Anime IP Tourism in Jilin Province Empowering Rural Revitalization: Practical Dimensions Under the Vision of Cultural-Tourism "Grand Audio-Visual"

Zhang Nan, Liu Xu, Ju Mingyu, Yang Yang
(Jilin Animation Institute, Changchun, Jilin 130012)

Abstract

[Purpose] Addressing the contemporary need to imagine and develop new digital-intelligent scenarios under the cultural-tourism "Grand Audio-Visual" vision, this paper examines how Jilin's "ice-snow anime IP tourism" endows the "Three Ice-Snow Corridors Connection" and "Ice-Snow Silk Road" with vivid imagery and vitality, thereby activating their value as communication media and cultural arenas for constructing ice-snow aesthetics. [Method] Based on the research hypothesis of clarifying and developing the dual practical dimensions of Jilin's differentiated "anime IP tourism" development, this study proposes two approaches: first, iteratively upgrading existing "anime IP tourism" to extend the value cycle of upstream, midstream, and downstream industrial chains; second, creating original "anime IP tourism" that achieves the construction of Changbai Mountain digital-intelligent interactive exhibition halls through digital-intelligent technology empowerment. [Result] The research finds that refining the symbolic representation system drawn from Changbai Mountain mythology and the treasure trove of Guandong culture constitutes the narrative momentum for maintaining high-quality "dual innovation" (creative transformation and innovative development) and represents a new growth point for reconstructing Jilin's fresh "regional cultural calling card." [Conclusion] The innovative model of打通文旅"大视听"产业链 via "anime IP tourism" can empower Jilin's rural revitalization by unleashing the regenerative force of cultural capital, the spiritual buffering capacity of experience economy, and the value-added potential of distinctive regional brands.

Keywords: Anime IP tourism; Rural revitalization; Digital-intelligent interaction; Regional brand; Regional cultural value-added potential

1. Research Premise and Hypothesis

To thoroughly implement General Secretary Xi Jinping's important speeches on rural revitalization strategy, the Fifth Plenary Session of the 19th CPC Central Committee in October 2020 integrated the "14th Five-Year Plan" with the 2035 Long-Range Objectives, prioritizing "advancing agriculture and rural areas first, comprehensively promoting rural revitalization" and "promoting integrated development of culture and tourism." Tailored to Jilin's provincial conditions, "anime IP tourism" opens new breakthroughs for continuously leveraging Jilin's anime industry cluster advantages and local influence, empowering comprehensive rural revitalization, and promoting deep integration of culture and tourism. This practical research hypothesis can be distilled into four aspects: First, facing the new communication context of the new era, using anime as a medium to bridge "achieving effective connection between consolidating and expanding poverty alleviation achievements and rural revitalization"; second, excavating, activating, and adding value to Jilin's regional culture, transforming it into cultural productivity and consumption power, and revitalizing the linkage between regional cultural heritage and Jilin's cultural-creative brands; third, effectively promoting Jilin's regional brand strategy of "one village, one product," "one township, one industry," and "one county, one specialty"; fourth, leveraging Jilin's animation industry as a new economic engine and innovating university think tank services for local economic development pathways.

Compared with domestically leading regions—the economically powerful and technologically advanced "Yangtze River Delta," the "West Triangle" renowned for immersive anime towns, the "Pearl River Delta" supported by VR anime derivative industry chains, and the "Beijing-Tianjin-Hebei Triangle" deploying anime IP to build a "Chinese Mythology Universe"—the "Northeast Triangle" has yet to gain national recognition, and its "anime IP tourism" remains in an exploratory stage. Regarding the innovative inheritance and creative transformation of the Baishan-Heishui regional culture as an important component of excellent traditional Chinese culture, there exists enormous potential. The practical progress over the past five years is shown in Figure 1 [FIGURE:1], including Changchun International Animation Festival's layout of "technology + anime tourism" frontier and Heilongjiang Ice-Snow Animation Festival's exploration of "anime IP tourism" pilot construction zones. However, it is evident that anime IP images at most exhibitions are dominated by American and Japanese IPs, with extremely low utilization of original IPs.

As a communication medium for ice-snow aesthetics, "anime IP tourism" represents both a media-cultural arena bridging external visual display methods and internal regional cultural thinking modes, and a spiritual-cultural arena connecting specific tourist attractions' worldviews to the entire ice-snow tourism worldview. In this sense, "anime IP tourism" transforms Jilin's regional culture (especially intangible cultural heritage) symbols into image economy, thereby leading and strengthening cultural production, circulation, and consumption within new integrated fan communities of the second and third dimensions. This constitutes new economic-cultural capital regenerative force for empowering Jilin's rural revitalization, a spiritual buffering force for reconstructing Jilin's summer and winter leisure lifestyles, and simultaneously a value-added force for Jilin's new rural regional brands.

2.1 Practice Method 1: Fully Activate the Cultural-Economic Potential of Jilin's Anime IP Images—Changbai Mountain Mythology Anime IP Empowering Jilin's Rural Ice-Snow Tourism and Reconstructing a New "Regional Cultural Calling Card"

2.1.1 "Anime IP Tourism" Aligns with the "Tourism Powerhouse" Plan

This involves making good use of the two "gold and silver mountains"—"ice and snow" and "green waters and lush mountains"—leveraging both winter and summer resources, deeply cultivating the two "three-hundred-million" markets of "three hundred million people participating in ice-snow sports" and "three hundred million potential summer避暑 crowds," and developing both ice-snow industry and summer leisure industry in parallel. The dual brand strategy of "Warm Invitation: Come to Jilin for Winter Fun" and "Refreshing Jilin: 22°C Summer" is jointly built, with key integration of cultural resources such as "historical culture, folk customs, red anti-Japanese resistance, and border culture" to accelerate the transformation of cultural tourism resources into cultural tourism products, strengthen innovative integrated development between cultural tourism industries and other sectors, and advance the transition from single sightseeing economy to composite leisure and experiential economy. The goal is to build a world-class eco-tourism destination and Changbai Mountain International Eco-Leisure (Ice-Snow Hot Spring) Tourism Zone [1]. On one hand, it deeply excavates the cultural-tourism value of Jilin's ice and snow as "one of the world's three major powder snow bases"; on the other hand, it deeply explores the extremely high brand value of summer避暑 leisure "cultural-tourism-agriculture" industries, becoming an important development approach for theme parks and themed stores with mixed consumption models [4]. As shown in Figure 2 [FIGURE:2], examples such as Cinderella and pumpkin carriage at Guangdong Ice Sculpture Carnival (2014), Po's colored ice sculpture at Harbin Sun Island Ice and Snow Art Museum (2015), and Minions and penguin groups at Fuyang Ecological Park Art Ice Sculpture Exhibition (2017) all extensively borrow American Hollywood anime IP character designs with weak original consciousness, presenting a conflicting "two-layered skin" between anime IP culture and regional culture at the value level. This situation improved only in 2018 with the Honor of Kings themed ice sculpture area at Harbin Ice and Snow World, marking a cultural consciousness and design shift from external borrowing to internal deep excavation. This approach uses ice-snow resources as the core, anime culture trends as the medium, and through deep integration, joint development, and collaborative creation, builds a series of sports and cultural experiences unique to the north that can be played and watched, even forging an ice-snow spirit of northern people who are not afraid of severe cold and brave enough to struggle [5]. Anime IP "endowing form with meaning" ice sculpture exhibitions serve as visual image media for the modern transformation of "local aesthetics," the simplification of carnival brand images, and the conversion of rural images embodying "benevolence, righteousness, propriety, wisdom, filial piety, civil and military courage, and trustworthiness" (including folk beliefs, custom symbols, human-land emotions, seasonal worship, etc.). The development of ice-snow anime culture industry aligns with new-era economic concepts and struggle goals, representing a concrete manifestation of local cultural confidence aspiring toward national cultural confidence [6].

Jilin's anime industry aligns with the "West Ice East Snow" quality skiing pattern of ice-snow industry innovation pilot zones, the powder snow cultural-tourism values of "seeing Jilin at Ice-Snow Expo," and the "4+X" (ice-snow tourism + ice-snow sports + ice-snow culture + tourism equipment) innovative industry chain of the Jilin path. Ice-snow animation films such as Frog Kingdom: The Frozen Adventure (hereinafter Frog 2)① and Ginseng Baby and Tianchi Monster: Auspicious Snow for a Prosperous Year (hereinafter Ginseng Baby)② embed anime IP scenes 1:1 into Chang-Ji Metropolitan Area, Greater Changbai Mountain, Tong-Mei, Song-Bai, and other "four-wheel drive" agglomeration zones, the "Three Ice-Snow Corridors Connection" (Northeast Central, along China-Mongolia-Russia, Northeast Eastern), and the "Ice-Snow Silk Road" map. Similar to the case of the animation Snow Baby, whose同名 character IP serves as the mascot of Harbin International Ice and Snow Festival and a visual symbol of Harbin local culture, it plays a role in attracting tourists, satisfying cognition, and increasing expectations for understanding Harbin's regional culture and distinctive customs. Ginseng Baby and Frog 2 also decompose, extract, reassemble, replace, and delete [7] Jilin's unique ice-snow aesthetics, popular context, Northeast folk customs, and multiple art forms to create a brand-new animation narrative context. For instance, the characters Lucky Star and Gao Zhao CP, Cai Gao and Ba Dou CP, and Xiao Yudian and Jike CP all draw on character relationships from Northeast Errenzhuan to create a new "regional brand facial makeup." The exaggerated proportion between characters and backgrounds shares the same ingenuity with the趣味性 of ice-snow activities, creating a brand-new "regional cultural calling card."

2.1.2 "Anime IP Tourism" Aligns with Ice-Snow Economy Powerhouse Planning

The integration of ice-snow economy's practicality with anime IP's artistry, ice-snow economy's popularity with anime IP's visual spectacle [3], and ice-snow economy's mass culture with anime IP's subculture constitute three major alignment characteristics. This anime derivative form using anime characters as expressive elements possesses extremely high brand value, becoming an important development approach for theme parks and themed stores with mixed consumption models [4]. As shown in Figure 2 [FIGURE:2], examples such as Cinderella and pumpkin carriage at Guangdong Ice Sculpture Carnival (2014), Po's colored ice sculpture at Harbin Sun Island Ice and Snow Art Museum (2015), and Minions and penguin groups at Fuyang Ecological Park Art Ice Sculpture Exhibition (2017) all extensively borrow American Hollywood anime IP character designs with weak original consciousness, presenting a conflicting "two-layered skin" between anime IP culture and regional culture at the value level. This situation improved only in 2018 with the Honor of Kings themed ice sculpture area at Harbin Ice and Snow World, marking a cultural consciousness and design shift from external borrowing to internal deep excavation. This approach uses ice-snow resources as the core, anime culture trends as the medium, and through deep integration, joint development, and collaborative creation, builds a series of sports and cultural experiences unique to the north that can be played and watched, even forging an ice-snow spirit of northern people who are not afraid of severe cold and brave enough to struggle [5]. Anime IP "endowing form with meaning" ice sculpture exhibitions serve as visual image media for the modern transformation of "local aesthetics," the simplification of carnival brand images, and the conversion of rural images embodying "benevolence, righteousness, propriety, wisdom, filial piety, civil and military courage, and trustworthiness" (including folk beliefs, custom symbols, human-land emotions, seasonal worship, etc.). The development of ice-snow anime culture industry aligns with new-era economic concepts and struggle goals, representing a concrete manifestation of local cultural confidence aspiring toward national cultural confidence [6].

2.1.3 "Anime IP Tourism" Lays Foundation for Cultural Powerhouse Long-Range Objectives

The 3D animated film Frog 2 opens with a 54-second long shot outlining a "Riverside Scene at Qingming Festival" of the frog kingdom, establishing a benchmark for classic long shots in domestic animated films and demonstrating spatiality as the media characteristic of anime IP ontology. Animation scene design constructs virtual情境 spaces; mastering scene design's modeling language, increasing scene趣味性 and texture expression, and employing primary-secondary and loose composition methods in structuring [8]. The Frog 2 anime IP character prototype is the Changbai Mountain wood frog (Rana chensinensis), also known as snow蛤 or蛤士蟆, a rare species of Jilin specialty with high medicinal value that can live both aquatically and terrestrially. The anime IP spatial layout employs digital techniques to realistically reproduce cultural relic exhibition halls, activating artifact vitality. Under原生态 streetscapes, building exteriors reference pumpkins and carrots, architectural decorations reference Changbai Mountain's alpine rhodiola, ganoderma, yew, Changbai old crane grass, Changbai golden lotus, lily of the valley, and iris cultural imprints; vegetation references alpine poppy, original petal stamen thalictrum, lotus, and cattail from Changbai Mountain's alpine tundra zone; frog clan costumes are grafted designs of vegetation and rare flowers, embodying the life philosophy and ecological philosophy of "unity of heaven and man"; frog clan foods are specialty delicacies such as silkworm chrysalis, rice wine, rice cake, and wild mountain mushrooms, co-branded with "Ji-brand" regional food brands; as Chinese scrolls unfold, the life百态 of frog people are fully displayed, with anime IP deeply excavating intangible cultural heritage values such as village fairs, winter fishing, folk performances, and square dancing, directly corresponding to characteristic cultural activities of Jilin's rural cultural tourism.

Anime IP leaves profound visual mental images and long life cycles, accumulating tourists' first impressions of Jilin region and building full expectations for ice-snow tourism. It accumulates potential consumer groups and fan cultures for cultural tourism, helping attract more industrial capital to "come in" and assisting Jilin's image to "go out," both releasing new momentum for Jilin's ice-snow industry and providing a new path for "telling Jilin ice-snow stories well." Simultaneously, anime IP derivation is not self-contained, fully demonstrating the relationship adjustment between individuals and collectives in Bourdieu's "cultural capital" theory. Frog 2 contains multiple parodies: the warrior departure segment parodies Marvel animation The Avengers; the frog kingdom sports meeting voting segment parodies reality show The Voice of China mentor seats; Lightning Frog's desert riding posture parodies Taiwanese film To the Fore; Xiao Yudian's invention of aircraft parodies Marvel animated film How to Train Your Dragon; Jike's shooting action parodies popular American TV series Arrow, etc. Ginseng Baby uses characteristic Northeast folk songs, Northeast dialect, and Jilin life customs to parody universal values of love, reunion, bravery, and justice that resonate emotionally, while enhancing comedic effect, IP联动感, and all-age appeal.

2.2 Practice Method 2: Promote Cultural Endogenous Power of Changbai Elf IP, Empowering "Ji-Brand" Innovative Development

2.2.1 Overview of Current Communication Status of Existing Changbai Elf IP Tourism

In the ancient Changbai Mountains, many touching stories about ginseng babies circulate, and ginseng babies are hailed as "Changbai Elves," frequently appearing in film and television programs. However, for a long time, there was no animated film featuring ginseng babies in China. It was not until 2012 that Jilin Animation Institute and Jilin Yushuo Animation Game Technology Co., Ltd. jointly produced the 104-episode TV animation Changbai Elf, becoming China's first anime IP centered on ginseng babies. Focusing on environmental protection, harmony, bravery, and justice, it advocates the sustainable development concept of unity of heaven and man, marking a milestone in Jilin's anime industry development entering a new historical stage. The audience primarily consists of "young children" in juvenile and kids' groups. Although ten years have passed since the broadcast, user stickiness remains. Interviews with young groups visiting Jilin in this study revealed that many mentioned their first impression of Jilin came from Changbai Elf broadcast on CCTV. One could say that Jilin's "anime IP tourism" starting point is the Changbai Elf IP, and its Baidu Baike entry also considers it a driving force for Jilin's tourism development.

The story world of Changbai Elf IP is the mysterious Changbai Mountain, with characters as elves of ginseng, mushrooms, wood ear, and other Changbai Mountain plants. The IP image employs anthropomorphic techniques while seeking new creativity in styling design. It adopts realistic yet slightly cute and simple techniques and aesthetic creative styles, focusing on embodying modern artistic charm with certain visual impact. Typical anime IP action design contains Jilin character—"Ginseng Prince" image is designed to be as lifelike as possible to shorten the distance with audiences. Although designed with ginseng leaf cloaks, he is barefoot with small bells commonly worn by Northeast rural children on his arms, adding characteristics of ordinary mountain village children and possessing strong mountain野气息 and affinity.

2.2.2 Practical Path: Digital-Intelligent Pilgrimage Model Creation Practice for Changbai Mountain Mythology "Anime IP Tourism"

Mafengwo Tourism Network's Pilgrimage Report: Global New Tourism User Behavior Analysis shows that Chinese tourists' attention to "pilgrimage tourism" surged beginning in 2018, with a year-on-year increase of 313% in just the first half. With post-90s and post-00s as the main fan groups dedicated to spontaneously localizing Japan's "pilgrimage" model, over 40% of fans have pilgrimage budgets reaching over 1,000 yuan. Mafengwo's cooperation with Bilibili subsequently opened special channels, marking the beginning of domestic "pilgrimage tourism" scaling from niche to mass [13]. Pilgrimage次元 culture is the media texture assisting the development of characteristic "anime IP tourism" in China, signifying a qualitative change from "media priority theory" to "media ontology theory."

This team adopts the documentary method of knowledge sociology③ to reveal the interaction mechanism between anime culture and tourism phenomena. Through snowball sampling, semi-structured in-depth interviews with tourists clarify that the meaning consumers assign to cultural production far exceeds that of producers—that is, the consumption identity of new-generation tourists determines the destiny and value of "anime IP tourism," and they also serve as important new media communicators to achieve cultural reproduction.

While drawing on Japan's pilgrimage model, we innovate by using interactive animation as a medium to cultivate "productive consumption" fan culture for empowering rural revitalization. We help rural revitalization assistance villages develop characteristic tourism exhibition halls, create original interactive animations, and attract traffic through new media matrices to build the nation's first rural digital-intelligent pilgrimage project relying on animation IP as the core. Through field investigations, we conducted feasibility studies on "anime IP tourism" development pilots suitable for Jilin's province-specific conditions. The rural revitalization strategy has established Jilin's core concept of "quality agriculture, green agriculture, brand-strong agriculture" and the strategic goal of the "Ji-brand" high-quality specialty agricultural product regional brand. "Place name + category name" is the general convention and co-opetition result of agricultural product regional brands, concentrating positioning and quality, belonging and identity [10], such as Changbai Mountain ginseng, Meihe rice, Tongyu red beef, Yushu dried tofu, Tonghua wine, etc. Between 2017-2025, Jilin's agricultural product brand总数 has steadily ranked third on the "China Regional Agricultural Industry Brand" top 100 list, with "Changbai Mountain Ginseng" topping the 2017 and 2024 charts with a "value" of 19.048 billion yuan. The reputations of platinum (rice), gold (corn), colored gold (miscellaneous grains and beans), platinum (ginseng), and black gold (black wood ear) continue to rise, forming a path for agricultural product regional brand enhancement that realizes farmers' wage and operating income as guarantees, property and transfer income as reserves, and tertiary industry output value as growth [11], while optimizing the structure of declining survival consumption and slowly increasing development and enjoyment consumption [12]. "Anime IP tourism" represents a new业态 of enjoyment consumption. Based on General Secretary Xi Jinping's "Two Mountains" Theory, to closely integrate anime IP images with agricultural production increase and ecological optimization, ensuring "three-life synchronization" (production, life, ecology) in rural areas, anime IP images are painted into agricultural landscapes and anime + agricultural product industry chains, striving to reshape Jilin's rural revitalization's new "anime IP tourism" landmarks and new media local perceptions.

On one hand, relying on the Changbai Mountain mythology IP digital-intelligent pilgrimage project to attract traffic to 16 revitalization towns (Naitou Mountain Village, Anbei Village, Jingjiang Wooden House Village, Longwan Village, Jingyu Village, Dawa Village, Laosongjiang Village, etc.) in Jingyu County and Fusong County of Changbai Mountain Reserve, involving nearly 8,000 villagers, project cooperation has been launched to drive local villagers out of poverty and toward prosperity in Anbei Village and Naitou Mountain Village, covering 107 relatively poor households with 293 people. On the other hand, through multimedia platform operations, the product has been played 78,825 times, attracting more circles to learn about the characteristic "cultural-tourism-agriculture" resources of Yanbian area towns. Spatially centered around Changbai Mountain Nature Reserve, a digital-intelligent tourism interactive map is constructed.

In terms of content, we excavate "one village, one product" regional characteristics, such as the Korean ethnic characteristic village "Naitou Mountain Village" at the foot of Changbai Mountain, the national-level ski base "Anbei Village," and the Northeast Anti-Japanese United Army base "Jingyu Village." Through dialogues with local village governments, committees, and villagers, we understand local chronicles and village histories and the development of primary, secondary, and tertiary industries, refining regional cultural resources according to local conditions to build a multi-core anime IP empowerment model of "one village, one characteristic" and "one village, one IP."

Regarding products, as shown in Figure 3 [FIGURE:3], user segmentation is conducted through willingness surveys, analyzing tourist age, origin, and economic status data, and conducting field investigations on scenic product structure, revenue status, and infrastructure construction feasibility plans. User experience involves traveling to actual location shooting sites in anime IP for sightseeing and check-ins, while innovating interactive animation digital-intelligent maps, adapting original IP with mythological stories and folk customs into interactive animation scripts based on Changbai Mountain Tianchi mythological stories as the main line, to cultivate "productive consumption" fan culture for empowering rural revitalization. We help revitalization towns and characteristic tourism exhibition halls create localized interactive animations, build multimedia platforms, and link local governments, tourism exhibition halls, and revitalization towns, using Changbai Mountain scenic spots and surrounding underdeveloped towns as pilots to build exclusive interactive animation exhibition halls and construct the nation's first pilgrimage project relying on animation IP as the core to empower rural revitalization.

In terms of cultural expression, interactive animation IP is deeply rooted in Chinese culture. In terms of technological innovation, through somatosensory interaction technology, playback images change with tourist interaction, making interactive animation a digital medium for empowering rural revitalization. As shown in Figure 5 [FIGURE:5], it breaks traditional tourism models, enhances tourist interactivity and趣味性, integrates interaction with tourism, improves user stickiness, and satisfies the immersive viewing needs of new-generation cultural tourism consumers.

For anime IP images, as shown in Figure 4 [FIGURE:4], original IP is integrated with mythological stories and folk customs. Based on the main line of Changbai Mountain Tianchi mythological stories and relying on Changbai Mountain's sixteen distinctive peaks, with reference to the artistic style characteristics of traditional Chinese culture's "door god paintings," sixteen deity character IP images corresponding to the sixteen Changbai Mountain peaks are originally designed to activate traditional culture and regional culture and stimulate consumption enthusiasm among new-generation cultural tourism consumers—Generation Z.

3. Research Conclusion

The Radio and Television All-Media Blue Book Data Report released by the National Radio and Television Administration's Development Research Center over the past three years shows that "Grand Audio-Visual," with "anime IP tourism" as a phenomenal existence, is transitioning from vision to reality. Original IP "audio-visual +" aggregates N industries, becoming an innovative cultural-tourism态势 with visibility and growth in the digital cultural industry. "Grand Audio-Visual" is no longer simple text production but has become an open social practice, constructing paths and trajectories for people's participation in social activities and generating new group feelings [14]. Through the above dual practical methods to re-examine Jilin's differentiated path of "anime IP tourism" empowering rural revitalization—that is, through art-based rural beautification, operating villages as consumer goods, and achieving rural brands under image economy—the feasible "anime IP tourism" models include: (1) Changbai Mountain mythology anime IP tourism, seeking localized development of rural folklore animation, continuously upgrading existing anime IP as described above to elevate multi-dimensional meanings unique to "one village, one product," focusing on rural public intangible value rather than material construction, reorienting urban-rural relations according to urban-rural integration trends, and strategically framing collaborative urban-rural brand ecological arenas. (2) Happy Farm anime IP tourism, or anime IP agriculture-forestry-animal husbandry theme park tourism, seeking agricultural brand animation, with rural industrial prosperity as the foundation for brand economy enhancement, adopting low-cost investment and creating high-benefit "cultural creativity assisting agriculture" and "art-based rural construction" as operational strategies. (3) Animation industrial park scenic area transformation and animation exhibition event tourism, leveraging Jilin Animation Institute's Changchun-Shuangyang dual-campus animation industrial parks, especially Shuangyang animation industrial park's rich natural ecology, with localized, co-creative brand operation and maintenance as effective paths to meet diverse needs and achieve sustainable development. (4) Ice-snow anime town IP tourism, cultivating rural animation talent, constructing dreamlike ice-snow worlds characterized by unique rural differentiation strategies. (5) Cultural-tourism resource animation, seeking tourism element animation, especially traditional intangible cultural heritage animation, empowering rural revitalization through rural cultural context and reconstructing new rural meanings to link with new-generation consumption.

Fund Projects: This paper is a phased achievement of the 2025 Jilin Provincial Department of Education Science Research Outstanding Youth Project "Research on Multi-dimensional Paths of 'Anime IP Tourism' Reconstructing Jilin's Media Local Sense from the Perspective of New Quality Productivity" (Project No.: JJKH20251513SK); the 2025 Jilin Provincial Department of Education Science Research General Project "Research on Regional Brand Reconstruction of 'Anime IP Tourism' in Jilin Province Under the Background of Rural Revitalization" (Project No.: JJKH20251521SK); and the Ministry of Education Humanities and Social Sciences Research Youth Fund Project "Research on the Construction and Innovation of National Cultural Image in Chinese Animation Overseas Communication (2004-2020)" (Project No.: 21YJC760106).

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Author Biographies:
Zhang Nan (1987—), female, from Fushun, Liaoning, Ph.D., Associate Professor at Film School of Jilin Animation Institute, research direction: anime culture studies.
Liu Xu (1989—), male, from Kaiyuan, Liaoning, M.A., Associate Professor at Animation Art School of Jilin Animation Institute, research direction: new media animation studies.
Ju Mingyu (2000—), male, from Songyuan, Jilin, B.A., Teaching Assistant at Film School of Jilin Animation Institute, research direction: new media and youth culture studies.
Yang Yang (2000—), male, from Changsha, Hunan, B.A., 2018 undergraduate student at Animation Art School of Jilin Animation Institute, research direction: new media animation design.

(Copy Editor: Li Jing)

Footnotes:
① Frog Kingdom: The Frozen Adventure: Released on February 19, 2016, the second installment of the 3D animation film series Frog Kingdom jointly produced by Jilin Animation Institute and Jilin JiYuan Space-Time Animation Game Technology Group. It is also the first 3D animated film promoting Jilin ice-snow culture, beautiful Changbai scenery, and regional folk culture. The Frog Kingdom IP released in December 2013 has won two major awards from the Publicity Department's "Five-One Project Award" and the Ministry of Culture's "Chinese Culture and Art Government Award," as well as "China Animation Film Tianma Cup 'Best Action Design' and 'Excellent Screenplay'" and "Jilin Province Changbai Mountain Literature and Art Award," among other important domestic and international awards, and became China's only animated film shortlisted for the "8th Asia-Pacific Film Festival Best Animation Award." It was rated as Jilin Province's top ten brand-name service industry projects and the province's only award-winning cultural product.
② Ginseng Baby and Tianchi Monster: Auspicious Snow for a Prosperous Year: Released in November 2019, the IP derivative theatrical film of the 52-episode animation Ginseng Baby and Tianchi Monster broadcast on CCTV.