Editor's Note: Since its release, the film“Nezha: The Devil's Child Returns” has seen soaring word-of-mouth and box office success, breaking multiple records and becoming the first Chinese film to surpass 10 billion yuan globally. In this interview, we invited six outstanding graduates who participated in the storyboard production of “Nezha: The Devil's Child Returns”: Liu Yan (Class of 2008), Jiang Ning (Class of 2008), Li Kun (Class of 2014), Meng Fanzhuo (Class of 2011), Kong Youyang (Class of 2012), and Zhang Jiaxin (Class of 2007). They shared their experiences and insights into the storyboard process behind the film.
Q1: What storyboard work did you handle in “Nezha: The Devil's Child Returns”? How was the storyboard creation different from your previous experiences?
Liu Yan:
I was fortunate to participate in the storyboard design for “Nezha: The Devil's Child Returns” and gained the trust of Director Jiaozi, allowing me to take on the role of storyboard supervisor for several scenes. My responsibilities included the entire sequence of Shen Zhengdao's capture at the bamboo forest waterfall, the capture of Stone Demoness at Skull Mountain, and parts of the final battle, such as the transformation of the Immortal Elder.
Director Jiaozi has high standards for storyboards and a mature narrative logic. Unlike traditional film storyboard processes, “Nezha: The Devil's Child Returns” had a very detailed script from the start. Once a scene was approved after multiple iterations, it was likely to become the final version.
Jiang Ning:
I was responsible for four key scenes: Nezha and Ao Bing being thrown into the Heavenly Cauldron together, the demons emerging after the cauldron broke, the immortals retreating as the demons claimed victory, and the final scene on the Chengtang Pass city wall. What stood out to me was Director Jiaozi's meticulous feedback during the storyboard review process. His vision was so clear that some details he envisioned during the storyboard phase remained consistent all the way to the final cut.
Kong Youyang:
I worked on the scenes where the Immortal Elder throws Nezha, Ao Bing, and others into the Heavenly Cauldron, reprimands Taiyi Zhenren, and the demons are refined into elixirs. While the collaboration and workflow were similar to other animated films, Director Jiaozi's attention to character performance and camera angles was more detailed. He often provided new ideas and feedback based on my designs, leading to multiple revisions.
Meng Fanzhuo:
I designed scenes such as Taiyi reconstructing Nezha and Ao Bing's bodies, their vow to become immortals, and most of the Jade Void Palace sequences.
Q2: Which scene posed the greatest challenge in terms of visual presentation, and how did you overcome it?
Liu Yan:
The entire bamboo forest waterfall sequence was particularly challenging. Director Jiaozi demanded a fast-paced, precise rhythm with no redundant shots. We focused on the bamboo poles, incorporating elements of traditional martial arts films while enhancing the physical properties of the bamboo and the fight choreography. After numerous optimizations, we achieved the final design.
Li Kun:
The farewell scene between Li Jing, his wife, and Nezha required the most revisions. The emotional transition from humor to sadness was delicate. A key moment was when Nezha accidentally hurt his parents while playing shuttlecock. This emotional nuance was difficult to convey, but with the team's support, we managed to pull it off.
Kong Youyang:
The scene with the large number of demons in the Heavenly Cauldron was tricky, especially their positioning. The most revisions were for the confrontation between the Immortal Elder and Taiyi Zhenren. Initially, I focused on character relationships and close-ups, but Director Jiaozi emphasized character performance. After listening to the voice recordings, I adjusted the characters' performances to align with their emotional states.
Q3: How did you collaborate with the director and other team members during the storyboard process? Were there any creative disagreements, and how were they resolved?
Liu Yan:
As a storyboard supervisor, I frequently communicated with the director. The goal was to realize the director's vision while adding creative touches. For example, in the bamboo forest waterfall scene, I enhanced the action by having Shen Zhengdao slam Nezha into a frozen waterfall, creating a dramatic visual effect.
When I saw this part of the content, I felt that the scene could be utilized more effectively and that the pacing could be differentiated from the previous fight sequence to enhance the emotional impact. As a result, I had Shen Zhengdao unleash a powerful move, designing a scene where he throws Nezha onto a frozen waterfall and presses him into the icy surface, dragging him all the way down until they shoot up into the sky from the base of the waterfall. This is accompanied by lightning and thunder, making it seem as if a deity is descending from the heavens.
Regarding creative disagreements, this is often a process of positive optimization, not limited to interactions with the director. In the script, many elements are already very finely detailed, with dialogue and key performances largely laid out in the script. Because the director strives for perfection, they often hope that the storyboarding process can fully leverage their own creativity to bring something new and unexpected. Therefore, the guiding principle throughout the creative process is that as long as it doesn’t undermine the script’s intended expression, any content that adds value to the work is acceptable.
Li Kun:
Disagreements were resolved through team discussions. For instance, the idea of Nezha poking a groundhog's nose was debated but ultimately included because it added a cute element to the scene.
Jiang Ning:
The first draft review was my favorite part of the process. It was the best opportunity to understand the director's vision and refine the storyboards accordingly. If there were differing opinions, I would present multiple options to facilitate discussion.
Kong Youyang:
Most of my collaboration was online. After receiving feedback from the director and storyboard supervisor, I would revise my designs. If disagreements arose, I would explain my reasoning and seek clarification from the director. After all, the director is the overall helmsman, with the deepest understanding of the project’s tone and the characters. Therefore, it’s crucial to communicate thoroughly with the director to ensure we’re on the same page as much as possible.
Zhang Jiaxin:
The storyboard artist is the role that interacts most frequently with the director during the pre-production phase. Many scenes and even dialogues are often developed through collaboration between the storyboard artist, the director, and the screenwriter. As a result, it is quite common for differences in creative vision to arise between the storyboard artist and the director during the creative process. In such situations, it is essential for the storyboard artist to possess strong communication skills, enabling them to clearly and logically articulate their ideas for discussion and analysis with the director.
Additionally, the storyboard artist frequently collaborates with the art department. Due to workflow and scheduling constraints, storyboards are often created ahead of time, and the art department then designs the scenes based on these storyboards. In such cases, it is advisable to communicate the overall design direction with the art department before starting the storyboard, ensuring that both parties are aligned and have a clear understanding of the creative vision. In summary, animation production is a collaborative effort that requires close teamwork across all stages, and no single department should work in isolation.
Q4: As a highly anticipated sequel, how does the storyboard design of “Nezha: The Devil's Child Returns” compare to the first film in terms of inheritance and innovation?
Liu Yan:
The sequel represents a significant upgrade. For example, the emotional embrace between Nezha and his mother in the cauldron was meticulously crafted, with subtle body tremors and facial expressions captured in the storyboard phase.
The fight scenes in the second installment are also more diverse and varied. For example, the fight scene in the jungle waterfall combines and elevates traditional martial arts; the battle with Lady Stone Ji incorporates a visceral, bone-crushing aesthetic of violence; Ao Bing and Ao Shun wield spears with finesse; and Ao Run's use of the Rift Claw introduces spatial teleportation. Each fight scene is approached and executed with a completely distinct concept and treatment.
Jiang Ning:
In terms of storyboard design, the second installment retains the strengths of the first film's pacing while making improvements to align with the viewing habits of contemporary audiences. This results in a more tightly-knit yet well-balanced rhythm. Additionally, thanks to increased production budgets and advancements in technology, the second film is no longer constrained by cost limitations in its storyboard design. It boldly creates more grand and intricate scenes and challenges itself to deliver more nuanced performances. For us storyboard artists, this represents a rare and highly enjoyable creative experience.
Kong Youyang:
Compared to the first film, Director Jiaozi still adheres to the approach of "toning down the formalism of camera work while focusing on character performance and narrative efficiency" in controlling the storyboards for most of the scenes. The innovation lies in the more free-flowing and dynamic storyboard design for the action sequences, which are rhythmically compelling and deliver an exhilarating experience for the audience.
Q5: How did your experience at the Communication University of China's Animation and Digital Arts School prepare you for working on “Nezha: The Devil's Child Returns”?
Liu Yan:
The pre-production mindset and directorial thinking cultivated by the school are truly crucial. I am deeply grateful to the school for providing such a significant platform. Both Jiang Ning and I come from Professor Li Zhiyong's Kung Fu Bunny Studio, and it was through Professor Li's recommendation that we later had the opportunity to participate in high-quality projects like “Nezha: Birth of the Demon Child”. This has been immensely beneficial for our career development.
Li Kun:
Creating storyboards for animated films requires a diverse and highly comprehensive skill set, but most of these skills were honed during my time at school. Another crucial aspect is that every director has their own unique working style, which makes practical experience and communication skills essential. I highly recommend that students focus on building these skills early on. The school provides an excellent platform, and after graduation, you'll come to realize how fortunate it is to receive support and guidance from so many teachers and alumni.
Jiang Ning:
For me, the most valuable aspects have been the mentorship from my teachers and the opportunity to connect with fellow students who share a passion for the animation industry. I am deeply grateful to Professor Li Zhiyong for recommending me to participate in the project *Nezha: Birth of the Demon Child*. Since graduating, I’ve consistently encountered outstanding alumni from Communication University of China in various projects. Everyone has been incredibly supportive, eager to learn from one another and grow together. This sense of community and mutual encouragement has been a truly heartwarming experience for me.
Kong Youyang:
During my time at school, courses in visual storytelling and storyboarding solidified my foundational understanding of cinematic narrative. Collaborating with talented classmates allowed me to absorb invaluable experiences, which I then put into practice during joint projects and my graduation film. After graduating, participating in projects like “Jiang Ziya” enabled me to learn even more about storyboarding techniques and approaches from seasoned professionals in the industry.
Q6: What advice do you have for students aspiring to work in animation storyboarding?
Liu Yan:
I advise junior students to cultivate their directorial vision while also avoiding excessive self-centeredness. To create a successful commercial film, it’s essential to prioritize the audience and focus on storytelling. Always ask yourself: What am I trying to express? What does the audience want to see? What message do I want to convey to them? Avoid getting trapped in the vortex of self-expression.
Zhang Jiaxin:
Storyboarding is a highly comprehensive role that requires practitioners to possess not only directorial skills but also a solid grasp of visual storytelling, editing techniques, cinematography, and character performance. Additionally, strong drawing skills are essential to accurately bring your envisioned scenes to life. Therefore, laying a solid foundation during university is crucial. Beyond mastering the fundamental courses, it’s equally important to watch and analyze a wide range of films. Studying and even sketching scenes from classic movies can be an invaluable way to refine your craft and deepen your understanding of cinematic language.
In addition, I highly recommend that students aspiring to become storyboard artists, especially for animation, or directors, focus on improving their drawing skills during their time in university. The ability to create effective storyboards, particularly for animation, largely depends on your artistic skills. Once your technical drawing abilities reach a certain level, your storyboarding techniques will improve rapidly.
Jiang Ning:
Storyboarding is a role that demands a high level of versatility, and rapid improvement often comes from hands-on experience in actual projects. I believe the most important aspect of storyboarding is having a clear mindset—understanding what the director wants, identifying the key focus of each scene, managing the emotional pacing, and determining the purpose of every shot. Only when you fully grasp these elements can you achieve effective visual storytelling. To develop this skill, it’s essential to consciously reflect on and summarize your experiences after each project. By continuously cycling between theory and practice, you’ll gradually become more adept and confident in your craft.
Li Kun:
In animated film projects, many directors often demand cinematic shots that rival those in live-action blockbusters. Therefore, I recommend thatjuniors watch and study high-quality commercial live-action films, both domestic and international. Analyze these films thoroughly, and dedicate time to honing your drawing skills.
Kong Youyang:
Storyboard design requires a diverse set of skills, including drawing ability, a sense of rhythm, understanding of performance, and spatial composition, among others. I believe the most critical skills are emotional sensitivity and the ability to control information effectively. This involves interpreting the script and the director’s vision, translating them into visual language, evoking emotions, highlighting key content, and conveying information that is both understandable and relatable to the audience. I recommend taking every class assignment and creative opportunity seriously during your time in school. Continuously create and practice, learning from audience feedback to improve over time. Additionally, actively seek out and participate in projects, as real-world experience is one of the fastest ways to grow and refine your craft.
Q7: Any additional thoughts to share?
Liu Yan:
I’d like to share with my juniors the distinction between being a personal artist and a professional creator. In true commercial creation, it’s not just about technical skills—communication is equally crucial. Commercial animation is a collaborative art form on a massive scale. The ability to accurately convey your ideas, understand others’ perspectives, and communicate effectively are all vital. If you aim to go far in this industry, it’s essential to prioritize communication and collaboration alongside honing your craft.
Kong Youyang:
I’d like to share my journey with “Nezha”—from drawing Nezha to being part of the “Nezha” project. In 2014, at the Aniwow Animation Festival, I met the renowned Shanghai Animation Film Studio director, Mr. Chang Guangxi, and was fortunate to receive a signed sketch from him. That same December, I created an illustration paying homage to the 1979 classic “Nezha Conquers the Dragon King” by Shanghai Animation Film Studio. In March 2019, during my free time, I drew a depiction of Nezha as a young man, inspired by my own imagination (this was before the release of the first “Nezha” film). By August 2019, I had the honor of creating an official celebratory artwork for “Jiang Ziya” to mark “Nezha: Birth of the Demon Child” surpassing 3 billion yuan at the box office. At the end of 2022, I was incredibly privileged to join Director Jiaozi’s team as a storyboard artist for “Nezha: Birth of the Demon Child”. Finally, in 2025, “Nezha: Birth of the Demon Child” hits the big screen.
Alumni Profiles:
Liu Yan
80s generation animator, storyboard artist, and director. Graduated from CUC's Animation and Digital Arts School in 2008. Notable projects include “Kung Fu Bunny and Veggie Dog” and “Nezha: The Devil's Child Returns”.
Li Kun
90s generation storyboard artist. Graduated from CUC in 2014. Known for his work on “Nezha: The Devil's Child Returns” and “Honor of Kings”.
Jiang Ning
80s generation storyboard artist. Graduated from CUC in 2008. Notable projects include “Kung Fu Bunny and Veggie Dog” and “Nezha: The Devil's Child Returns”.
Kong Youyang
90s generation animation director and storyboard artist. Graduated from CUC in 2012. Known for his work on “Jiang Ziya” and “Nezha: The Devil's Child Returns”.
Zhang Jiaxin
80s generation storyboard artist. Graduated from CUC in 2007. Notable projects include “Nezha: The Devil's Child Returns” and “White Snake 2: The Tribulation of the Green Snake”.
Meng Fanzhuo
Graduated from CUC in 2015. Currently working at Chengdu Coco Animation as an executive director, involved in projects like “Nezha: The Devil's Child Returns” and “Panda Plan”.
*Article translated by a large language model.
(Editor: Li Jichu)
