Breaking the billion mark! On [month and day], "Nezha: The Devil's Birth" soared to new heights, breaking into the global box office top [number], and is expected to set new records. The first film in Chinese cinema history to reach a box office of 10 billion yuan was born on [month and day]. Statistical data shows that as of the evening of that day, the box office (including pre-sales) of the movie "Nezha: The Devil's Birth" reached [number] billion yuan.

Based on traditional mythological stories and breaking away from conventions, "Ne Zha: Birth of the Demon Child" defies destiny, conveying the message "My fate is mine to control, not heaven's"; "Ne Zha" continues the rebellious spirit of "Ne Zha," transforming from a young deity who commands wind and fire in traditional myths to a hero in the film who pursues self-worth and grows through responsibility, showcasing the brave and fearless spirit of the Chinese people.

The "phenomenal" box office success of "Ne Zha" has its inevitable reasons. The new narrative approach conveys emotional resonance and cultural charm. Empowered by new technology, the stunning visual effects have revitalized the ancient legend with new vitality in modern society. This represents a significant attempt by the Chinese animation industry on its path towards diversification and serialization.

From a production standpoint, "Ne Zha" demonstrates a new pinnacle in Chinese animation—the film features nearly a thousand special effects shots, a creative team of over a hundred people, and the precise collaboration of more than a dozen special effects companies, with algorithms enhancing rendering efficiency by a significant percentage... "In the past, we always looked up to many foreign special effects, thinking they were incredibly impressive. Now, we realize that with dedication and persistence, we can achieve the same. Reaching that height on tiptoe has gradually opened up everyone's confidence," said director Jiaozi.

The smoky-eyed, shark-toothed "demon child" Nezha is akin to the embodiment of Chinese animation—repeatedly mired in difficulties, yet determined to defy fate and change destiny, declaring, "If there is no path ahead, I will forge one myself!"

In 1941, "Princess Iron Fan" emerged as China's first animated feature film, laying the foundation for national animation. In the 1960s, "Havoc in Heaven" transformed Peking opera masks into a spectacle of clouds, with the Monkey King's golden staff stirring up a storm in the international film scene. The works of this period were deeply rooted in the soil of traditional Chinese culture, becoming a cultural memory for generations.

By the late 1990s, Disney and Japanese anime had flooded the Chinese market, leading to a decline in the market share of domestic animation and putting the industry in a difficult position. Audiences will remember the year when "Monkey King: Hero is Back" was released, and the monkey trapped under the Five Elements Mountain "opened its eyes." People realized that the "courage that is hard to find anywhere in heaven or earth" of Sun Wukong could also touch hearts through animated films.

Following this, animated works such as "Ne Zha: Birth of the Demon Child" and "Chang'an: Three Thousand Miles" have continuously raised the bar for domestic animation. This time, "Ne Zha" has leapt to new box office heights, once again demonstrating the breakthrough power of domestic animation.

This represents a breakthrough in content innovation, driven by the combined efforts of policies, capital, and other factors, reflecting the resonance of the spirit of the times with market demands. In terms of policy, China promotes the animation production industry through document guidance, financial subsidies, and other forms, encouraging advancements in production standards, distinctive features of works, and deep integration with other industries. The "14th Five-Year Plan for Cultural Industry Development" provides guidance for the Chinese animation production industry in areas such as the promotion of industry standards, product supply, and the enhancement of product quality.

Driven by capital power, the industrial chain of Chinese animation is increasingly being perfected. Internet giants and leading animation companies are all participating, with the "Myth Universe" by Enlight Media beginning to take shape and the "New Gods" series by Light Chaser Animation quietly laying out its plans. The development of the derivative market is also gradually unleashing the commercial value of domestic animation. Data from the Tmall platform shows that the sales of licensed merchandise featuring the Nezha series have already exceeded ten thousand yuan on the platform.

The cultural confidence of the audience is the greatest foundation for film creation. While applauding the success of the domestic animation "Ne Zha," it is also necessary to deeply consider the next steps. It is important to recognize that a box office of one billion remains a chasm that most domestic animated films find difficult to cross. Taking the year as an example, there were a total of animated films in the Chinese film market that broke the one billion mark at the box office, of which only a few were domestic animated films. At the same time, there are also hidden concerns about the homogenized "development" of myths. In the national film bureau's publicized record of domestic animated films for the year, mythological themes accounted for more than a certain percentage. Homogenized works have also faced a cold reception in the market.

The journey to international waters is equally challenging. How can the Eastern imagery of the Qiankun Ring and the Hun Tian Ling find a narrative bridge to the world? This still requires further exploration. Jiaozi firmly believes: "One day, Chinese animated films will give birth to something new, with new connotations and a new soul, allowing the whole world to appreciate it."

The box office success of "Ne Zha" surpassing 10 billion is just the beginning; Chinese filmmakers and animators have embarked on a new Long March.