“Naruto” fans not only passively appreciating, but also actively researching and analyzing related issues on “Naruto” in China. When the “Naruto” works can’t satisfy the audience endless curiosity, they will seek answers on their own on “Naruto” works and related subject fields in order to clear their mind of doubts and do research, thus deepening and broadening the understandings on “Naruto”. Chinese “Naruto” fans also actively use Naruto to recreate. For example, the content of the plot is expanded, and the historical background and specific details are added to the places in the original drama, and the characters in plots in the Naruto drama are creatively adapted as well (Moisesjose & Narutosasuke, 2010).
The successful spread of “Naruto” anime in China is the result of a combination of time, the maturity of the media, and the Japanese government’s cultural industry policy. The entry of “Naruto” anime into the Chinese market coincides with the period of booming urbanization in China, which has formed the main consumer group of “Naruto” – urban youth group. They are relatively well-off and have the ability to buy animation magazines and “Naruto” digital peripheral products. Since the end of the 1990s, the process of China’s cultural media from paper media to audio-visual media and online media has also coincided with the diversified dissemination of “Naruto” works. From the perspective of national interests, the Japanese government hoped that Japanese culture as soft power can go abroad and promote the world’s understanding and concerns, thereby enhancing Japan’s international status among the world stage. To this end, the Japanese government has given a “Green Light” for Japanese cultural enterprises to go overseas in terms of policies and funds (Moisesjose & Narutosasuke, 2010). In 2003, the Japanese government established the Intellectual Property Strategy Headquarters with the Prime Minister’s as the Minister, the Chief Executive, the Minister of Science and Technology Policy, the Minister of Education, Culture and Industry, and the Minister of Economy, Trade and Industry as the copy Minister, and systematically promoted intellectual property including animation to create, protect, and use.
“Naruto” enriches the amateur cultural life of Chinese teenagers and plays a more active role in the development of their love, friendship and outlook on life. However, as a representative work of the New Blood anime, it is full of violent scenes. Although it caters to the characteristics of young people who like to be heroic dreams, it also brings some negative effects to teenagers who are in adolescence, lack of discrimination and self-control ability.
There is a kind of tolerance, called Uzumaki Naruto. Going forward, when it come, just do it. This is the Uzumaki Naruto. Like Sasuke’s evaluation on Uzumaki Naruto: he is the one with all shortcomings, he is nothing, however, he relies on his efforts and overcomes little by little, finally becomes Naruto. What you should know is not the current Uzumaki Naruto, but the way he grows up to become the current Naruto. There is a kind of genius, called Hyuga Neji. Even if you are a cage bird, if you are smart enough, you can try to open the cage with your mouth. You can also expect to fly freely in the air again. As a genius, you still haven’t escaped fate. There is a kind of effort, called Rock Lee. His experience proved even if he doesn’t have any ninjutsu and illusion, however, with his efforts, he still becomes ninja. There is a kind of love, called Hyuga Hinata. He always rushes to the front of the enemy regardless of his life, just to protect his beloved person, he says: Uzumaki changed him. It’s Uzumaki Naruto’s smile that saved him, he could do anything to protect Uzumaki, even died. There is a kind of sprits call “Naruto”, and there is an old feeling, called “Naruto” as well. What “Naruto” passes the faith to the worldwide audience, it’s the tolerance, genius, efforts, love, sprits, old feelings, and finally achieved “Naruto’s” New Blood legend (Naruto’s Limit, 2019).