During the summer season, animated films "Liaozhai: Lanruosi" and "Langlang Mountain Little Monster" were successively released. The familiar fantasy stories, touching narrative adaptations, and camera aesthetics that fully embody Eastern meanings have resonated with many viewers and once again sparked a Chinese fantasy trend on the big screen. Throughout history, Chinese animation has been constantly seeking expressions with Chinese style in both technical and artistic aspects. From the ingenious replication of Dunhuang murals in "Nine Colored Deer" to the attempt to reshape the artistic conception of Song painting using three-dimensional technology in the "Painted Skin" section of "Liaozhai: Lanruo Temple"; From the elegant and fresh traditional ink painting in "Shanshui Qing" to the use of ink and wash imagery to construct the lens in "Langlang Mountain Little Monster", allowing the ink and wash mountains and rivers to stretch and leave white space on the screen. The exploration and innovation of Chinese animation at the visual level not only widely applies new technologies and techniques, but also continues the Chinese style of freehand painting, reflecting the traditional aesthetic heritage of China. While bringing a beautiful visual experience to the audience, it also adds a sense of closeness and warmth. The highly imaginative classical fantasy literature provides a rich source of inspiration for Chinese animators, but if the formulaic narrative structure is replicated, it is difficult to meet the viewing needs of current audiences. Reshaping classical fantasy stories from the perspective of contemporary people is an important factor that moves people's hearts in these animated films. The story of "Little Monsters on Langlang Mountain" tells the tale of a small pig demon, a toad spirit, a yellow rat wolf spirit, and a gorilla monster who form a "grassroots pilgrimage group" and pretend to be Tang Monk's master and disciple to embark on an adventure to the west. The story is absurd, humorous, and heartwarming. The four little demons in the movie are like ordinary people in reality, with both flaws and shining points. They dare to think and act, and are highly related to topics such as personal choices, self realization, and workplace difficulties that contemporary young people are concerned about, resonating with young audiences. Liaozhai: Lanruosi "adopts a narrative structure of" 1+5 ", connecting five classic Liaozhai stories through the dialogue between Pu Songling and Guichan Jing. Among them, "Nie Xiaoqian" explores time and space, placing ancient stories in the context of the Republic of China. The chaotic era combines the visual style of future cyberpunk, and the collision of ancient techniques and future technology triggers the audience's deep thinking on the meaning of human life. (New Society)