"The Lord of the Mysteries" animation debuts at AFA, Southeast Asia's largest comics exhibition, and the overseas influence of domestic animation IP reaches a new high

Recently, the Asian Animation Festival Asia (AFA), which has attracted the attention of animation enthusiasts around the world, came to a successful conclusion in Singapore. As the largest and most influential animation event in Southeast Asia, this AFA brings together animation, comics and pop culture content from all over the world. It is noteworthy that the animated work "The Mysterious Lord" on Tencent's video platform was also invited to participate in the exhibition. It showed excellent international influence and fan appeal at the exhibition, becoming one of the high-profile cultural phenomena in this event.

Global popularity continues to rise, and domestic animation is on the world stage

Since its launch,"The Lord of the Mysteries" has set off a "mystery craze" in more than 190 countries and regions around the world. With its unique integration of Victoria style and steampunk aesthetics, this work not only received a high score of IMDb 9.3, became the leader of domestic animation on the international scoring platform, and also successfully ranked among the top 5 of Crunchyroll's summer new fans list, demonstrating the strong competitiveness and artistic appeal of China animation works in the global market.

The comics exhibition site is very popular, and international fans enthusiastically check in

This year's AFA exhibition was a grand scale, with more than 85 companies and IPs participating in the exhibition. Among them,"The Lord of the Mysteries" also appeared in the core area of the exhibition. The specially set up interactive device "Klein's Throne Above the Gray Fog" at the booth attracted a large number of fans to stop and check in, including many loyal viewers who came across the country. Fans at the scene said that "China animation has many underestimated excellent works, and now they are receiving more and more attention."

The international media pays close attention to it and has in-depth dialogue on creation and the future

During the exhibition, the "Lord of the Mysteries" production team accepted interviews with 7 media with regional influence from Singapore, India, the Philippines and other places, including mainstream media such as Singapore's "Xinming Daily" and "Lianhe Zaobao".

In an interview with Lianhe Zaobao, Liu Xing, the screenwriter of "The Lord of the Mysteries", bluntly stated the difficulty of turning words into film and television. But he believes that the work's "Steampunk and Victoria styles are relatively diverse and easy for international audiences to quickly understand."

Producer Zhu Ke saw the power of animation across cultures."In Singapore, we hear all kinds of languages, but everyone's love for the second element is the same."

Director Xiong Ke regards the work as "a window to China animation, allowing everyone to see how far we can do." He observed the characteristics of the local market: "China comics exhibitions sell more styles of surrounding products, while the Asian Animation and Animation Festival brings the label closer to fan creation."

The new situation of China's animation going to sea has gradually demonstrated its cultural confidence

It is worth mentioning that more than 95% of the exhibition content in this AFA is still Japanese animation works. In this environment, the animation "The Lord of the Mysteries", which is adapted from the cuttlefish novel of the same name by Ai Diving, a platinum writer on the starting point of the reading group's Chinese website, can stand out, which not only reflects the international level of its content quality, but also marks that China animation is occupying a place on the world animation stage.

Conclusion

From childhood to animation, from domestic to international,"The Lord of the Mysteries" is becoming an important force in the wave of China animation going abroad with its distinctive aesthetic style, solid narrative skills and profound cultural heritage. Its success is not only an international breakthrough in IP, but also a vivid epitome of China's contemporary cultural and creative industries going global and participating in global dialogue. It indicates that domestic animation has not only landed on the international stage, but also demonstrated that the improvement and dissemination of China's cultural soft power will usher in broader space and possibilities.

Behind this achievement is inseparable from Tencent Video's long-term strategic support of "long-term IP incubation + global ecological layout". As a producer, Tencent Video ensures content quality with industrial production standards, plans the global distribution process two years in advance, and achieves efficient cross-cultural reach through simultaneous dubbing in seven languages and a distribution network covering more than 200 countries and regions around the world; It also uses a ten-year development blueprint to build the long-term vitality of IP, planning a content system covering seven seasons of animation, three special chapters, and a theater version, and simultaneously promoting cross-media development such as derivatives and offline experiences, and continuing to maintain the emotional connection of global fans during the window period of the drama.

In the future, Tencent Video will continue to promote more Chinese comic works to the world, make "donghua" the exclusive symbol of China's culture going abroad, use systematic power to build a dialogue bridge between China animation and global audiences, and help China's cultural and creative industries achieve more far-reaching value transmission on the global stage.