Master, last night’s New Year address mentioned that ‘Wukong and Nezha have taken the world by storm,’ and the internet exploded with discussion. When Nezha’s official account replied with ‘living up to expectations,’ I was unexpectedly moved.

That feeling comes not only from shared childhood memories, but also from respect for five years of perseverance and breakthroughs in Chinese animation. ‘Living up to expectations’ is a form of cultural self-awareness and a solemn promise innovators make to their era.

Five years of Nezha—from ‘Birth of the Demon Child’ to ‘The Demon Child Conquers the Sea’—it’s not just a box-office miracle, but a spiritual symbol. The film transforms the rebellion of ‘my fate is decided by me, not by heaven’ into the responsibility of ‘if heaven and earth do not accept me, I will reshape the cosmos.’ Many young people say they were deeply touched.

Did you notice? Innovation is not simple subversion. The director and team spent five years honing their craft—from script to visual effects, from character building to aesthetic expression. It’s all a practice of ‘creative transformation’ and ‘innovative development.’

Yes, Nezha’s narrative has moved beyond traditional black-and-white moral archetypes. Even a ‘villain’ like Shen Gongbao becomes complex and warm, which made me reflect on prejudice and empathy.

The rise of Chinese animation is also the rise of China’s cultural confidence. Nezha being mentioned in a New Year address is not just a technical victory, but a triumph of storytelling and emotion that transcends generations and borders.

In recent years, ‘living up to expectations’ has become a motto for many young people. Perhaps the best way to live up to expectations is to tell our national stories in a way the world can empathize with.

Just like Nezha’s Wind Fire Wheels—crushing prejudice and racing toward the world. Our scholarship is the same: respect tradition and dare to innovate, so Chinese stories can have a broader stage.