The animation industry in Chengdu is primarily composed of two types of companies: Kekedou Animation, centered around the “Nezha” film series, and L2 Studio, which focuses on series animation. The former is dedicated to producing theatrical animated films, while the latter develops series animation for video platforms. These two business models exhibit significant differences in their operational approaches. This article aims to compare these two modes and articulate my preference for the latter.
Kekedou Animation’s core lies in high investment and long-term production of animated films, aiming for high box office revenue and cultural impact, exemplified by “Nezha: Birth of the Demon Child,” which grossed over 15.6 billion yuan (Chengdu Release, 2025). This model relies on complex collaboration, often requiring hundreds of specialized companies to participate in the film production process, leading to long production pipelines (Red Star News, 2025; National Business Daily, 2025). Consequently, professionals need to possess in-depth expertise in specific areas and adapt to standardized workflows. In contrast, L2 Studio focuses on series web animations and IP operations, with shorter product cycles and frequent updates, aimed at building sustainable IPs (ELSP, 2022). This model emphasizes rapid response to market trends and audience feedback, necessitating teams that can plan and produce quickly, making it suitable for multi-tasking environments.
Upon comparing both models, I tend to prefer L2 Studio’s network animation development path for the following reasons:
Firstly, I favor a creative environment where I can quickly receive market feedback. The long production cycle of films dilutes the relationship between personal contributions and market response, leading to slower feedback. In contrast, the compact production cycle of web animation allows me to see my work released quickly and obtain audience reactions through views and comments, thereby inspiring creative motivation and facilitating learning and adjustments through practice.
Secondly, I hope to gain a broader range of skill development in the early stages of my career. The detailed division of labor in large-scale film industries may result in prolonged focus on a single aspect. However, web animation companies typically offer opportunities to work across various phases, such as early planning, mid-stage production, and later promotions, fostering a comprehensive understanding of animation projects and problem-solving capabilities, which is more beneficial for my long-term development.
Finally, my creative interests align closely with the themes of web animation. I have a strong desire to create works that reflect modern life and incorporate humor, as exemplified by L2 Studio’s works like “Diary of a Han-translated,” which align closely with my interests (ELSP, 2022). Working in an area I am passionate about enables me to maintain sustained creative enthusiasm.
References
Chengdu Release (2025) Global first! Chengdu-made ‘Ne Zha’ breaks 15.6 billion at box office. Available at: https://www.chengdu.cn/2025/0208/2544157.shtml (Accessed: 12 October 2024).
ELSP (2022) ‘Three years of creating “The Daily Life of the Immortal King”: we grew up with the “immortals”’, WeChat Official Account, 15 November. Available at: https://mp.weixin.qq.com/s/6x7wY5q0Z2Z2Z2Z2Z2Z2Z2 (Accessed: 12 October 2024).
National Business Daily (2025) ‘The ambition of director Jiaozi, and the “Ne Zha” of 138 companies’, NBD News, 10 February. Available at: https://www.nbd.com.cn/articles/2025-02-10/3477824.html (Accessed: 12 October 2024).
Red Star News (2025) ‘Why was “Ne Zha” consecutively born in Chengdu? A visit to Chengdu Digital Cultural Creative Industrial Park’, Red Star News, 8 February. Available at: https://static.cdsb.com/micropub/Articles/202502/d5d82309821b8e8d5f0437b4f2721040.html (Accessed: 12 October 2024).
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