From tradition to digital: A study on the international communication strategy of Nezha's image

In 2019, the animated film Nezha: The Devil Child Comes into the World became a cultural phenomenon in China, breaking domestic box office records with earnings exceeding 5 billion yuan. The release of its sequel in 2025 further advanced the global dissemination and reimagining of the Nezha character, marking a pivotal moment in the international communication of Chinese cultural IP. This paper takes these two films as primary case studies to examine the evolution of Nezha's image in the digital media environment and to analyze the strategies employed in cross-cultural transmission. Drawing on theories of cultural adaptation and digital communication, the study identifies two core aesthetic and narrative techniques – “cuteness reshaping” and “pain-point grafting” – that enable traditional mythological symbols to be emotionally and visually accessible to global audiences. Simultaneously, the rise of digital platforms such as Douyin, Weibo, WeChat Video Account, and YouTube has significantly reshaped the dissemination pathways of Chinese animated content. Through algorithmic recommendation systems and the widespread participation of users in content creation (UGC), these platforms have enabled bottom-up amplification and transmedia storytelling of the Nezha mythos.Тhe study also reveals a dual reception effect among overseas audiences. While the films garner surface-level attention and entertainment value, deeper layers of Chinese cultural context are often misunderstood, ignored, or misrepresented. To address this challenge, the paper proposes a theoretical model of “dynamic layering,” which consists of three interrelated dimensions: the content layer (visual and symbolic restructuring), the platform layer (distribution mechanics and algorithmic engagement), and the audience layer (cross-cultural interpretation and reception). This model offers a practical framework for improving the international communication strategies of traditional cultural IP, with particular relevance to the animation and creative industries. The findings highlight the need for a more nuanced approach to globalizing Chinese mythological figures, one that balances market appeal with cultural authenticity in the age of algorithm-driven digital media.

Nezha cultural IP, digital media communication, intercultural communication, new media platforms, visual narrative, cultural adaptation, reconstruction of mythological images, user participation, international communication strategy, media space theory