Film Name:未來機器城 / Next Gen
Due to certain internal issues at “BaoZou Comics,” the animated film “Next Gen,” originally slated for release during last summer’s blockbuster season, finally reached theaters and audiences this summer.
This Sino-American co-production received three nominations at the 46th Annie Awards last year for Best Visual Effects, Best Character Design, and Best Voice Acting. Netflix also acquired the film’s international distribution rights for $30 million.
Generally speaking, even if “Next Gen” isn’t an outstanding work, it shouldn’t be that bad… Unfortunately, reality fell short of expectations.
While the film showcases considerable technical and design achievements, its plot logic is shockingly crude and simplistic. Only by positioning it as a “fairy tale for (less experienced) children” can one find it somewhat forgivable.
[Friendly reminder: Spoilers ahead.]
For sci-fi films with near-future or alternate-reality themes, I always start by examining the setting before diving into the story—and purely on the surface, the environmental design and visual effects in “Next Gen” are quite impressive.
In this world, robots have deeply infiltrated every facet of human society. Diverse robotic entities thrive across all industries, rendering human life utterly dependent on them—though, of course, one shouldn’t overthink this premise.
Meanwhile, the film’s robot designs align more closely with current AI development trends: rounded forms, user-friendly interfaces, and expressive digital displays. They avoid excessive “sci-fi flair,” making this design philosophy quite fitting for a children’s animated film.
However, beyond a passable first impression, other aspects of “Next Gen” are simply unbearable…
First, the core characterization fails to convince.
The protagonist, Su Xiaomai, is a girl severely deprived of affection who despises robots. At the Qbao 6 launch event, she manages to evade security robots and somehow stumbles into Dr. Mi’s secret lab—an implausible setup in itself. To make matters worse, she then proceeds to touch the very robots she loathes, triggering a “bond” between the tsundere princess and the innocent robot. This lacks credibility—Xiaomai showed no prior signs of “saying one thing, meaning another,” loving only her dog Momo.
Second, the foundational logic is chaotic, with the story failing to establish its own direction.
To return Su Xiaomai’s backpack, 7723 embarked on a chase across half the city, ruthlessly clearing all “obstacles” in his path. He systematically destroyed security robots, roadblock robots, patrol robots, and even military-grade flying robots. Such an incident, which would qualify as a major security breach, was glossed over as a minor, unremarkable event…
Meanwhile, when Xiaomai runs amok with her “enforcer” 7723, destroying various robots and disrupting public order—actions severe enough to constitute destruction of public property and threats to personal safety—it’s treated in the film as nothing more than a social joke for a talk show segment.
Thirdly, the emotional relationships are handled carelessly and implausibly.
When Su Xiaomai was previously shown wreaking havoc with the 7723, the film already exhibited signs of “spiraling out of control.” While a troubled young girl seeking an outlet for her emotions engaging in destructive behavior isn’t inherently problematic, her method of venting wasn’t limited to tossing pillows or slamming doors—it involved a weapon capable of destroying an entire city. This “exaggerated narrative” lacked an invisible “counterbalance,” stripping the story of even basic empathy.
Simultaneously, the characterization of Xiaomai’s mother is utterly implausible. While it’s understandable she’d want her daughter to find companionship with robots like herself, this doesn’t justify portraying her as a simpleton. Later scenes reveal she genuinely cares for Xiaomai, rendering the character entirely inconsistent.
Furthermore, the antagonist’s portrayal is deeply outdated and stereotypical.
The “phony” label on the big boss Pang Jating is slapped on so thickly that the supposed shock twist—”he was replaced by the War King long ago”—falls flat. Moreover, his stated goal of “eliminating humanity” comes across as utterly toothless and genuinely dull/unimpressive. Dr. Mi is similarly underwhelming. Given his ability to secretly develop a game-breaking robot like 7723, he shouldn’t have been pushed to such desperate straits by Pang’s knockoff.
Perhaps the only redeeming aspect is the voice acting by Feng Yuanzheng and Shi Banyu…
With the film’s characters, plot, and narrative all underwhelming, the “companionship” theme “Next Gen” ultimately aims to convey loses its luster.
In a world where “I’m the biggest, the sky and earth are small, and all minor villains are weaklings,” the emotional bond between Su Xiaomai and 7723 feels more like a game—rushed into, chaotic throughout, ending in misery, then cheerfully eternal…
Therefore, the audience truly suited for “Next Gen” are likely young children and teenagers with limited viewing experience and naivety. Only they would overlook the film’s flaws and be swept up in its lively, emotionally charged story.
Additionally, fans of “Bao Zou Comics” should find it enjoyable (right?), as elements like the “Pangolin Talk Show” and the two post-credits scenes go far beyond mere “shameless product placement.” It’s all about having a good time together.
After all that, I just want to point out that “Next Gen” is aimed at a younger audience. If you broaden the target demographic, the film isn’t that bad. At the very least, its concept and themes are excellent. The messages about memories, companionship, and emotions always carry a warm and beautiful essence.
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