In order to cover up the instability of AI generation. We will use a more sketchy style.
Testing
Reference
Outcome
I feel the image style would rely more on the reference picture instead of the prompts. So it will be pretty important to find enough references.
Curtin, M. (2012) ‘ Chinese media and globalization ‘, Chinese Journal of Communication, 5(1), pp. 1-9. Available at: https:// doi.org/10.1080/17544750.2011.647737
This article by Diya Abraham systematically traces the theoretical development and practical cases of adapting classic literature into modern media, moving from fidelity criticism to creative reinterpretation, and offering a relatively comprehensive framework for adaptation studies. Reading it has provided both theoretical inspiration and several directly applicable insights for my own research.
Summary of Key Arguments
The article’s central argument is that adaptations are not inferior copies of their source texts, but independent cultural products with their own value. The author organizes this argument around three main theoretical threads. First, early “fidelity criticism” treated the original work as the ultimate standard, viewing adaptation as an inevitable loss. Second, scholars represented by Hutcheon redefined adaptation as “repetition without replication,” emphasizing that it is a creative reinterpretation calibrated to new cultural contexts. Third, Kristeva’s theory of intertextuality reveals the ongoing dialogue between adaptations, their source texts, and contemporary culture. Through three case studies — Luhrmann’s Romeo & Juliet, Wright’s Pride and Prejudice, and The Great Gatsby — the article demonstrates how adaptations revitalize classic narratives for contemporary audiences through adjustments in visual style, characterization, and cultural framing.
Relevance to My Research
This article offers direct theoretical grounding for my study of how Chinese media reinterprets mythology.
First, Hutcheon’s framework of creative transformation can be applied directly to works such as Creation of the Gods and Ne Zha, which preserve the core narrative structure of mythology while substantially modernizing character motivations and visual language — a process that exemplifies the kind of “negotiation” my research seeks to examine.
Second, the article’s discussion of intertextuality is particularly pertinent. Chinese mythological adaptations do not merely engage in dialogue with traditional texts; they also enter into cross-cultural conversation with Hollywood narrative conventions, as seen in comparisons with the Thor franchise. This tension sits at the heart of the “global influence” dimension of my research.
Third, the article’s treatment of reception theory offers a useful reminder that the negotiation Chinese creators undertake between tradition, modernity, and global influence is also fundamentally a response to divergent audience expectations — domestic audiences seek cultural identification, while international audiences anticipate a fresh encounter with Eastern mythology.
It is worth noting, however, that the article’s scope is limited to Western canonical literature, with virtually no engagement with mythological adaptation outside the Western tradition. This gap is precisely where my research has the potential to make a meaningful contribution.
Ai render
example
https://blog.google/innovation-and-ai/models-and-research/google-deepmind/dear-upstairs-neighbors
My ideal workflow
Traditional 3D animation workflow combined with AI, do the modeling and animating in MAYA. Using ai to do the rendering. In order to avoid the instablity of ai, i will probably go for a more sketchy style to cover the flaws.
I would like to do something relate to fantasy works and cultural differences in film and animation industry.
Possible research questions:
Specifically, I am interested in examining how Western fantasy productionsintegrate elements from Eastern and East Asian cultures to construct Eastern-inspired fantastical worlds through a Western interpretive lens—exemplified by works such as Kung Fu Panda. Given the considerable popularity of such productions in China, I also aim to explore audience reception and the ways in which these works are perceived and interpreted by Chinese viewers.
There appears to be a growing trend of reinterpreting ancient Chinese mythology in films, games, and animations, wherein original narratives are adapted to convey modern meanings. At the same time, these fantasy productions frequently exhibit stylistic and thematic parallels with prominent Western fantasy works, despite emerging from distinct cultural and mythological traditions.
Film and Animation I may refer to:
Kung fu Panda
Mulan
Yao-Chinese Folktales
The Legend of Hei
Nezha
Spirited Away
Harry Potter
Overlapping
first version
second version
Lip Sync
pipeline: Blocking-Blocking Pius-Polishing
while doing blocking plus, need to do the mouth shape as well.
Lip Sync: Jaw opening-phonemes-polish
Dialogue shot planning (reference)
I got confused about the genre Fantasy.
Fantasy is a genre that presents events that cannot occur in the real world, usually through the presence of magic, alternate worlds, or both. Unlike science fiction, which is based on possibilities that may one day become real, fantasy relies on the impossible and supernatural.
According to Steven S. Long, three elements commonly define fantasy: magic, alternate worlds, and low technology. Magic introduces supernatural forces, alternate worlds create unique settings beyond everyday reality, and low technology often gives fantasy its medieval-inspired atmosphere.
Fantasy is more than just an escape from reality. Through imagined worlds and impossible events, it provides a space to explore human experiences, cultural values, and mythological traditions. This is why fantasy remains one of the most influential genres in contemporary films, animations, and video games.
Long, S.S. (2011) Defining Fantasy. Available at: http://www.stevenslong.com/articles/2011/12/28/defining-fantasy.html (Accessed: 15 April 2026).
Subtext is what a character really means beneath the words they say. To design strong subtext, animators should first understand the character’s goal: what do they want in this scene, and what is stopping them? The subtext should connect clearly to this objective.
A good subtext is usually a clear feeling or opinion, not something vague. For example, “I’m fine” could really mean “I need you to notice me,” “I don’t trust you,” or “Please leave me alone.” Each choice would create a different facial expression, eye movement, pause, and body language.
Before animating, it helps to define three things: character, situation, and motivation. Once the animator knows what the character is secretly thinking, every small movement becomes more meaningful. Good subtext makes animation feel like real acting, not just lip sync.
Heavy Object（polish)
· make the movement snappier
· stay at every pose a bit longer, leave it enough time to show every pose.
Heavy Object Polish
Eyes animation helps show a character’s thoughts and emotions. The main elements are blinks, eye darts, eyebrows, timing, and facial connection.
Blinking should have a purpose. It can show a change of thought, attitude, eye direction, or head movement. Avoid blinking only to make the character move. A basic blink can be fast when closing and slower when opening.
Eye darts show that a character is thinking or gathering information. The eyes should move quickly, usually in straight lines, and lock onto clear targets instead of drifting randomly.
Eyebrows support the meaning of the eyes. Intentional blinks can include brow movement, while natural blinks often keep the brows still. Brow movement also changes the shape of the upper eyelids.
Natural facial movement often follows this order: thought → eyes → body. The eyes usually reveal the character’s inner thought before the head or body reacts. Using reference, mirrors, and frame-by-frame observation helps make the animation feel more believable.
Facial poses connection
· add a starting pose
· the eyes should be snappier
· Don’t move all the facial features at the same time; add some offset.
Heavy Object Polish