You're welcome to say that the 20 years from 1960s to 1980s were the stagnation period of our animation development. You can imagine why there is such a big gap in our animation now. This is an objective reason why there is no way. If this is the only political reason that makes us fall behind, we have nothing to complain about. After all, animation only talks about spiritual life. After 20 years of economic retrogression, we are no longer sad, and reform and opening up are catching up! ! ! What is there to complain about the backwardness of animation, pathetic?
However, is it really just for political reasons? The answer may not be! ! ! ! Back in the mid-1980s, some of our animation factories produced a batch of cartoons, such as The Sheriff's Black Cat, which was both story-telling and interesting, and the art was quite good. It can be said that it is the revival of our animation, but what happened in the decade after 90? You can say no! ! !
Why? As Cang Lang said above, there is something wrong with the positioning of our animators. Why are they positioned as 5- 10 years old?
We are adults and love watching cartoons! ! ! Watching cartoons doesn't mean being naive. Moreover, the positioning of Japanese and American cartoons is mainly for children, but it also takes into account the appreciation level of adults. How many cartoons have domestic children seen produced by Gibily Studio in Miyazaki Hayao? Most of the audience are us adults! ! !
Moreover, there is no shortage of animators in China, but it has been lost to Japanese or American animation departments in China because it has not been used reasonably and effectively. I don't know exactly what the situation is. It seems from a report that there are a large number of outstanding young cartoonists in Shenzhen drawing for Japanese companies! ! They draw cartoons called Japanese and then come to China! ! ! ! How pathetic! ! ! ! Why not organize and use it?
Why can't we have a studio like Gibily? It may be related to the economic environment and people's consciousness. So sad! ! ! !
This year can be called the Year of Comics. There are many comic exhibitions in Shanghai and Guangzhou, which is the biggest comic exhibition this year and the first large-scale comic exhibition held since the development of 15 new comics. The China-Japan youth cartoon exchange exhibition will be held in Beijing Capital Library during the National Day (10.1-10.7). Japanese comics enjoy a high reputation in Asia and even the world, and have formed a huge and mature industrial chain mechanism. The huge profits it creates for Japan every year make it a mainstream industry in Japan. However, in China, known as the largest consumer of Japanese comics, most of the Japanese comics read by readers are pirated. Readers in China know and love Japanese cartoons in piracy, while the original cartoons in China are struggling between industrial mechanism and piracy. Because of the huge creative resources, market potential and audience resources, no one wants to give up. Therefore, the process of industrialization in chinese comic has become the most concerned topic for cartoonists and cartoonists. To this end, the reporter interviewed Liang, the main curator of this exhibition.
Zhang: Japanese comics are famous all over the world. What is the actual development?
Liang: Japan's cartoon market is very large, and it was formed very early. Their first comic book readers are now in their sixties and seventies. This interest in reading has been retained, and it is a situation in which the whole people read comics. The income of Japanese cartoonists is the highest among all Japanese taxpayers, and they are still ranked behind cartoonists by well-known pop singers who are generally regarded as the richest in Japan.
Zhang: Why?
Liang: This is because the Japanese animation industry has been fully industrialized and has a mature industrial chain and commercial market. In Japan, when a new set of cartoons is created, it will be serialized in a magazine first, and a single book will be published immediately after the response is good. After that, the animation will be adapted, and peripheral products such as animation portrait patches, phone cards, cups, toys and so on. Will be connected in a good viewing situation. Then, there will be advertisements using these cartoon characters. Moreover, before the next new cartoon comes out, it will be made into OVA (original cartoonist movie or CD) and Drama-CD (theater CD) to supplement the market vacancy in this period. These two follow-up products will also have a good market because of their relatively low cost and convenient form. In addition, there will be video games and animated films, and the income from the above series will be shared in the industrial chain.
Zhang: In your opinion, what is the difference between domestic comics and Japanese comics?
Cool: The biggest gap lies not in technology, but in the fact that domestic comics are not industrialized and marketized, and there is no reasonable industrial chain, so the market operation is quite difficult. For example, many domestic comic magazines have no direct operation rights. If a good comic book is published separately, it will involve book numbers, and a comic book sometimes even needs several book numbers. The approval of cartoons is cross-industry. Due to the different profit trends, the approval is extremely complicated and long. As a cartoon animation product, not to mention making animated films, OVA and drama-CD are unbearable. Under this mechanism, domestic comic magazines are largely restricted.
Zhang: Actually, idol stars made by cartoonists have more stable business returns than real stars. For example, star packaging, due to the dangers of "withdrawal", "breach of contract" and "change", the profit recovery may not be fully guaranteed. Comic images are always loyal to authors and underwriters, and each cartoonist may create multiple idols, such as F4 in Japanese best-selling comics.
Liang: Yes! For example, the famous Japanese cartoonist Toriyama Akira's Dragon Ball, Fu Yibo's Long Bai Shu and Naoko Takeuchi's Beautiful Girl Warrior, not only have their works generated huge commercial profits through mature market-oriented operation, but their authors have also become one of the richest people in Japan.
Zhang: however, it is reported that there are still many bad cartoons in Japan, which have brought many negative effects to domestic young readers?
Liang: This phenomenon is entirely caused by mercenary and irresponsible pirated booksellers. In Japan, comics have strict restrictions, which are classified according to age and gender orientation, and are divided into reading restrictions such as 12 years old, 18 years old to 20 years old, and adults. They must be placed in different areas of the bookstore and supervised by special personnel. Because Japanese cartoons are not like domestic cartoons, their themes are limited to satire, humor or some simple children's stories, and their cartoon creation involves very profound themes. For example, the works of Mannaoko, a famous Japanese cartoonist who visited the exhibition, are based on the famous work Red and Black. Domestic pirates not only ignore the restricted level, but also publish some books that are not suitable for children as children's books, which is very irresponsible for the growth of young people in China.
Zhang: Can you technically evaluate the gap between Chinese and Japanese cartoonists?
Liang: At the highest level, the technology of Japanese comics is not out of reach. There are many great comic writers in China. For example, Yao Feila of North Comics used to study computer at Wu Da University, but now many comic readers regard him as an idol. The scene is similar to that of some singer fans.
Zhang: But hasn't the whole team of these authors formed yet? Why?
Liang: Actually, there are still teams, and the lineup is not small. Because of the low degree of industrialization, people in this line of work must first have many choices. For example, a comic writer can only earn 3000 yuan a month, and going to a good advertising company will be 8000-10000; In the talent competition, what can be left at present is a group of people who have passion to do it. They have a lot of free input, such as a patriotic enthusiasm, and they don't want Japanese comics to exist in the China market. In fact, the development of the domestic original comic book market today is almost due to the existence of these people. But passion can't be eaten.
Zhang: It is said that there are 1 100 Japanese cartoons and 600 chinese comic cartoons in this Sino-Japanese youth cartoon exchange exhibition. Many activities have also been arranged, such as flash animation film appreciation, cartoon character imitation show theater, signature of Chinese and Japanese cartoonists, cartoon awards, community exchanges, cartoon lectures and so on. Will it have a great impact on the promotion of domestic cartoons?
Liang: This "China-Japan Youth Comics Exchange Exhibition" may have a greater direct impact on northern comics, and it will only have a greater impact on Shanghai, Guangzhou and other cities with the hottest comics in China if it lasts for several more sessions. At present, the industrialization of Shanghai comics is relatively fast, and their comic king magazine has the right to operate independently. This exhibition can be said to be an attempt to activate the Beijing comic book market, because such a large-scale exhibition is like an industry symbol, which will bring a lot of business investment. Although there will be "countless casualties" in the initial investment, it will definitely be good for the industrialization of comics. Because Beijing is a political and cultural center, it should be the only starting city to promote great changes in the comic industry.
Zhang: I hope this is a good result.
Everyone's comments on the animation gap between China and Japan are varied, with talents, skills and funds. . Wait a minute. Just a few examples. .
Actually, I don't think there is any comparability between Chinese and Japanese animation. . It has been 50 years since the founding of New China. You can put it on the table
How many animations are there? A Captain Black Cat, a Gourd Baby and a Big Trouble in Heaven are all representatives of our animation industry. . . Do you think that with these animations (and they are all works of 10 years ago), we can say that we have our own animations? Our animation is no worse than that of Japan. . Even better than them? Is this not a joke?
If we really want to find the gap and hope to realize and develop it, I think the reason why Japanese animation is better than China is simple:
They really regard animation as a career and an industry! And China's attitude towards animation is just a tool to educate children!
It's that simple! If the concept is not reversed, even if the economy is developed again in the future, the animation will still be at the present level, and the painting will be more detailed at most!
For example, it's like giving disaster relief money to a poor rural area, and farmers who don't have the idea of getting rich just have a meeting and everyone divides the money; Villagers with economic minds discuss whether they can use this money to earn more money until they are well-off. This is a question of concept.
As a matter of fact, at present, in China, it is still in the stage of farmers issuing disaster relief funds. Perhaps no one intends to take animation as a career. Look at a thousand episodes of CCTV animation not long ago. . Fanit ... it's a waste of money and energy! ! !
In fact, in our mainstream society, we still haven't seen any change trend. Just like CCTV's endless cartoons with big eyes and dull eyes!
So the biggest problem of China animation is not money (you can make high-quality animation with less money) or talents (there are many excellent animation talents in China), but a new idea. . . The attitude of Chinese authorities towards animation directly restricts the development of animation. This is reflected in the idea of animation production and the writing of animation scripts directly related to it.
If the mainstream authority can't be changed, then China people who really want to do some real animation can't start. It is said that at the first independent video festival in Beijing not long ago, the 10 minute animation Tan made by a Shenzhen person won the first prize. It is said that this animation truly reflects the current animation development level in China.
If all our animations are based on educating people, then this animation has been destroyed from the beginning. . . And this is what our authorities are most willing to do. . The so-called "thought check"!
Here, I want to talk about my views on Miyazaki Hayao's latest film Spirited Away. Aside from Ghibli's meticulous and rigorous work style, Miyazaki Hayao's words deeply influenced me: He said that I made this film for those who are about to turn 10, or are now 10, or have passed 10. I hope you can remember that time (to this effect). Is his animation to educate children to study hard and make progress every day? No. His animation is more of a memory and a narrative. A description of a beautiful and innocent time. Good animation, moving people is inadvertently. . . . Then in such a touching, we can also understand what we really need. . . . . .
Finally, I want to talk about a domestic animation I watched a long time ago, which is also my only favorite: tadpoles looking for their mothers. . Thick and small ink animation with China characteristics. It's short, but very artistic. China people's own characteristics! ~ it's a hundred times better than the current domestic animation!
I also think that if we could stick to this China animation style at that time. If it develops well, will there be animation with China's unique style? Imagine, if the theme of The Romance of the Three Kingdoms is interpreted in this style, is it more interesting? ! Maybe this is just a hypothesis. We see more domestic animations and more pseudo-Japanese styles. It's nothing. . .
According to the survey data released by relevant parties in Japan, in 2004, about 8/kloc-0 animated films were shown in Japanese cinemas, and Japanese TV stations broadcast more than 80 animated programs every week, with nearly 4,000 animated works a year. Comics account for 40% of all publications in Japan, with an average of 25 comics published every day.
According to the statistics of Japan's Ministry of Economy, Trade and Industry, the sales of Japanese comics in the United States in 2002 reached US$ 4.36 billion, which was more than three times the value of steel products imported by Japan from the United States. Last year, the total revenue of animation industry in China was only 654.38+0 billion yuan? A considerable part of them are processing fees paid by foreign businessmen.
According to the requirements of China State Administration of Radio, Film and Television, domestic cartoons broadcast by TV stations should account for 60% of the total number of cartoons broadcast. In fact, in 2004, the total production of domestic cartoons in China was only 29,000 minutes, but the market demand was 268,000 minutes, and the cartoon resources of TV stations were seriously insufficient. 2005 is the spring for the further development of animation industry, but the few animation channels are almost in short supply, and an animation is played over and over again, which shows that China animation is still not self-sufficient.
As we all know, the gap between Chinese and Japanese animation is very obvious. I won't say how obvious it is, it will only increase sadness. But why is there such a gap between Chinese and Japanese animation? This is a question worth discussing.
Some people think that the gap between Chinese and Japanese animation is caused by chinese comic's late start. The commercialization of Japanese comics is indeed much later than that of Japan, but this is not a problem. Football in China started very early, and table tennis didn't start early in China. Some people think that the gap between Chinese and Japanese cartoons is due to the painter problem of the chinese comic family, but it is not a problem. Sanmao's wandering style is not like Japanese comics, but it is indeed a classic comic. Personally, I think the gap between Chinese and Japanese cartoons is due to the understanding and attitude of Japanese cartoonists towards comics. For a long time, the reading objects of cartoons are all children aged 4-8, so look at all the Japanese cartoons in our market: Blue Cat Naughty 3000 Questions, Weird City, Big Head Son and Little Head Dad, Panda Jingjing, Bonus List, Grey Fight (. What is more telling is that I didn't want to mention this in the introduction of gospel soldiers in the new century, but I have to! This is the biggest failure of foreign comics imported from China! Not only is the tone and character of the voice-over character incompatible with the original, but the lines and plots of the original are also adapted at will, all because those people only define EVA as a cartoon for teenagers. Therefore, the deep thinking about life, self-existence and interpersonal relationship in the original work is avoided, and only the battles in EVA are released one by one. Let's take a look at the Snow Coconut painted by chinese comic Jia Yan Kai, which can be said to be a successful masterpiece of chinese comic. Although some people think that Yan Kai's painting style is very similar to Japanese manga, but there is no China characteristic, I would like to ask, what is China's own characteristic? Characteristic is a very abstract thing, even a very unrealistic thing. In order to "be different" and "be liked for being different", fans in chinese comic now have nothing but children, and now animation writers in China are complacent and ashamed of children in other countries. Another influence on China animation is the attitude of animation producers in China. China's cartoons are not bad, but China's cartoons are obvious. There are still some low-level mistakes in China's current animation, such as inconsistent scale (for example, "Blue Cat Naughty 3000 Questions"), inconsistent colors and even overflowing borders (for example, "Grey Dou"). These problems are easy to find as long as someone supervises them. When I first saw Detective Duck, which was co-produced by China and Canada, I could recognize it as China's work at a glance from the style of painting (the characteristics of China mentioned earlier are quite useful), but the whole film has no similar defects, and even dare to say it is a good animation, so I doubt whether it is a domestic animation, but the names of foreigners in the producer seem to give me the answer. Without the supervision of foreign friends, what does the success of Lotus Lantern show? China can play a good game, but it depends on the working attitude of the producers.
Let's talk about Japanese anime, so I don't need to introduce it in detail. You may know more than I do. What I want to say is the Japanese understanding and attitude towards animation. Japanese animation has a special seiyuu-we also have it, but it is rare; There are professional animation studios in Japan-so do we, but the scale and personnel are not as good as those in Japan (the funding problem is very serious); There are many cartoonists in Japan, and many children volunteer to be cartoonists. Japan has a complete animation operation system-so do we.
Generally speaking, the gap between Chinese and Japanese animation is obvious. Aside from external reasons, the gap between China and Japan is the gap in understanding and attitude towards animation. Think about whether animation will affect our study and how to make our animation develop.