Film Name: 小门神 / Little Door Gods
Looking back at the 2015 animated film market, it was a modestly explosive year. Why modestly explosive? Because this year saw animated films like “Monkey King: Hero is Back,” “One Hundred Thousand Bad Jokes,” “Boonie Bears,” and even the somewhat controversial “Legend of A Rabbit: The Martial of Fire.” These films set a solid benchmark in both quality and audience appeal, showcasing what mainstream animated entertainment should look like. Yet, amidst the countless animated films released throughout the year, they failed to make a significant impact. Most animated films still remain confined to the “for children” niche, stuck in a low-age-targeted category. Therefore, whether parents planning to take their children to see animated films or adult audiences, caution is still needed when choosing domestic animated films. “Little Door Gods,” the first animated film of 2016, is worth recommending or not—let’s analyze it case by case.
The Film “Little Door Gods”
Among the 2015 animated films that grossed over 100 million yuan, a common thread emerged: they all leveraged popular IPs. From “Boonie Bears” to “Monkey King: Hero is Back,” these films either adapted hit TV series or drew from widely beloved source material. In contrast, “Little Door Gods” lacks this foundation entirely. As a completely original work with no IP backing, its initial buzz inevitably pales in comparison to the aforementioned box office hits. This isn’t a flaw in the film itself, but rather a disadvantage that must be overcome.
Shen Tu and Yu Lei: The Authentic Door Gods
The film’s story draws from Chinese Taoist mythology, featuring the authentic door gods Shen Tu and Yu Lei—not the folk legends of Qin Qiong and Yuchi Gong. The tale of Shentu and Yulei first appears in “Goodbye Monster,” where they are depicted as the original ghost-catching masters. Later generations selected the pair as door gods to safeguard households, demonstrating their seniority among the myriad candidates for this role in folk tradition.
By contrast, audiences are more familiar with the pair from The Canonization of the Gods: Gao Ming and Gao Jue. These peach and willow spirits beneath Qipanshan Mountain gained the divine statues’ powers of Eagle eyes and keen ears after their roots spread beneath the temple idols. While this detail is clearly described in the novel, it’s often downplayed in adaptations, which simply portray the brothers as possessing Eagle eyes and keen ears. Compounding this, when Xu Zhonglin wrote his novel, he seemed distracted. After Shen Tu and Yu Lei were struck down by Jiang Ziya’s divine whip, they were surprisingly not included in the divine canonization—a major plot hole in The Canonization of the Gods. While figures like the God of Wealth Zhao Gongming, the Four Generals of the Demon Clan, and the Three Maidens gained immense popularity after their deification, this omission indirectly diminished the status of the two orthodox door gods in folk tradition.
Therefore, when it comes to the authentic folk door gods, whether it’s Yuchi Gong, Qin Qiong, or Zhong Kui, Shen Tu and Yu Lei are the most legitimate. So when we see the brothers complaining in “Little Door Gods” that humanity is forgetting them, while also mocking the lavish treatment given to the Three Sisters—Qiongxiao, Bixiao, and Yunxiao—it’s quite characteristic of their self-deprecating nature.
Eastern Charm: Adults to the Left, Children to the Right
The film’s narrative structure bears some resemblance to “Where’s the Dragon?”, blending mythical figures with the real world into a unified universe. Its premise also mirrors the former, where immortals descend to the mortal realm for various reasons, becoming entangled in earthly affairs. Though the main storyline is straightforward and appears somewhat juvenile, the film’s storytelling is engaging, crafting this simple single-threaded tale with remarkable finesse. The opening scene, where departed ancestors ascend to the celestial palace aboard sky lanterns, cleverly bridges reality and mythology.
The film’s strongest segments are its first and last thirty minutes. It explores the rules of the immortal realm and the predicaments of deities in contemporary society—immortals facing unemployment and re-employment, door gods and earth deities gradually fading into obscurity, and the Night Wanderer deity gaining popularity due to excessive human nightlife. Within the existing mythological framework, it subverts character tropes, redefines celestial rules, and even introduces an original “Jack Ma” character—yes, Jack Ma. This celestial reemployment training tycoon is unmistakably modeled after Jack Ma, down to his manner of speaking. Truly befitting an Alibaba Pictures investment.
The opening sequence is highly immersive. As the door gods are split apart and sent down to the mortal realm, the story unfolds step by step, somewhat like a level-based game. This pits the two brothers against each other, reminiscent of the classic FC game “The Demolition Workers,” where the Mario brothers are separated—one demolishes buildings while the other causes chaos.
The interactions between characters bring the plot vividly to life. As an animated film, it thoughtfully caters to children’s sensibilities: the comically inept fast-food shop owner, the eclectic pantheon of celestial beings, and the Night Wanderer’s mischievous sidekick—all charmingly designed to captivate young audiences. The fluid dialogue, well-paced interactions, heartfelt mother-daughter bond, and family-friendly elements make it perfectly suited for children. Thus, “Little Door Gods” remains fundamentally aimed at a young audience.
The film’s earthly segment—centering on Shen Tu and the dumpling shop mother-daughter duo—features action like defeating villains and attending masquerade balls. This portion is clearly crafted for children. For adult viewers, however, the mid-section family storyline falls short of the opening. Its pace drags, the narrative feels muddled, and it seems somewhat disconnected from the film’s core themes. Considering the film’s nearly two-hour runtime, I believe the middle segment could have been more concise. That said, children will undoubtedly enjoy this part. However, the profound philosophical depth at the conclusion of “Little Door Gods” is distinctly adult-oriented, creating a serious positioning conflict for the film—a hybrid aiming for adult audiences while retaining its animated roots for younger viewers. From an adult perspective, the film would have benefited from a tighter middle section.
Exceptional Visuals, Among China’s Top Three Animations
What truly captivates adult audiences about “Little Door Gods” is its production quality. With a total investment of 130 million yuan and a 160-person team working for two and a half years, the film’s craftsmanship speaks for itself—viewers aren’t here to question the numbers, but to witness the results. Ever since the test footage blew me away last year, we’ve seen visually stunning animations like “Legend of a Rabbit 2” and “Monkey King: Hero is Back” emerge. It felt like domestic animation underwent a sudden leap in quality. “Little Door Gods” follows suit—its visuals easily rank among the top three in Chinese 3D animation.
Whether it’s the vibrantly colored celestial realm, the ink-wash style of Suzhou’s ancient town, the tactile texture of raindrops on the little girl’s raincoat, the surging river currents, or the flower fairy’s shower of petals—these scenes are truly spectacular and look absolutely stunning on the big screen. I also adore the character designs. The exaggerated, cartoonish figures carry a hint of DreamWorks’ style while retaining distinctly Chinese flair. Take the distant shot of the mythical beast Bi Xi carrying the multi-tiered celestial palace—it blends Chinese mythology with a modern edge. The climactic fire battle against the giant monster at the end evokes the epic clash with the Blood Demon in “The Legend of Zu,” delivering impressive results. These are the elements that adult audiences will particularly appreciate—the visual spectacle is top-notch. Simultaneously, the recurring motif of the puppet-like old man, symbolizing inner demons, is a clear nod to mature themes. This narrative device leans distinctly toward an adult audience, and children may not fully grasp its philosophical depth.
Closing Remarks: The Door Gods Kick Off the New Year
Overall, “Little Door Gods” delivers a genuinely satisfying viewing experience. It presents a story steeped in Eastern mystique—simple yet captivating—with animation design and visual effects that truly shine, particularly the exceptionally well-executed fight sequences. The film successfully caters to both children and adult audiences, though it suffers from a slight lack of clear positioning. While solidly competent, it falls just short of being a masterpiece.
While I’m not entirely sure which 2016 animations were still poorly made and which were visually stunning, “Little Door Gods” undoubtedly set a high bar for the year. Chinese animation is steadily improving, and this recognition applies specifically to these meticulously crafted animated films and their dedicated creators. The visual quality of these films is truly delightful. If there’s room for growth, it lies in refining the narrative craftsmanship and striving for stories that capture both the form and the spirit of their subjects.
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