Through these two semesters of project practice, I’ve gradually clarified that my future aspirations lie in becoming an “independent creator,” rather than simply holding an execution-oriented position in the traditional animation industry. Compared to the rigid, large-scale commercial animation production process, I much prefer a creative approach where I have complete control over everything from character design and visuals to narrative and atmosphere.

Chaos Pause Encores and Shadow Chase made me realize that my interests always revolve around the “emotional atmosphere of my true self.” I’m not fixated on complex plots, especially those with social commentary, because animated shorts struggle to fully express grand narratives within a limited timeframe, and even many feature films inevitably fall into clichés. I focus more on how to express myself more uniquely through animation, leveraging its unique role and imagination (distinct from live-action). I pay close attention to the audience’s psychological experience, emotional shifts, and sensitive anchors. For example, spatial displacement, the atmosphere created by hand-drawn animation, and the emotional changes conveyed by subtle character movements. This more personal approach to creation has also led me to consider the possibilities of cross-media development.

Besides animation, I’m also interested in illustration, installation, projection, publications, and character derivative design. I hope my future works will transcend the screen and interact with people in real spaces. For example, in exhibitions, I could combine projection and handcrafted materials to make the characters part of the spatial experience: I once conceived of a cat-catching-light project. My created kittens would dart around on the screen at high frame rates, with an infrared flashlight in front of them. Viewers could pick it up and project it onto the cat’s projection, following the mad cat’s movements. This would feel like both the owner teasing the cat and the owner trying to keep up with the little madman, which I found very interesting. Alternatively, I could extend the characters into small art products made of different materials—puppet art, metal art, recycled materials, paper art, etc.—allowing viewers to truly touch and perceive their existence and understand the universe of characters I’ve built.

Simultaneously, I’m also starting to prepare more professional development materials. This includes compiling my portfolio, optimizing my resume, establishing a unified visual style, and continuously updating my social media. I realize that as an independent creator, simply possessing aesthetic sense and creative ability is not enough; I also need to build a consistent output and self-promotion ability, as well as the ability to accurately capture current trending topics.

In the future, I hope to apply for more opportunities related to experimental animation, independent film, and cross-media art, including residency programs and collaborative exhibitions. I believe my strengths lie in my sensitivity to emotional atmosphere and visual details, as well as my unique and distinctive personal style. What I need to continue improving are my ability to create complete narratives, character universes, sound design, and teamwork skills.

I hope my work will eventually develop into a stable and enduring personal language, allowing viewers to instantly associate a character with a specific emotional world—a spiritual universe I’ve built—when they see it.

In the process of continuously creating my personal animal IP, I gradually realized that animation creation is no longer just about the work itself, but also closely related to the methods of dissemination and audience interaction. Especially under the influence of the internet environment, whether a character can be remembered largely depends on whether it has a distinctive and consistent visual language and emotional characteristics.

In the past, when operating Instagram and Xiaohongshu, I focused more on the release of the work itself. But in the creation of Shadow Chase, I began to observe which content was more likely to keep viewers engaged. For example, hand-drawn process records, character merchandise, and behind-the-scenes footage usually generated more interaction than the finished product. This made me realize that sometimes viewers don’t just want to see the “finished product”; they also want to see the process of a character’s birth and growth.

Therefore, I began to try to treat the character IP as a long-term development system, rather than just a single project. For example, I gradually began to unify the character’s color scheme and temperament, fix the visual tone, and establish daily life segments for the character. Especially this year, I created and released my own designed WeChat sticker pack, allowing my character to be used publicly on online platforms. I found that this approach is closer to the development path of contemporary independent animators and illustration IPs. The characters exist not only in animation, but also on social media, trending short videos, art books, merchandise, and even in offline spaces.

I believe the “individual creator + independent IP” model will become increasingly important in the future of the animation industry. Compared to large studio systems, small individual IPs are more likely to develop a distinctive style and establish an emotional connection with the audience, even if it only connects with a specific circle of people. For me, that’s enough. I hope that in the future, when people mention me, I will not only be known as an animator, but also as an artist who has built a complete personal visual brand universe.

However, I still need to learn how to balance “artistic expression” and “commercial value.” Sometimes overly experimental content may not be easy to disseminate and promote, while overly catering to platform requirements can weaken the work’s individuality. I hope to find a middle ground: maintaining personal expression while allowing the characters to be understood and remembered by a wider audience.

After a final semester of creation, I began to rethink the true reasons I drew “animal characters.” Initially, whether it was the puppy in the one-minute animation Chaos Pause Encores or the kitten in Shadow Chase, I simply treated them as part of a visual language. But as the project progressed, I discovered that these characters actually served a greater function of emotional expression. They acted as a kind of substitute “self-projection,” expressing my unspoken emotions and wildly imaginative thoughts. At the same time, they retained the unruly, carefree, and primal nature of small animals.

Chaos Pause Encores is a state that is both quiet and chaotic, a new order: everything looks cute and soft, but the behavior and spatial relationships carry a sense of instability. From initially filming passersby and a puppy fighting over a branch on the street to the development of this short film, I began to realize that what interested me was not the traditional “cute IP,” but rather animal characters with their own unique psychological atmosphere. I hope that when viewers see these characters, they will not only find them “cute,” nor overthink the meaning of their behavior, but will also experience a sense of projection and companionship.

In my graduation project, Shadow Chase, this direction became even clearer. I began using stronger contrasts and more narrative-driven spatial and behavioral designs. The characters were no longer simply playing, but were supported by more realistic scientific reasons. In the cat’s “chasing its shadow,” the fantastical plot reveals an inner psychological state. I found myself enjoying “combining characters with more multi-dimensional spaces”—the characters themselves are simple and abstract, but the environment, rhythm, and materials allow them to possess deeper emotional performances.

I also began to consider whether my future career path could revolve around this kind of “emotional IP.” Compared to purely commercial character design, I hope my work can simultaneously possess artistic expression and emotional resonance. Currently, while creating animation, I am also simultaneously creating a series of personal merchandise. I believe that in the future, I can try more experimental forms such as animated short films, interdisciplinary art installations, etc., allowing characters to enter more realistic and richer thematic scenarios.

Currently, I still need to continue to improve my narrative skills and character development capabilities. Especially in terms of expanding the character’s worldview and interacting with the audience, I hope to establish a more complete creative system.

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