On July 29, 2026, an article questioning 'Why can't Chinese animation create Japanese-style 2D animation?' was published on the Chinese portal site Sohu.

The article stated, 'We often see discussions like, "Even though Chinese animation has improved its budget and production equipment, the resulting 2D animation somehow feels unsatisfying." While Japanese animation retains the individual drawing styles of animators and the warmth unique to hand-drawing, many Chinese 2D animation works lack a sense of unity on screen, have thin textures, and often give the impression of being template-based.'

It continued, 'Chinese animation production relies too heavily on a mass-production system, where speed and quantity of production are prioritized, so there are not many works that can be meticulously crafted down to the smallest detail. Compared to the mature Japanese animation industry, China produces a larger number of works, but there are fewer highly-rated masterpieces.'

Furthermore, it added, 'Those who have watched Chinese animation for many years believe that the reason Chinese 2D animation falls short of Japan's is not just an issue of drawing techniques, but because the foundation of the animation industry as a whole has not yet fully matured. One netizen pointed out, "Chinese 2D animation has already missed its opportunity for growth. Now, even in 3D animation, which used to be its strong suit, signs of fading momentum are beginning to appear."

It also mentioned, 'The difference in production capabilities cannot be ignored. The Japanese animation industry has a history of nearly half a century, with established production systems and division of labor, consistently releasing hundreds of works every year. In contrast, in China, the development of production systems is still insufficient, and especially in 3D animation, the subject matter is often biased and stories tend to be similar.'

The article stated, 'The most realistic challenge remains financial. 2D animation involves many processes and a long production period, and despite high costs, commercial profits are limited. In Japan, in addition to streaming services, there are diverse revenue sources such as high-priced Blu-rays, abundant related merchandise, and live events. However, in China, the derivative market for 2D animation is not yet mature, and even for excellent works, there are cases where fan crowdfunding is relied upon to promote merchandise development and operations utilizing secondary creations.'

On the other hand, it said, 'Many people believe that "there is no meaning in reproducing Japanese animation itself," and there are also voices saying that there's no need to care excessively about overseas evaluations. Forcibly conforming to Western values or aiming only to be evaluated leads to losing one's original direction. Currently, Chinese animation is becoming a topic on overseas streaming services, and international viewers are watching it on their own initiative. This is definite progress.'

It also introduced, 'Some new Japanese animation works are compilations of directorial techniques from past masterpieces, but Chinese animation is making steady progress every year, showing new attempts in visuals, storytelling, and visual effects, leading to the view that it has more momentum than the somewhat stagnant Japanese animation.'

It then emphasized, 'Animation production technology utilizing AI is highly likely to become a breakthrough for Chinese animation to narrow the gap, and this has been mentioned by many netizens. This is because utilizing AI for production support could not only significantly reduce the cost and time of 2D animation production but also potentially improve the problem of standardization caused by mass production.'

Finally, it concluded, 'The delicate expressions in Japanese 2D animation are the result of decades of accumulation, but Chinese animation also has its own unique path and direction. There is no need to deny progress just because there is a temporary difference, nor should one turn a blind eye to challenges just because there is development. It is important to create good stories by leveraging strengths and compensating for weaknesses, and to produce works that have "anime-like" qualities. What is required is to polish the charm of the work itself, not to produce commercial mass-production templates. Time will provide the answers.' (Translation and editing by Iwata)