I want to be a valuable “supporter” for Chinese animation.
Before starting his own venture, Tan Zheng worked at several companies in Beijing, engaging in original animation processing, TV animation storyboarding, and entertainment book planning. The instability of these roles led him to think more about industry issues and the challenges faced by producers. Prior to his professional career, Tan Zheng was a member of the first graduating class of the Animation Department at the School of Urban Design, Central Academy of Fine Arts. His time at university made him acutely aware of the challenges faced by animation students and motivated him to find ways to help more students like himself.
Tan Zheng is dedicated to establishing “Dongke” as the most professional animation media brand in China. In 2006, he founded China’s first original digital animation magazine, documenting the reality of Chinese animation and fostering mutual recognition and cooperation among industry organizations, as well as discovering the industry’s value. With years of focused research on the relationship between content and media in the Chinese animation industry, Tan Zheng has used “Dongke” to implement international brand marketing concepts and find solutions tailored to the domestic animation industry. In 2009, he introduced the “Animation is Communication Theory.” Since 2010, he has been promoting value chain cooperation across different regions of the industry. When I scheduled an interview with him, he laughed and said, “Usually, I’m the one interviewing others. I have to think carefully about how to answer when it’s my turn to be interviewed.”
1314 Q&A with Tan Zheng”
1314: Your friends say you resemble an animation agent more than anything else. How do you see your role? Could you talk about your work and your current state of life?
Tan Zheng: That’s somewhat accurate. My previous work mainly involved being a professional media editor. I don’t see myself as a creator or a producer, but rather as someone who facilitates communication between them. I believe that being a professional media entity, without compromising standards, can positively impact the industry. Unfortunately, despite eight years of “Dongke,” we haven’t found a commercial value for “professional media.” We’re now transitioning into a B2B model, offering brand services to animation companies. From a creator’s background to being a media editor, I’m only now beginning to take on the role of a producer. I will focus on branding and media, content and communication within the animation industry.
1314: What was the most frustrating thing that happened in your work?
Tan Zheng: At the end of 2010, our server was severely attacked by hackers for the first time. It felt like the sky was falling; I was on the verge of giving up at any moment. Every day, I had to remind myself to hold on and persevere. After the data was damaged, it took a month to repair and rebuild the server. Two weeks after we managed to recover it, Dongke received support from the Chengdu Youth League and the Animation Department of Sichuan Fine Arts Institute, leading to the “Finding Direction” animation annual conference in Chengdu. That experience made me start considering whether I should start a business in Chengdu.
1314: Is there anything you’ve done since founding the company that you’re particularly proud of?
Tan Zheng: No. It’s been a cautious and challenging development process, with every step being slow and difficult. Often, it’s just been about my own perseverance. If being proud of sticking with something for eight years means feeling so frustrated, then it’s a tough feeling to endure.
1314: What is your ultimate goal? Or, what do you see as Dongke’s mission?
Tan Zheng: To become the most influential, professional, and credible animation media brand in China, serving as a valuable “supporter” for Chinese animation and growing together with the industry.
1314: It seems that not long ago, you worked on a project for an animated film to be released in theaters. Do you have any new projects coming up?
Tan Zheng: This summer, I was responsible for the distribution and promotion of Beijing Qikatoon’s animated film Mystery World Adventures in the Chengdu and Chongqing regions. Currently, I am overseeing the overall design for the “International Animation Expo (Beijing 2012),” which is organized by the Ministry of Culture, the Beijing Municipal Government, and the China Association for International Friendly Contact, scheduled for December.
1314: Around this time last year, Dongke held the animation art exhibition “Luminous Clarity.” What do you see as the significance of collaborating with top art academies to showcase outstanding works?
Tan Zheng: It’s a natural outcome of the industry’s ten-year development and the result of Dongke’s long-term efforts. By identifying and highlighting the most valuable resources in the industry through extended media observation, the goal is to unite people and improve the industry’s overall perception. The major significance of the exhibition is to inspire viewers with anticipation and confidence in the future of Chinese animation. My academic ideal is to roll out the red carpet for animation students or professionals even when they lack basic resources. This industry requires perseverance and resilience. We constantly hope to attract more people passionate about animation, and hosting such an exhibition is intended to foster that passion.
1314: In your view, as Chinese animation develops, what are its advantages and disadvantages?
Tan Zheng: Our advantages are a large market and abundant talent; however, the disadvantages include a chaotic market and a lack of focus among talent. The industry suffers from a lack of competition, cooperation, standards, strategic capital, and entrepreneurial spirit. One unique drawback is the government’s overly protective stance: while providing time for growth and supporting large enterprises, it doesn’t consider that an industry unable to compete fully will develop slowly. More importantly, this approach dampens the spirit of hardworking entrepreneurs and hinders the rejuvenation of talented professionals. The government’s intervention has led to a more broad and superficial approach.
1314: I recently saw a news report stating that China’s animation production has become the largest in the world, with 260,000 minutes of content. When do you think the quality of our animation will reach a point where quantitative changes lead to qualitative improvements?
Tan Zheng: In my opinion, the conditions for a qualitative change are as follows:
- The ability to build strong brands for distribution and sales channels.
- Setting a baseline for audience preferences.
- Having a shared vision among creators and producers.
- An open-minded government with less intervention.
- Art academies placing more emphasis on the commercialization of animation.
I expect the industry to mature in about ten years. (End)
我想为中国动漫当一个有价值的“托”
创业前，谭正曾在北京供职多家公司从事原动画加工，电视动画分镜，娱乐图书策划等创作人工作，工作的不稳定让他思考更多产业问题，制作人问题。在工作前，谭正是中央美术学院城市设计学院动画系首届毕业生。大学期间让他早早清楚了解动漫院校学生的困境，尝试寻找一种捷径帮助更多跟自己一样的学生解决面临的问题。
谭正致力于将“动客”打造成国内最专业动漫媒介品牌。2006年创办国内第一本原创动漫电子杂志，记录中国动漫的真实，帮助行业机构间相互认知合作，发掘行业价值。多年专注研究中国动漫产业内容与传播媒介关系，通过“动客”践行国际品牌营销理念，从中寻找最适合国内动漫行业的解决方案，2009年推出“动漫即传播论”。2010年开始促进行业各地区内价值链合作。当笔者跟他约采访时，他笑着说，平时都是我采访别人，自己接受采访还得仔细想想要怎么回答。
1314与谭正的Q&A
1314：你的朋友说你更像一个动漫经纪人，你怎么看自己扮演的角色？能谈谈你的工作和你的生活状态吗？
谭正：有点像，我工作形态以前主要是专业媒体编辑。扮演的既不是创作人，也不是制作人的角色，而是促进他们之间沟通，坚信做一个不和稀泥的专业媒体，能对行业有过滤促进作用。遗憾的是动客创立八年来，没能将“专业媒体”找到商业价值。目前正转为B2B型企业，为动漫企业提供品牌服务。从创作人背景，到做媒体编辑，现在才开始做制作人的角色。我将专注动漫产业的品牌与媒介，内容与传播。
1314：你工作里发生什么最让你抓狂的事情？
谭正:2010年底，服务器第一次被黑客严重攻击。当时感觉就是天塌了，随时都可以“放弃”。每天告诉自己坚持一下，挺一下。数据损坏后用了一个月修复，又重新搭建服务器。抢救回它的两星期后，动客在成都得到团市委与川音成都美院动画系的支持，成都举办了“找方向”动漫年会。从那次，我就开始想是不是回成都创业？
1314:创立至今有做过什么你特别骄傲的事吗？
谭正：没有。都是战战兢兢的发展成长，成长的每一步是缓慢艰难。很多时候只剩下自己的坚持，如果说为自己八年坚持做一件事而骄傲，得有多苦闷啊。
1314：你的终极目标是什么？或者说在你看来动客的使命是什么？
谭正：成为中国最有影响力最专业最有公信力的动漫媒介品牌，为中国动漫当一个有价值的“托”，与大家共同成长。
1314：好像不久你做了一个动画片上院线的项目，最近有什么新项目要做？
谭正：今年暑期档，北京其卡通的动画电影《神秘世界历险记》发行宣推的工作，我负责成都重庆地区。最近在负责12月份文化部，北京市政府，中国对外友好协会主办的“国际动漫博览会（北京2012）”整体设计。
1314：差不多去年的这个时候，动客举办动漫艺术展“灵动清觉”，在你看来联合国内美院动画专业举办优秀作品展的意义何在?
谭正：这是行业十年发展必然，也是动客多年努力方向的结果。通过媒体长时间的观察找出行业最优秀价值的资源，将大家联合起来共同改善行业认知。这是展览最大意义，能让观者对中国动漫未来产生期待，信心。学术理想是，在动漫学子或从业者没有面包的时候，给他们红地毯。这个行业太需要坚持，坚韧。我们常年渴望更多热爱动漫事业的人，举办这样一个展览，就是希望制作这种“热爱”。
1314：在你看来，中国动漫需要发展，我们的优势和劣势是什么？
谭正：优势的市场大，人才多；劣势是市场乱，人才浮躁。中国动漫是一个缺乏竞争，缺乏合作，缺乏标准，缺乏战略性资本和创业家的初期行业。其中有一个劣势比较特殊，就是政府太好心，过度想保护这个行业：一是给你时间成长，二是扶持大企业。可没考虑一个不能充分竞争的行业，你自身成长缓慢不会说，重要的是消磨了优秀从业者创业者拼搏的意志，阻碍了行业人才解构再生长。政府这只推手，所以说是粗放型的和稀泥的。
1314：前不久看到个新闻，说中国的动画产量已经世界第一，26万分钟了，但是我们的动画质量什么时间能够量变引起质变呢？
谭正：我个人认为目前质变条件：第一，传播渠道和销售渠道的品牌建设能力；第二，受众口味的底线；第三，创作人和制作人有共同的方向；第四，政府思想开放，少管；第五，美术院校动漫类专业重视动漫产品化教育。预计十年以后行业会成熟起来。（完）