Xinmin Evening News 2023

This article contains AI-generated translation.

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我觉得这一代年轻的创作者有非常强的这个文化自信，所以说我们创作出来的作品，他其实骨子里面就有中国的特色。所以你看，你在很早的时候，我们就会在我们的作品里面融入中国的传统乐器，融入中国的大好河山。
I feel that this generation of young creators has a strong cultural confidence. Therefore, the works we create inherently carry the characteristics of China. As you can see, from an early stage, we have incorporated traditional Chinese musical instruments and the beauty of China's landscapes into our creations.

所以我觉得我们去做中国的文化产品，我们其实不是刻意的，我们是自然而然的创作出这样的作品。而这样的作品呢，我们又以一种很新颖的方式，并且以很高质量的方式向全世界进行现代化表达。最后，他就在全世界都获得了很大的欢迎。
So, when we engage in cultural products from China, it's not deliberate; it happens naturally. These works are presented in a novel and high-quality manner to express modernity to the world. As a result, they have received great acclaim globally.

所以我觉得说今天我们去做中华传统文化，就应该是不仅做他的表面，而是应该是你能够知道他的灵魂。然后用一种国际化，用一种全球化现代化的表达，让他再有机会在全球市场获得这样的一个认可和成功。所谓的文创产品，他都一定要有自己的文化内核，就没有自己文化内核的产品，他是很难有这种生命力和穿透力的，就像您刚刚看到的，您看到不管是我们的作品，还是您之前看到的《中国奇谭》，他骨子里面其实都有中华文化的底色。
Hence, in today's efforts to preserve Chinese traditional culture, we should not merely focus on the surface but understand its essence. We should use an international, globalized, and modern approach to gain recognition and success in the global market. Authentic cultural products should always have their own cultural core. Without it, the products lack vitality and impact, as you have witnessed in our works and the previous *Yao-Chinese Folktales* you've seen, which inherently carry the essence of Chinese culture.

第二点是我认为今天的全球市场，整个文化的内容其实供给已经非常非常充裕了。所以这个时候你不去做创新的表达，你还是留于这种过去的传统形式，其实很难吸引年轻人的。所以我们今天做很多传统，做很多文化的表达始终去看用户的需求是什么，能不能符合用户的需求，去做一个现代化的表达。
Secondly, in today's global market, there is already an abundance of cultural content available. To attract the younger generation, it is essential to innovate our expressions. Sticking to traditional forms will not easily engage the youth. Thus, as we create various cultural expressions, we always consider what users want and strive to meet their demands by providing modernized presentations.

第三点我认为今天的文创产品要有很强的这个工业化能力，因为你做一个几秒钟几分钟的短的作品是相对容易的。但是你能不能做一个长篇的作品，持续的更新，持续去影响用户，这就需要很强的工业化能力。而我觉得这恰恰是我们中国大部分做文创类的公司所欠缺的。那这也是我们过去米哈游努力在打造的，就是文化产品的工业化。你看我们做的很多东西，最终还是给大家有一个很鲜活的角色，然后有一个很好的故事，最终能够让大家去共情，因为你只有这样子，你的内容才有穿透力，大家才会成为你的“自来水”，愿意去口碑传播。
Thirdly, to succeed in today's cultural product market, strong industrial capabilities are necessary. Creating short works of a few seconds or minutes may be relatively easy. However, maintaining the ability to produce long-lasting, continuously updated, and influential content requires robust industrial capabilities. Many cultural companies in China currently lack this aspect. This is something that we, at miHoYo, have been diligently working on: industrializing cultural products. Our focus is on delivering lively characters and compelling stories that resonate with the audience, as only this type of content has the power to truly connect with people and spread through word of mouth.

所以说我们始终，不管我们做多大技术投入，不管我们做多少的工业化，始终回到我们这种创作优先，然后内容优先，然后故事优先这样的视角。最后希望做出来的作品，是能够打动人的灵魂的，能够真真正正让大家产生共鸣的。这是我们过去一直在努力做的。
Therefore, no matter how much technological investment or industrialization we pursue, we always prioritize creative content and storytelling. Our ultimate goal is to create works that touch people's souls, evoke genuine resonance, and leave a lasting impact. This has been our continuous endeavor.

## Article

最近，上海美术电影制片厂推出的动画短篇集《中国奇谭》引发全网热议。十名导演，分别打造了8个根植于中国传统文化的独立故事，围绕“奇谭”两字做足文章，一经推出就收获了如潮好评圈粉无数。其中也包括正在参加上海两会的市人大代表、上海米哈游网络科技股份有限公司创始人、总裁刘伟。
Recently, the animated short film collection *Yao-Chinese Folktales*, launched by Shanghai Animation Film Studio, has sparked heated discussions across the internet. Ten directors have crafted eight independent stories rooted in Chinese traditional culture, focusing on the concept of "Qítán" (extraordinary tales). Since its release, the collection has received an overwhelming positive response, winning numerous fans. Among the contributors is Liu Wei, who is currently participating in the Shanghai People's Congress as a representative and also the founder and president of miHoYo Network Technology Co., Ltd.

同为立足打造上海原创IP、弘扬中国民族文化的践行者，刘伟表示好作品都有其共性，借鉴总结其背后的“流量密码”，将有助于上海“文化高地”建设，在未来生产出更多脍炙人口的优秀文化产品。
As advocates for creating original Shanghai IP and promoting Chinese ethnic culture, Liu Wei believes that successful works share common characteristics. Drawing lessons and uncovering the "traffic secrets" behind them will contribute to the development of Shanghai as a "cultural highland" and produce more popular and excellent cultural products in the future.

“看了《中国奇谭》，非常喜欢，特别是第一集‘小妖怪的夏天’。”刘伟告诉记者，所有成功的文创产品都一定要自带文化内核，否则很难有生命力和穿透力。比如《中国奇谭》和米哈游爆款作品《原神》的相似之处在于，骨子里面都是以中华文化作为底色，有了博大精深的传统文化作为基础，才能体现作品丰富的内涵。
"After watching *Yao-Chinese Folktales*, I enjoyed it very much, especially the first episode, 'Nobody,'" Liu Wei told reporters. He emphasized that all successful cultural and creative products must have their own cultural core, as otherwise, it is challenging for them to possess vitality and appeal. For example, *Yao-Chinese Folktales* and miHoYo's popular work *Genshin Impact* share similarities in their deep-rooted Chinese cultural essence. With a profound foundation in traditional culture, their works can reflect rich connotations.

“其次，我认为今天的全球市场的文化的内容供给其实已经非常充裕了，所以这个时候若不去做创新表达，还是流于过去的传统形式，其实很难吸引年轻人。”刘伟认为，立足于传统的文化产品要取得成功，依旧要以用户的需求作为导向，继而完成现代化的表达。
"Furthermore, I believe that today's global cultural content supply is already abundant. Therefore, if we don't pursue innovative expressions and merely stick to traditional forms, it will be challenging to attract young people," Liu Wei said. He pointed out that succeeding with traditional cultural products still requires catering to users' demands and subsequently achieving modernized expressions.

“第三点我认为今天的文创产品要有很强的工业化能力，做一个短作品相对容易，但若是要做一个长篇的作品，持续的更新，持续影响用户，这就需要很强的工业化能力。”刘伟认为，这恰恰是中国当下大部分文创类企业的短板，还有努力提升的空间。
"The third point I believe is that today's cultural and creative products need to have strong industrial capabilities. It's relatively easy to create a short work, but if you want to make a long-form piece, continuously update it, and consistently engage users, you need strong industrial capabilities," Liu Wei said. He believes that this is precisely the weak point for most cultural and creative enterprises in China currently and an area that needs improvement.

“说了这么多，最重要的，其实还是产品内容。”刘伟说，这部作品能火，主要还是剧情层面的成功，因为角色足够鲜活，故事也足够好，最终才能让观众共情，并成为“自来水”，愿意去口碑传播。“所以说我们不论做多大技术投入，不论做多少的工业化，最后还是创作优先、内容优先、故事优先，希望能做出能够打动人灵魂的，能够真正让大家产生共鸣的优秀作品，这也是米哈游在一直努力坚持做的事情。”
"After saying so much, the most important thing is actually the content of the product," Liu Wei said. He emphasized that the success of this work primarily lies in the storyline because the characters are vibrant, and the story is compelling. Only then can the audience empathize and become "water sources," willing to spread word-of-mouth. "Therefore, regardless of the size of our technological investment or the level of industrialization, creativity, content, and storytelling always take precedence. We hope to create excellent works that can touch people's souls, evoke genuine resonance, and that's what miHoYo has been continuously striving to achieve."