The mythological figure Nezha, who grew up with generations, ignited the Chinese New Year movie market in the Year of the Snake. According to statistical data, as of noon on February 6th, the total box office of "Ne Zha: The Demonic Child Roars in the Sea" has surpassed "Changjin Lake" and topped the box office chart in Chinese film history. According to Chen Jin, a data analyst for Lighthouse Professional Edition, the proportion of multiple viewers watching "Ne Zha: The Demonic Children Roar in the Sea" is significantly higher than other films in the schedule, with a large number of parents bringing their children to watch together. According to relevant data, this film has a prominent proportion of mid to low frequency audiences aged 30 to 39. A large number of viewers who were once the main force in the film market returned to the cinema after a long period of time, and these audiences were 'recalled' by the outstanding reputation of the film. Since its release on January 29th, it has set a new box office record in China's film history in less than 10 days. Why is' Ne Zha: The Demons of the Sea 'so popular? The reason why this film achieved super high box office results is mainly due to its explosive reputation. Whether it's the story characters, special effects scenes, or the theme and dramatic elements, they all meet or even exceed the audience's expectations Hu Jianli, Secretary General of the New Media Committee of the Chinese Literary Critics Association, said. Exciting stories and vivid characters resonate emotionally with the audience. In the opinion of Fan Min, a professor at the School of Animation and Digital Arts at the Communication University of China, while continuing the core of the previous work "My destiny is up to me, not the heavens", "Ne Zha: The Demonic Children Roar in the Sea" also has diversified themes such as self-identity, value realization, and family and friendship expression. Whether it is the exploration of major or minor themes, they are closely related to current social hotspots. The character portrayal in the film is also rich and three-dimensional. For example, Shen Gongbao's warm side was awakened by the visit of his relative Shen Xiaobao; Although Nezha, who mistakenly believed that the Dragon Clan slaughtered Chentangguan, was full of anger, he still had to save his old friend Ao Bing first; The images of various little demons are also vivid and lively. This allows the characters' stories in the film to resonate emotionally with the audience. In recent years, there have been many animated films about the re creation of traditional Chinese cultural IP. Those good adaptations must not be detached from the times, the masses, or life in their conceptual expression. A good story is one that can resonate widely with contemporary people Fan Min said. Carefully crafted visual effects bring a stunning audio-visual experience to the audience. It is reported that the number of characters in "Ne Zha: The Sea of Demons" is three times that of the first installment, and both new and old characters have undergone a comprehensive "renovation": more exquisite modeling and more realistic skin texture. In addition, the film features nearly 2000 special effects shots and a creative team of over 4000 people. There is a fight scene in the film about the Battle of Chentangguan, which lasts for about 1 minute and is filmed in storyboards for half a year. The reporter learned that the grand scene of the "torrent battle" in the film, due to the difficulty of production and tight schedule, the producer had discussed with director Jiao Zi whether the chains on the sea monsters could be removed or replaced with a subtle and intermittent way. The director insists that the chains' restraint on the sea monsters is closely related to the theme of the film, so no concessions can be made. In the eyes of dumplings, creating content that the audience has not seen and can create a strong visual impact is valuable. We have been seeking breakthroughs all along, so we don't leave ourselves a way out. We set a goal of 'not being able to complete' or 'not being able to reach' from the beginning, and then desperately 'jump', 'enough', and 'top'. "" Our attitude when making animation is to rather be lacking than excessive, "said Jiao Zi." The audience gave us the opportunity to make the second part. It's not in line with our pursuit to 'bring it to the table' casually. We believe that the audience will not reject works with sincerity