The Man That Globalized Chinese Anime

[00:00] In recent times, Chinese animation, or Donghua, has seen a surge in popularity worldwide. As a creator of mainly focus on Japanese anime, more and more I see one or two Donghua proven to the seasonal anime cycle

[00:12] as some of the most decently hyped shows that season, even if it comes from a totally different country. And recently, I got to sit down with one of the most influential figures in the face right now, Hao Lin, to learn more about just what is happening in the rising world of Chinese animation.

[00:26] I am joined by a very very special guest today Hao Lin Thank you very much Welcome to Shanghai Thank you so much Teresa and Director of shows like 2B HeroX and Linklick

[00:47] and someone who I really admire I was honored to be personally invited by him I'm also very happy this was kind of a wonderful one since it took his action reaction to make a record

[01:00] and saw it on aCERTA信-记 story twisted further to even other state listeners through the cardiff's account connection Thank you

[01:15] I think start with the years While disclosing in Chinese culture we can't see many new works But we think that the development of Chinese art is using some technology to drive.

[01:28] So we can see that the quality of our audience's style is not the same with traditional Japanese art. There are more 3D technologies that drive the Chinese art in the development of Chinese art.

[01:41] Thank you.

[02:11] 影像和动画对当时可能就是我说的大学里面其实没有这样的一个机会嘛 那只能选择一个就是更设计搭边一点的其实就跟建筑设计啊跟这种有关的

[02:24] 那整体来说他其实能做的想象空间有限就特别的枯燥 所以大学毕业那一年的暑假其实很其实有点痛苦 就是因为可能很多现在的年轻人也一样就学了自己的专业不是自己喜欢的

[02:38] but he thinks to choke me to work on this job he하게 comes in on Saturday I drove very early, reallyohn skewered molt Woche

[02:51] good It was two things the first thing is thatутств of the harm even was because another thing

[03:06] Because in my muhour drive was made with a teacher. When I dropped on alexander when I asked him thejuvgicおい, I was wondering him what she had done with my education, but he said he did not have a chance to do with myudible.

[03:21] So, if he said to me, the company is come true. This place is too apt to open. So I turned out my phone to the other side, and then... Oh, you had to go Sel basso. This part was the first one of those only from the beginning.

[03:33] Yeah, you can't see it yet.

[04:03] So I think many things are very strange.

[04:33] to the borders it was made in And I want you to know how much of this was actually planned

[05:02] Because there is a character that can create a new audience. It can create a new audience for the audience. And it can create a new audience for many young creators to participate in the audience.

[05:15] I think that the whole world, everyone and the audience, all the same feeling. Now our information is very big. We don't have any videos, any articles, any news,

[05:27] and any real news. Today, this information has really been touched on many people. I think that this is simple. What we can do is it like if the rare market lines are asking them to come due to anthropology. compounds over a blossoms to come due to this true cause,

[05:41] after that I felt bad to close for a new brand

[05:58] andoling. 又正好在想英雄到底是什么 然后这时候呢 又看到社交媒体上有很多一夜爆红的这种明星 包括我相信在国外应该也会有突然之间从一个no body变成一个大网红

[06:13] 然后就这种事件在身边不断的发生 我就觉得就这两个结合在一起 就很像是说原来默默无的一个人通过社交媒体的这种宣传曝光

[06:27] 变成一个明星 变成一个英雄 这件事情在我们身边发生 我说把他这种荒诞感 带到故事里来 其实也完全成为 这边里面有个设定

[06:41] 叫做你的 你的信赖的人 或者你的粉丝 他们会 他们想要你变成什么样的人 你的能力就会因为他们而改变 这个设定 其实我自己会有一种

[06:54] 目前来说会有一种无形的压力 其实在于说 做的作品里边 角色的走向 会有很多粉丝 提出 他们其实会 角色的粉丝

[07:06] 会有一些想法了 我觉得 甚至有一些建议 也是友善的一些建议 有时候我刻意回避不看 但是有时候不得 不知道 或者说总会知道 然后这些声音

[07:19] 其实说回避 其实回避不掉 会种在自己的心里面 when I was scripting, my thoughts come from loss.

[07:31] It would carry on

[07:45] How much will I want to be planning of all of these different storylines and how they interact with each other?

[08:15] 第几年发生了什么?然后谁诞生了?然后这时候世界是怎么样的?积极年发生了什么?谁是怎么样了?他怎么样了?每个角色的命运怎么样了?先做了当时的大表,然后包括做了世界观的设定这个世界里边的第几年是什么样的一个科技程度啊?

[08:34] and denen be реactitez arte, people are because of technology, namely the pastミー cuarto passes and the energyええ derogated a certain change, which wasqu McMahon did the process

[08:47] and the past separATize in days after the time. So comes inside Miller toorted us out and then turns the form what to do in our situation under one night and the situation We made it into clear

[09:00] as we run the story albeit Hmm I made a video on it years ago so of course I was going to use this opportunity to pick his brain about it

[09:38] 最早其实还是考虑过不一句话的 只是说它的故事底层是我们的生活 是中国人的这样一个生活的一个本质 但是它的整个结构和它的整个包装

[09:51] 其实我觉得还是往着海外 大家观众能看能看懂的方向去在做的 因为最早其实我们看很多的美剧 其实也都是从单元剧到主线故事

[10:03] 然后慢慢的去让观众从单元剧了解人物 And then move to the tomato� And make a large value Makesluiver a lot of power Dare someher prochaine

[10:36] I feel like I'm crying. I feel like I'm crying. I'm crying. I'm crying. I'm crying. I'm not talking about this.

[10:48] But in the process of making this process, I feel like I'm crying. I'm crying. I'm still writing before.

[11:00] I'm writing about the story. I'm Etsy's happy foreign

[11:17] I'm I

[11:29] I mean and I'll share with you some of the most remarkable things. With Link Click and Tubular X especially,

[11:41] it seems like you've been able to collab with a lot of different artists. I believe Link Click has two albums in terms of music. How important is music for yourself in the work that you do?

[11:54] There are many times, including the必真片, The yang terścią통 fabric can be and set in sensesADE. The old music pan is still an excellent outside

[12:25] you're using the close eye I like to use some interesting To 느낌

[12:40] berce L' unstaccato So He

[12:52] will create a lot of new ideas. Like the Tiamen teacher, who is the first time to do pop. Because it's a more traditional music.

[13:06] It's also hard to do pop. Projects like Linklick and 3D-Zerox opened doors to the ever-growing scene

[13:18] of Chinese animation. Personally, I think the scene is only going to keep growing more and more internationally. But as one of the most influential figures in the space, what does he think the future holds?

[13:51] is changing the things to do that It is way different 当时做这两年一期 我觉得当时其实自己也有很多原创的想法

[14:05] 但是还是很克制 为什么呢 就是因为觉得当时的环境还没有那么好的情况下 就是相当于商业化的产业链都不完善情况下 贸然去做原创 其实会让自己受到损失

[14:18] 也会让平台受到损失 相当于平台没有把自己的IT 验证成说 做动画原来可以带来价值 那么平台的投入就会变少 那投入变少 未来长期来看就会有问题

[14:31] 那当时我愿意 我宁愿说把自己的原创想法 先压制先放一样 然后还是帮助平台 先帮他们把很多IT做起来 因为我觉得现在的3D的

[14:43] 国产3D的动画的发展 其实更加有点像电视剧一样 就是因为它的写实程度 包括它的渲染的精度高了以后 其实很多的 它甚至在国内 其实拉动了很多以前

[14:55] 看电视剧的观点来看 它不会觉得它是一个动画 因为动画可能在中国 本身原始的 原生态的那些用户 它相对年轻 但现在因为它的

[15:08] 制作的写实程度和精良程度 提升了以后 其实拉动了更大的用户群史 就是包括以前 我说的就是看真人剧的 那看真人剧 其实要看到一些大特效还蛮难的

[15:20] 那现在在综画里面 其实完全会实现他们的想象力 需要的想象力 对 我觉得这个可能性应该也 我觉得是在未来几年内能看到的 包括像现在我们自己做的

[15:35] 因为当然我自己本身 也还是很热爱2D的综画 我觉得2D3C没有什么每个更好 只是不同的表达手法 但就是说 所以说这两年 其实中国的动画的2D的在海外

[15:48] 是已经从零到现在 就完全大家不知道 到现在知道了 我觉得未来 3D也好 2D也好 只要好的作品 都会让全世界的观众 一起来享受 谢谢 为什么

[16:02] 你为什么要看 我认为这就是 我的最终的问题 是 你觉得 是什么 是未来的 中国动画的电视剧 和中国的电视剧 那些的电视剧

[16:15] 我个人其实 就是很真诚地说一句 就是我觉得不需要 特别强调中国动画也好 日本动画也好 我觉得动画本身就是 就是人类作为一种

[16:30] 情感表达的一种手段和工具 没有必要说我为了 证明我是哪个国家动画 所以我觉得 我展望的未来 更多的是说大家可以一起合作

[16:42] 包括全球大家有 像我说我们现在作品里面有很多海外的创作者其实是一起加入的 所以我也希望说其实是像我说

[16:54] 其实我们这次的交流相当于打开门 让大家喜欢动画的爱好者 我们喜欢动画的创作者有这样的一次更多的亲密交流的机会 然后呢

[17:06] 其实我说的 其实就是未来有更多更好的作品出来 然后技术 包括爱觉得3D的技术 现在可以做成这样 然后2D的技术 原来能做成这样 那3D2D大概会怎么样呢 那就是这种碰撞

[17:18] 这种交流 我觉得是激发 不光是中国 包括日本分子 包括甚至如果说泰国也好 只能是全球各个地方的 实在动画的年轻人 包括现在有更强的技术力

[17:30] 在支撑大家的创作 所以我觉得 我还是很期待 未来有很多创作者 能创作出好的作品 包括我说 也通过这种方式 能把我说中国的一些

[17:42] 故事好的故事 分享给大家 分享给全球 Thank you very much And can you give us a final message to the global audience You can say whatever you want 很特别 在这样的一个场合 和大家打招呼吧

[17:54] 希望 其实平时 都是用作品和大家见面的 所以未来还是希望 能够有更加有趣的作品吧 因为脑子里边 其实还是有很多 创意包括很多

[18:06] 内核的东西 想要去抒发 希望还是 在未来能够通过作品 和大家见面 通过未来的作品 和大家再产生 更多的联系 awesome thank you very much thank you thank you

[18:18] thank you so much you're the hero next