martin-789

[martin-789]

From Wukong to Nezha: Decoding the "circle-breaking code" of Chinese cultural IP

When "Black Myth: Wukong" won the "Best Visual Effects Award" at the Cologne Games Show in Germany, and when the pre-sale of the sequel "Nezha: The Devil Child Comes to the World" exceeded the 14.5 billion box office mark, this cultural relay race spanning 5,000 years is sweeping the world with an overwhelming momentum. From the digital restoration of the Liangzhu ancient city to the AI ​​archaeological shelter of Sanxingdui, from the 30,000-mile ink poetry of Chang'an to the contemporary pastoral songs of the grassland Ulanmuqi, Chinese civilization is using technology as a pen and creativity as ink to write the oriental legend of the new era on the world cultural map.

In this cultural awakening movement, the injection of "digital genes" has given traditional IP a new lease of life. The development team of "Black Myth: Wukong" spent seven years deeply integrating the visual memory of the 1986 version of "Journey to the West" with the next-generation technology of Unreal Engine 5, creating a visual spectacle that is both oriental Zen and full of science fiction texture. The Liangzhu Cultural Corridor uses XR technology to allow jade cong patterns to flow in virtual space, turning cultural relics that have been sleeping for 5,000 years into tangible and perceptible urban memories. This kind of "technological archaeology" is not only about restoration, but also about reconstruction - Sanxingdui Museum deciphered the bronze pattern code through machine learning, allowing AI designers to engage in cross-time and space dialogues with the ancient Shu ancestors.

In the arena of content innovation, "young narrative" has become a weapon to break the circle. The creative team of "Nezha 2" is well versed in the aesthetic code of Generation Z, rewriting the "removing bones to return to the father" in traditional mythology into the identity dilemma of contemporary youth, and reconstructing the time and space dimension of Chentangguan with a cyberpunk visual system. In order to restore the atmosphere of the prosperous Tang Dynasty, the team of "Chang'an 30,000 Miles" of Light Chaser Animation spent three years studying Dunhuang murals, condensing the thousand-year poetry rhyme with a three-second lens, and turning Li Bai's poems into a cultural field that can be immersively experienced. This "textual research innovation" not only maintains the cultural roots, but also builds an emotional bridge between tradition and modernity.

Cross-industry integration is giving birth to "new cultural species". Datong, Shanxi Province, transformed the flying statues of Yungang Grottoes into game character skins, giving cultural relics a new life in the virtual world; the Dunhuang Research Institute and fashion brands jointly made the caisson pattern appear on the Paris Fashion Week T stage. These practices confirm the infinite possibilities of "culture +" - when intangible cultural heritage skills meet industrial design, when local opera is integrated into electronic music, each cultural IP is fissioning into N forms of existence. As committee member Miao Jie said: "Traditional culture is not a specimen in a museum, but a living gene flowing in the lives of contemporary people."

In this cultural revival movement, "craftsmanship" has always been the anchor of value. In order to restore the armor of the Ming Dynasty, the art team of "Black Myth: Wukong" visited ancient buildings in Shanxi to collect patterns; one-third of the 4,000-member creative team of "Nezha 2" are engaged in cultural research. This almost paranoid craftsmanship is particularly precious in the fast-paced traffic era. As Huangfu Yichuan, a member of the Commission, emphasized: "Cultural masterpieces need to be tempered by time, just like bronze ware needs to be cast at a temperature of thousands of degrees to achieve eternity."

Standing at the forefront of new productivity, Chinese cultural IP is building a unique output paradigm. From the "technology + culture" dual-wheel drive of the game industry to the "aesthetics + philosophy" dual expression of film and television works, these contemporary narratives carrying oriental wisdom are opening up new channels in the global cultural consumption market. When the digital performance of the grassland Ulanmuqi landed at the Lincoln Center in New York, and when the Fujian Tulou VR Experience Hall settled in the South Bank of London, we saw not only the export of cultural products, but also the establishment of a new paradigm for civilization dialogue.

This magnificent cultural innovation practice is essentially a two-way rush between ancient civilization and the digital age. It requires both the hard-core support of technology empowerment and the deep drive of cultural consciousness. As the digitalization project of the Dunhuang Research Institute reveals: true cultural inheritance is not a simple copy and paste, but a reconstruction of civilization narratives in contemporary language based on the decoding of cultural genes. When every cultural IP can find its own "code to break the circle", the galaxy of Chinese civilization will surely bloom with a brighter light of the times.

[martin-789]

Film and television "new Chinese style", promoting Chinese culture to "break the circle" and go to sea

In recent years, China's film and television industry has developed rapidly and gradually emerged in the global market. "New Chinese" film and television works are becoming an important carrier for the dissemination of Chinese culture abroad. The so-called "new Chinese" is to integrate modern elements and innovative concepts on the basis of traditional culture, and show the charm of Chinese culture from a new perspective and form of expression. This type of work has not only gained high popularity in China, but also attracted widespread attention in overseas markets, successfully promoting Chinese culture to "break the circle" and go overseas.

The key to the success of Chinese film and television in overseas markets lies in its profound cultural heritage. China has a splendid civilization of 5,000 years, and its traditional cultural resources are rich and diverse, providing an inexhaustible source of materials for film and television creation. "New Chinese" film and television works cleverly integrate traditional cultural elements into modern stories, allowing global audiences to appreciate the profoundness of Chinese culture while enjoying the wonderful plot.

China's "new Chinese" film and television are shining in the global cultural market with its unique charm and innovative expression. By combining traditional culture with modern elements, using internationally advanced production technology and narrative techniques, relying on the coordinated development of the entire film and television industry chain and the joint efforts of the government, industry associations and enterprises, Chinese films and television have successfully achieved "breaking the circle" and going overseas, opening up a new path for the spread of Chinese culture around the world. In the future, with the continuous development and innovation of China's film and television industry, I believe that there will be more excellent "new Chinese-style" film and television works going global, allowing global audiences to have a deeper understanding of the profoundness of Chinese culture, and making greater contributions to promoting the international spread of Chinese culture and the prosperity and development of world culture.