Xinhua: mortals, not gods, win

Xinhua reported that the film departs from tradition by portraying the Eight Immortals as ordinary mortals before their ascension — celestial beings in the reimagined Penglai fairyland are assigned temples, ranked by incense offerings and evaluated by KPIs — and that this subversive take has resonated with domestic viewers: the film grossed 400 million yuan (reported as about US$58.88 million) within five days of its July 18 release with an opening score of 8.3 out of 10 on Douban, and had brought in 668 million yuan by Sunday morning, July 26, according to film data platform Maoyan.[1]

Market data cited in the feature showed the film performing exceptionally well in smaller cities and counties, with a remarkably comprehensive demographic profile; Weng Yang, an associate professor at Beijing Film Academy, attributed this broad appeal to innovative cross-border marketing, noting that offering blind boxes with ticket purchases and showcasing local intangible cultural heritage crafts achieved a cultural crossover.[1]

Song Lei from the China Animation Comic Game Group praised the film's modern innovation, saying that by reimagining Penglai as a workplace bureaucracy the story transforms a timeless legend into a light comedy about treasure hunting and self-discovery, lending ancient folklore fresh contemporary resonance; industry insiders attributed the film's success to the maturation of China's animation sector after a decade of folklore-themed hits.[1]

Producer Cao Linlin noted that the crew conducted extensive field research across cultural landmarks nationwide, including Shanxi's Yongle Palace and Sichuan's Qingcheng Mountain; the animation incorporates ancient mural-inspired fish-drawn chariots and draws color palettes from traditional Chinese New Year paintings and folk art.[1]

Director Mu Zhengyang asserted that technology is no longer a barrier for Chinese animation and that the gap with Western animation has evolved into a distinction in cultural expression: "We share similar narrative logic but possess unique cultural expressions. Only local creators can tell authentic Chinese stories well."[1]