I Have a Question: Lu Xiaoliang
Lu: Lu Xiaoliang, CEO of Max-World
AWN: Animation World Network
Lu: I have never left the animation industry in the past few decades since I became a part of GDC after I graduated, took part in the production of the 1st CG animated film in China and started Max-World. Our generation of the 1980s are most deeply impressed by animation and comics, which affects my life track. As I liked painting when I was only a child, learned ink and wash painting in the kindergarten, read the comics “SLAM DUNK”， “Dragon Ball”，”Captain Tsubasa”，”Saint Seiya”. These experiences taught me that you must keep trying until you succeed. My value was formed at that time. Now that we have established Max-World, we hope that the animation works that we created could offer youngsters today a correct guidance of value, a positive spiritual guidance and affect a whole generation.
AWN：Are there any representative works that you could introduce to us?
Lu: Before 2016, we mainly focused on Japanese animation programs, such as “Project MILKY HOLMES”，”SAMURAI GIRLS”，”PRISM NANA PROJECT”，”ささみさん＠がんばらないすろっと”，”そらのおとしもの“，and took part in some Japanese 2D animation programs, connected closely with Japanese animation techniques, especially the mastering of Cel-shading.From 2017 on, we transferred our focus to domestic programs, produced an animation dramas that was adapted from a Chinese comics that have been published in instalments for 10 years, receiving a broadcasting volume of 230 million. Now it is played weekly on Tencent Video.
AWN：Are there any programs you are preparing now?
Lu: We are preparing several Japanese comics and animations, mainly responsible for producing the TV dramas. Besides, we do some technical R&D with them, such as developing new artistic effects. As the styles of Cel-shading are similar in China and Japan, now we are trying to develop some new styles. We are also preparing some domestic animations, which are now confidential.
AWN：At present, are Chinese animations lagging behind of European,American and Japanese animations?
Lu: To be frank, I think the gap between them is rather big, as our foundation is not solid. Our construction of the artistic techniques, plots and release has just begun. From my perspective, we need to make more efforts to shorten these gaps, the key of which is to establish a solid foundation for the production of animation.
AWN：What’s the difference between domestic outsourcing animation and Chinese animation?
Lu: Outsourcing programs have a complete set of requirement instructions and producing rules, which are very accurate. The industrial system is very comprehensive. Domestic animation has been developing quickly in recent years and appears a positive trend, which requires that we keep working hard and develop the programs to the standardization.
AWN：What is the current situation of the domestic animation market?
Lu: The domestic animation market is going to take a leap in the following years and has an optimistic prospect. There will be different animation works in China that gears to people of various ages and promotes the development of various industries.
AWN：How do you view the phenomenon of commercialization of animation?
Lu: There is no shortcut for animation to earn profits quickly. The means of advertisements and embedding of advertisements are also rarely used. The development of animation requires accumulation. As an essential part of IP development, the means of Seisaku Iinkai is a relatively complete pattern to achieve commercialization of animation. As a result, the association of animation and other industries decides how mature the commercialization of animation is.
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