Shanghai Today
Renowned animation screenwriter welcomes global focus on Chinese art, culture - September 04, 2024
著名动画编剧欢迎全球关注中国艺术、文化
Released on August 20, China's first AAA video game, "Black Myth: Wukong," has taken the world by storm and been heralded as a monumental event in Chinese gaming, capturing the hearts of gamers and cultural enthusiasts alike.
Unlike any game before it, "Black Myth: Wukong" broke free from the constraints of international mainstream frameworks, weaving a distinctly Chinese narrative and aesthetic into its artistic creation.
As players worldwide are captivated by this phenomenon, many are drawn to its exquisite in-game animations – vivid sequences that pay homage to traditional Chinese art – and the unwavering dedication of its creators to their cultural roots.
The release of "Black Myth: Wukong" has sparked global interest in Chinese animation and culture.
Recently, in a celebration of Chinese animation's rich heritage, the Shanghai Animation Film Studio teamed with HiShorts! Xiamen Short Film Week to present the "Conversation Across Time and Space" Animation Art Exhibition.
The unique showcase brought together over 30 classic animations spanning the 1960s to the 1990s, highlighting the extraordinary exploration of comedy and national styles by the "Chinese School of Animation."
As part of this cultural celebration, the exhibition invited scholars, artists and students from top universities worldwide to discuss the philosophical and aesthetic values behind Chinese ink-wash style animations.
Among the distinguished guests was Ling Shu, a renowned screenwriter and children's literature author, who joined a panel to delve into the creative processes and artistic expressions behind these animated masterpieces.
Ling Shu answers questions at the event.
Since his first publication in 1979, Ling has woven his passion for Chinese culture into every frame he creates, bringing to life a rich tapestry of folklore and tradition through his scripts for animated films such as "The Slovenly Boy's Adventure," "Afanti" and "Twelve Zodiac Signs."
His creative works have won numerous awards both at home and abroad, solidifying his place as a master storyteller who uses animation to honor his cultural roots.
As Ling remarked, Chinese painting emphasizes leaving blank spaces – giving the viewer room to imagine. Unlike the intense energy found in Western art, where every sculpture and painting is filled with emotion and passion, Chinese art seeks harmony between humanity and nature.
Through dialogue, Ling highlighted the unique qualities of Chinese animation that have gained new global appreciation through projects like "Black Myth: Wukong."
He emphasized the importance of cultural confidence and innovation in animation, encouraging younger creators to embrace and reinterpret their cultural heritage through new forms.
"We must not just remain content with past achievements," he urged. "Surpassing them is the vital task for the next generation."
Ling Shu
Ling told Shanghai Daily that he had never intended to become an animator. Born in Hunan's Changsha, Ling's early years were defined by his passion for art, a pursuit his father dismissed as the pastime of the lazy.
In a household where resources were scarce, buying paint or even proper paper was a luxury. Yet, Ling's determination led him to make do with scraps, collecting leftover paper from recycling centers and using minimal supplies to fuel his love for drawing.
"We couldn't afford real art supplies, so I'd buy paper scraps from the recycling station," Ling said. "It was tough, but even then, I knew art was what I wanted to do."
His journey into animation was serendipitous. A graduate of Guangzhou Academy of Fine Arts, Ling was recruited by the Shanghai Animation Film Studio through a surprising turn of events.
The studio was spearheaded by the legendary Wan brothers, pioneers of Chinese animation. Ling, who had never considered animation, found himself immersed in a new world where his skills in fine arts met the dynamic demands of animated storytelling.
Ling Shu and colleagues from the Shanghai Animation Film Studio on tour to seek ideas for his work "The Slovenly Boy's Adventure."
Ling Shu and his colleagues from the Shanghai Animation Film Studio discuss the script of "The Slovenly Boy's Adventure."
"The Slovenly Boy's Adventure"
"I was surprised to find myself at an animation studio," Ling said. "I thought, 'I'm just a fine arts student; how did I end up here?' But I decided to go with it and learn everything I could."
At first, Ling faced significant challenges in adapting to the precise and meticulous nature of puppet animation.
Tasked with ensuring that puppet heads could be interchanged without disrupting the flow of motion, he learned through trial, error, and observation, as formal guidance was often lacking.
"It was all about watching the craftsmen work. I learned that even the smallest detail mattered – like getting the right fit for a puppet head – otherwise, the magic of animation would fall apart," Ling said.
His approach to animation was deeply influenced by his love of Chinese culture. He believes in the power of storytelling to preserve and celebrate cultural heritage, a conviction that was evident in his scripts for animated films including "The Slovenly Boy's Adventure," "Twelve Zodiac Signs," and his adaptations of classic tales.
Ling Shu visits the Xinjiang Uygur autonomous region to collect information for his puppetoon work "Afanti."
Afanti
His work often highlighted the rich traditions of Chinese folklore, bringing these narratives to life in ways that resonated with both local and international audiences.
"For me, it's always been about telling stories that reflect who we are. Animation is not just entertainment; it's a way to pass down our heritage," Ling said.
The release of "Black Myth: Wukong," which draws on the beloved tale of the Monkey King, has reignited global interest in Chinese mythology.
For Ling, this represents a significant cultural moment, and he sees it as testament to the enduring appeal of Chinese stories and the importance of presenting them in new, innovative formats.
"It shows that Chinese culture has a universal appeal. Look at the character of Sun Wukong – he's been around for four hundred years. Now, his audience and his reach are expanding, and the artistic forms that depict him are growing more diverse. This demonstrates the profound significance of Chinese culture. It's not just about a game; it shows that Chinese culture is increasingly valued and recognized in people's hearts around the world."
Foreign guests listen to Ling's speech.
Ling views animation and digital arts as powerful tools for cultural exchange, capable of bridging the gap between tradition and modernity.
"Seeing 'Black Myth: Wukong' embrace our collective memories and traditions through such a high-quality medium makes me proud," he said. "It shows that our stories can resonate worldwide if we present them with heart and creativity."
Throughout his career, Ling Shu has remained a steadfast advocate for integrating authentic cultural elements into animation, emphasizing that true artistry lies in staying connected to one's roots.
He encourages younger animators to embrace their heritage, advising them to use it as a foundation for creativity and innovation.
"Young creators remember where they come from," Ling said. "Let your cultural roots guide you, but don't be afraid to innovate. The essence of great animation is in telling stories that are both personal and universally resonant."
Today, Ling's legacy stands as a testament to the transformative power of art and the importance of cultural storytelling.
From the humble beginnings of sketching on scraps to becoming a celebrated screenwriter and director, Ling's journey is a reminder that sometimes, the most unexpected paths can lead to the most profound destinations.
As Chinese animation continues to evolve, Ling's influence endures, inspiring a new generation of creators to carry forward the rich tapestry of Chinese folklore, one frame at a time.
A guide shares with foreign visitors the stories behind the Shanghai Animation Film Studio.
Source: Shanghai Daily
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