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AI-generated films enter China’s mainstream awards through new AIGC unit_我的网站

A |     脑航员2 和 野兽传奇 的开发商 Double Fine Productions 已确认，在与 Xbox 分道扬镳后，它已重新获得了在微软旗下发行的所有游戏的 IP 和发行权。    

    The 38th Hundred Flowers Awards ceremony is held in Beijing on August 10, 2026. Photo: VCGWhen the 38th Hundred Flowers Awards, one of China's three major film awards, concluded in Beijing on Tuesday, AI emerged as one of the event's new participants, alongside the stars on the red carpet and filmmakers receiving honors.
For the first time in the 64-year history of the awards, this year's edition introduced an AI-generated content (AIGC) recommendation unit, giving AI-generated films a new pathway into a major film award platform.
The move reflects a broader shift in the relationship between technology and cinema. 
Rather than replacing filmmakers, AI is increasingly seen as a creative tool that lowers production barriers, expands visual possibilities and allows more people to turn ideas into films, Zhang Peng, an associate professor at Nanjing Normal University, told the Global Times.
The AIGC recommendation unit, launched on June 30, attracted 2,038 entries from around the world in just over a month. After evaluation, six productions received the "Hundred Flowers AIGC Recommendation Honor," covering categories including animation, visual effects, technology, creativity, directing and short films.
For many young filmmakers, AI has opened a new path into the industry. Multiple award-winning creators said at a seminar on the sidelines of the Hundred Flowers Awards that AI tools such as Jimeng and the Seedance model helped them with visual development, shot design, dubbing and maintaining emotional continuity.
Zhang Bohang, a representative of the team behind Yi Meng (A Dream), which won the award for Best Animated Work, said at the seminar that animation had long been a dream for the team, but high production costs had previously made it difficult to bring that dream to life. "The emergence of AI has given us a way to make our dreams come true," he said.
Lu Qiwei, a representative of the creative team behind Yecha Crossing the River, which won the Best Creative Work award, said at the seminar that Seedance allows creators to input characters, scenes, visual styles and directorial ideas, then select and organize the generated material themselves.
However, filmmakers at the event also emphasized that AI does not replace human creativity. Director Liu Shuheng, whose work Out of Control received recognition, said AI had lowered the threshold for creating visual images while raising the expectations for creators' decisions. 
"AI makes it easier to create a picture, but it also makes people think more about why they choose to shoot it this way," Liu said at the seminar.
The shift is not limited to AI-powered filmmaking. The awards are also expanding recognition for emerging forms of storytelling.
The 38th Hundred Flowers Awards also introduced a new short-drama recognition section, marking the first time the awards had recognized short dramas. It marked the first time the awards had included short dramas in their recognition system, organizers said.
AI also featured prominently in the event's audience experience. Global Times reporters observed interactive installations that allowed audiences and celebrities to generate personalized digital keepsake photos, while AI was also used during the red-carpet livestream to provide real-time commentary, answer viewer questions and enhance visual backgrounds.
The Hundred Flowers Awards' embrace of AIGC comes as major Chinese film festivals increasingly explore AI's role in cinema. 
Since its launch in 2024, the Beijing International Film Festival's AIGC Film Section has been the first dedicated section at a major film festival worldwide to focus on AI-powered image-making. Meanwhile, the Shanghai International Film Festival this year has launched a new "AI Studio" section, aiming to create the first experimental platform dedicated to exploring AI-assisted collaboration in film production.
From competition entries to audience experiences, these developments suggest that AI is no longer just a behind-the-scenes production tool, said Zhang.
"AI is gradually moving beyond being a filmmaking tool and becoming part of the broader film festival ecosystem," Zhang noted. 
"From AI-generated films to short dramas, the move also shows how China's mainstream film platforms are embracing emerging formats and recognizing new forms of storytelling."
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B | 首席执行官 Tim Schafer 在今天与 Kinda Funny Games 的对话中澄清了开发商在行业中的未来。面对希望在 Double Fine 进入新篇章之际提供支持的粉丝提问，他明确表示，购买其之前的任何作品都将有助于该工作室继续发挥其著名的疯狂创意。“我看到那里有一个问题，‘你们能从游戏中赚钱吗？’IP 的所有权已经回到了我们手中，我们拿回了所有游戏的发行权，”Schafer 表示。唯一需要说明的是，虽然目前可能仍显示微软拥有“其中一些”，但这会随着时间的推移而改变。他进一步解释说：“处理这一切需要一段时间。”不过，核心信息是“当人们购买我们的游戏时，就是在支持工作室。”“如果你感到好奇，购买我们的任何游戏都有助于支持工作室，”他重复道。“我们可以将这笔钱转化为收入，帮助我们延长‘跑道’（生存与开发周期）。”这条“跑道”是 Schafer 在每日游戏节目对话中多次提到的概念。Xbox 首席执行官 Asha Sharma 曾承诺，在上个月初被列入宏大的重组计划时，Double Fine 以及 South of Midnight 的开发商 Compulsion Games 将保留其 IP、作品库以及“下一款游戏的跑道”。

C | 这一举措虽然为 Xbox 团队的 3,200 人裁员奠定了基础，但在微软游戏部门陷入困境之际为这家 脑航员2 工作室提供了出路，但其长期前景仍不明朗。为了帮助在今天延长这条跑道，Schafer 和 Double Fine 的其他成员揭开了其 Amnesia Fortnight 2026 独立重启版 Kickstarter 页面的面纱。这次众筹活动将带来一场计划于 8 月 31 日开始并“持续整个 9 月”的游戏创作马拉松（Game Jam）。以典型的 Double Fine 风格，这次活动也有其独特的创意：页面承诺让支持者选择哪些创意能进入原型设计阶段，其中一个最终将成为一款“真正的（小型）游戏”。此外，2 Player Productions 将全程记录每一个步骤，目标是制作一部纪录片。Schafer 在今天的采访中表示，“我们正在开发其他项目”，尽管这些项目究竟是什么还有待观察。随着 Ocean Keeper Co-op Drill Multiplayer、脑航员2 2 和 Kiln 等游戏的版权回归掌控，那条“跑道”看起来已经变长了一些。谈到 Kiln，这款 2026 年基于陶艺的多人游戏，Schafer 表示工作室仍在后台发布更新。

D | “新地图和模式”似乎只是冰山一角，Schafer 还承诺会降价，“因为我们疯了”。

E | Double Fine 转型回独立工作室后，紧接着就发生了影响 25% 团队成员的裁员。目前，其下一款游戏将以何种形式呈现尚不清楚。与此同时，您可以去了解为什么他们的作品值得一试，参考对 Ocean Keeper Co-op Drill Multiplayer 评出的 9/10 分以及对 脑航员2 2 评出的 8/10 分。

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