China. Shao’s actions—whether motivated by self-interest or ideological alignment—demonstrate the power of public figures in both shaping and being shaped by censorship policies.

So, consider for a moment this question: is Shao simply a hypocrite—someone who exploited the system to get ahead—or is he a product of his environment?

His early works contained themes he later condemned, but having grown up within the Chinese system, his perspective may have shifted over time.

This phenomenon isn’t unique to China. Media significantly influences personal beliefs, even in Western countries.

For example, my mother, a lifelong Democrat when I was a child, gradually shifted toward Republican views as I got older. Her political leanings seemingly changed alongside ownership shifts in the news channels she watched. The channels that she watched remained in their stated political affiliations but, by osmosis, there was a shift in some content. I won’t go into specific names—because I am not interested in diving into American political shifts right now—but watching this shift in my mom reflects in an anecdotal way the broader research on how media shape public opinion.

While Shao may have acted out of self-interest, it's also entirely possible he sincerely believed in these changes after immersing himself in the CCP’s ideology—essentially, “drinking the Kool-Aid.”

And that’s worth reflecting on, because we, too, are not immune.

Now, allow me to play a short clip of local and national news stations reading from a script you may or may not recognize to help support what I mean:

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Ling Qi / Spiritpact

Tian Guan Cifu / Heaven Official's Blessing

Shanhe Jian Xin / Thousand Autumns

...while that censorship can be severe, it can also be loose at the same time.

For example, the Chinese government has continued to suppress LGBT+ organizations online in recent years. Taking down accounts and posts internally and blocking international queer media by the thousands. The rules of censorship in this and other areas are vague at the best of times and difficult to understand on an international scale. As a result of limited transparency, we don’t really know why somethings pass and others don’t, but typically it can be assumed that explicit content is banned (unlike in Japan which has some pretty ecchi thing promoted in and out of the country).

Yet, Chinese media may unexpectedly be producing some of the most impactful and nuanced LGBT+ content out there as a result of this censorship wherein creators comply and re-formulate stories to be more subtle.

They have promoted, internationally, danmei titles or boys love titles, though often revised to be more like bromances.

Heavens official blessing, MDZS (Grandmaster of Demonic Cultivation), Thousand Autumns, and Spirit Contract for example.

This has been a factor in the promotion of Chinese animation, though that itself is not the loan indicator of the medium's rising success internationally.

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At this point in the presentation, I would discuss international distributors for Chinese animation, with the biggest being Bilibili—a major platform in China.

Bilibili originally launched as a Shanghai-based video-sharing website similar to YouTube. However, in the 2010s, it expanded its focus, becoming a hub for animation, comics, games, TV shows, documentaries, and other original programming.

According to Wikipedia—which, while not a citable academic source, is fine for casual reference like this—Bilibili is well known for its scrolling comment system and streaming platform.

To put it simply, Bilibili functions like a combination of Twitch, YouTube, Webtoons, and traditional TV all in one place. It has millions of users engaging with the platform daily, and until December 2024, it was also available internationally. This meant the company actively promoted its content worldwide and provided translations of selected works as well.

However, just last year in December of 2024, Bilibili shut down its international operations. The likely reason? Financial struggles rather than censorship—though, with these things, it’s hard to say for certain.

With Bilibili out of the picture, the big question remains: Where can we now find a legal distributor of Chinese animation? The answer? Places you may already be looking for anime from Japan.

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YouTube, Crunchyroll, and iQiyi (pronounce: eye-CHEE-yee), >> I suppose Netflix too,>> are the biggest distributors of donghua here in the US.

Youtube and Crunchyroll you all are probably already familiar with (as well as Netflix). These websites are major distributers of anime in general.

However, iQIYI might be new to some of you. It’s a massive streaming service in China that offers a wide range of content, including movies, TV shows, and donghua. What's particularly interesting is how iQIYI has been expanding into the international market.

I first discovered the platform through YouTube while watching one of my newest favorite series, How Dare You?!, which iQIYI published onto YouTube through their official channel. It came up in my recommended feed and after binging through three episodes I was hooked.

This is very interesting, as rather than relying solely on their own streaming service, iQIYI has been strategically sharing content for free on YouTube and, I believe, a few other platforms. This move appears to be aimed at increasing brand recognition worldwide, growing its influence, and attracting potential new users and viewers who may eventually subscribe to their platform.

I ended up trying their premium membership for the season, which costs $8.99 USD, and enjoyed watching several titles last season as a result. While, personally, I didn’t find it worth it continue paying premium when I could just wait for episodes to release for free later, there was one feature I liked that I think contributed to why I kept up with it for more than a month, and that was how they allowed viewers watching subtitled content to submit translation revisions. These revisions were moderated quickly and regularly, ensuring that bad translations couldn’t be added but allowed for clearer, more accurate subtitles from native speakers. Essentially, iQIYI is leveraging user input to improve its services—saving money while increasing engagement. It’s a smart strategy, and it seems to be working not just on me but on others as well.

Additionally, by sharing their content on YouTube, iQIYI can monetize through ads, creating another revenue stream alongside its subscription model. While its primary service remains subscription-based, YouTube ad revenue helps maximize exposure and profits.

Bilibili did something similar years ago, releasing content on YouTube, which was how I became exposed to several series within this medium.

Netflix has also collaborated with iQIYI, signing a deal in 2017 to distribute content in China—since Netflix itself does not operate there. This partnership further cements iQIYI’s presence as a major player in international streaming sphere for donghua both domestically and abroad.

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The Daily Life of the Immortal King

(Netflix)

Link Click

(Crunchyroll)

The King's Avatar

(YouTube)

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No Doubt In Us

(Netflix)

How Dare You ?!

(iQiyi/YouTube)

Big Fish & Begonia (Crunchyroll)

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Ne Zha (Ne Zha 2 recently released - 2025!) (Various)

The Legend of Hei

(YouTube)

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Balala the Fairies: Ocean Magic

Season 1 (2018)

I've talked a lot about media literacy and censorship thus far, which are important factors to view as a double-edged sword. On the one hand, this censorship means that content tends to be very family friendly, making it easier to sell even in international markets, but is also a limit on donghua's popularity. I wanted to emphasize that as donghua gains traction, it’s crucial to remain aware of the media we consume and these ideas.

Despite the complexities this censorship and government involvement causes, donghua is undoubtedly on the rise, driven by several key factors that I’ve already touched upon.

First and foremost, the Chinese government plays a significant role in its growth, providing strong support as part of a broader effort to establish China as a global cultural and social power. This includes direct funding for animation projects as well as policies designed to boost the domestic animation industry and promote it internationally.

Private companies have also recognized the potential of this market. Major players like Bilibili and iQIYI have heavily invested in donghua production, pouring resources into high-quality content to attract both domestic and international audiences. With increased budgets, the overall quality of animation and storytelling has improved significantly, making donghua more competitive on the global stage.

Compare this to the 2000s, when titles like The Legend of Qin or Balala the Fairies struggled with lower production quality and heavy reliance on imitation. More specifically the Balala the Fairies, which I have displaying on the screen now, for example—has become a powerhouse of Chinese magical girl animation. The influence of Japanese titles, particularly in transformation sequences, is obvious (a point I mentioned earlier with regard to “bootleg” trends). Even as recently as 2018, with Balala the Fairies: Ocean Magic, animation remains choppy, lighting effects are inconsistent, and the mix of 3D assets (like the floating seahorse you see on the left) with 2D art (like the characters here) feels unpolished. Mouth movements are still mostly limited to simple open-close motions to signify who is speaking, showing how some studios are still struggling to meet international animation expectations.

However, the donghua industry has made significant strides in the last five year, with the high-quality productions of theatrically released movies and even some shows that I mentioned earlier no longer suffer from these issues. Of course, some aspects are still less polished, like clothing movement in the CGI, but it is still far better than before and getting better all the time.

A Global Times article, which is another Chinese run news distributor, titled “Chinese Animation Shows Unique Charm and Aspirations to Improve,” I believe, captures this shift well. The editorial notes that while Japan’s animation industry is long-established with a fully developed production chain, China’s animation history—dating back to the early 20th century—has experienced cycles of growth and decline. The Golden Age (which would be 1950–1964) produced classics like Magic Brush and Havoc in Heaven, but the industry struggled back and forth, most intensely between 1996 and 2014. Since 2015, however, donghua has seen a resurgence, with blockbuster hits like Monkey King: Hero Is Back and Ne Zha marking a new era of success.

Beyond this article, it’s clear that with larger budgets, major studios now have the ability now to work of further refining their production quality, helping donghua reach new heights and attracting viewers who had been turned away by the initially clunkiness.

https://www.globaltimes.cn/page/202305/1290364.shtml

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The rise of streaming platforms, as I discussed earlier, has been a major contributing factor to donghua’s growth. However, the appeal of the stories themselves is just as important.

Chinese animation often draws from traditional folklore, mythology, and historical epics—such as Journey to the West, Three Kingdoms, and Prince Ne Zha and the Dragon King. These themes resonate with international audiences, especially those eager to experience narratives they may not have encountered before. On a domestic level, there’s also a strong desire to see one’s own cultural heritage depicted on screen—similar to how we, driven by nostalgia, enjoy and spend massively on Disney remakes or superhero films based on classic comic book characters.

A great example of this is Ne Zha 2, which was released during the Chinese Lunar New Year this year. According to a Fiction Horizon article published on March 2nd, 2025, the film has already surpassed the $2 billion mark, making it the first animated film to do so. Remarkably, nearly $1.96 billion of that revenue came from China alone, meaning only about $40 million was earned internationally thus far.

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This is an important trend to recognize because it’s not unique to China—it happens everywhere.

As people, we are naturally drawn to stories that reflect our cultural values, even as those values evolve over time.

In another presentation I gave on the cultural differences between manga and Western comics—as well as a panel on yokai (not featured in this slide)—one of the key insights I gained from my research was how different cultures gravitate toward certain storytelling themes.

For example, in the U.S., we tend to favor hero stories. This is reflected in our major comic publishers—DC, Marvel, and Dark Horse—which primarily focus on superheroes. We enjoy narratives where protagonists overcome major obstacles and defeat oppressive villains.

Japan, on the other hand, leans more toward stories about yokai (supernatural creatures) and moral nuance. While American audiences often prefer clear distinctions between good and evil, Japanese stories frequently explore the natural world, spirits, and the complexities of human nature.

Of course, both types of stories have international appeal, but they tend to resonate most strongly within their respective cultures.

For example, My Hero Academia—while popular in Japan—achieved massive success in the U.S., likely because its themes align with the American love for hero narratives. Meanwhile, Natsume Yuujinchou, a long-running series that delves into yokai, nature, and human relationships, is beloved in Japan but remains relatively unknown in the U.S. despite having seven seasons.

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This brings up another key factor contributing to the rise of Chinese anime—differences in tropes and storytelling.

Just as Japanese anime has major genres like isekai, mecha, and magical girl, Chinese animation also features distinct genres, the most internationally recognized being Xianxia and Wuxia.

Xianxia revolves around characters seeking immortality through martial arts, magic, and spiritual cultivation.

Wuxia, a more traditional genre, focuses on martial heroes and their adventures, often set in historical or fantasy-inspired worlds.

These genres are staples in Chinese animation and frequently adapt themes and stories from classic Chinese literature.

While American and Japanese media do explore these genres, it is not in the same way, though there are occasional similarities. For instance, Ranma ½ incorporates martial arts themes and Chinese styles, drawing from Chinese martial traditions, it is not drawing on the philosophies embedded within these narratives nor fully embracing the Wuxia or Xianxia styles of storytelling. Series like Avatar the Last Airbender similarly takes inspiration from those philosophies and the arts, but is a good vs. natural evil more typical of US stories.

A defining feature of many Chinese anime is the protagonist’s journey of cultivating power through practice, learning, and overcoming small obstacles—key word here being small. This progression is often highly linear or formulaic, with the protagonist consistently growing stronger over time—emphasizing not so much training sequences but battles.

While power progression is also common in Japanese anime (Dragon Ball Z and Naruto for example), one notable difference is that Chinese anime often minimizes the struggle. Training arcs are typically brief, and protagonists rarely experience major setbacks. This could be tied to the "Wolf Warrior" mentality discussed earlier—where failure is downplayed in favor of projecting strength and success—but is a very common feature to see in these stories.

Of course, other genres like mystery, magical girl, and reincarnation are also popular in Chinese donghua, but martial arts and historical dramas are among the most significant and internationally recognized genres in this medium today.

Structurally, many donghua loosely follow a Five-Act Structure, from what I have seen, but place more emphasis on gradual development and a series of conflicts with quick resolution to move onto the next conflict rather than a singular climactic event or strong character development overtime. This is particularly true for the Wuxia stories, where the protagonist's journey working their way to the top takes center stage over any one decisive battle.

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HOW FAN CONTENT

CREATES

NEW FANS

In essence, the cycle works like this: fans engage → create buzz and buy → new fans are drawn in → this drives revenue as consumers buy/watch → more investment and growth → repeat.

Fandom

Growth

Supports

Industry

Fandoms are another key factor driving this rise.

The cycle of fan engagement plays a crucial role in industry growth: it begins with the media itself, which often gets at least a small fandom started. These fans interact, generate buzz by going to forums, making fan art, promoting the show, and doing the leg-work for word-of-mouth advertising, and this attract new fans → this drives revenue as consumers buy/watch → more investment and growth → repeat.

As donghua has gained visibility internationally, its fandoms have become more organized and vocal. Social media platforms allow fans to engage with creators, share theories, and discuss their favorite series, further amplifying interest and engagement.

Additionally, as donghua's popularity has grown, many shows have been fan-translated into other languages. For example, iQIYI has relied on fans to refine translations, as I mentioned prior, demonstrating how fandoms can directly impact the industry. This effort has made Chinese animation more accessible to international audiences even before official localization is released for purchasing, helping to expand its global appeal.

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Government support for pro-China narratives
Major financial investment from companies and the government
Access to international streaming platforms
Improved content quality attracting more viewers
Stories that appeal to both local and international audiences
Popular genres like power fantasies and romances
Fandom-driven promotion of the industry

To recap, the rise of Chinese anime can be attributed to several interconnected factors:

Government support for promoting pro-China narratives

Significant financial investment from both companies and the government

Access to international streaming platforms, made possible by government support

Increased investment, which has led to higher-quality content that attracts more viewers

Storylines that feel fresh to international audiences while still resonating with domestic cultural themes

Popular genres, such as power fantasies and romances, that focus on success

The fandom cycle, which helps promote and sustain the industry

Now, I’ve given a lot of information here and while I have been critical of the medium, I want to emphasize that I’m a fan of donghua. I genuinely enjoy it, and I hope that this lecture on censorship and other considerations hasn’t lessened your interest. Instead, I hope that it has helped in identifying ways that we all can be more mindful of what we watch and the messages—hidden or not—that may be present.

Animation is a global phenomenon, and my goal here was to explore the unique characteristics of Chinese anime, how it differs from its Japanese counterparts, and the cultural influences that shape its narratives as webroaden our understanding and appreciation of anime, which I hope I’ve achieved.

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No Doubt In Us

(Netflix)

How Dare You ?!

(iQiyi/YouTube)

Ling Qi / Spiritpact

The Legend of Hei

(YouTube)

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A bad series that I cannot recommend but which I will recommend anyway, not for the quality but the lack thereof-- which provides it is its own special brand of comedic entertainment, is Hero Return. →

Hero Return (2020)

(Crunchyroll)

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Wei, Xu. "Chinese Animation's Progress from 2007 to 2016 Revealed." SHINE News, 18 Mar. 2024, www.shine.cn/feature/entertainment/2403188473/#:~:text=Ever%20since%202010%2C%20there%20has,animation%20began%20its%20vigorous%20development.

"Chinese Animation Shows Unique Charm and Aspirations to Improve." Global Times, May 2023, www.globaltimes.cn/page/202305/1290364.shtml.

Sun, Qinggang and Daibo Xiao. “The rise of Chinese animation: policy evolution and industry development since the 1990s.” https://www.tandfonline.com/doi/full/10.1080/10286632.2024.2423685?af=R

Wei, Mengxue. "Trajectory: The Development of Animation Industry and the Evolution of Animation Art in China.”Science Press, 2023, 253 pp." ACAS World, 2 Sept. 2024, acas.world/2024/09/02/trajectory-the-development-of-animation-industry-and-the-evolution-of-animation-art-in-china-by-pan-jian-science-press-2023-253-pp/.

Recommended Readings on Rise of Animation Quality

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