Put every number back on its date
Public reports placed Niu Lai's first ten days at only ¥7,705. The important point is not merely how small that number was, but how little market attention the film initially received.
By August 17, BBC Chinese cited Maoyan data showing more than ¥13.24 million. The gap reflects a simultaneous surge in screenings, online discussion and curiosity-driven attendance.
Contrast became the first piece of media
The gap between polished publicity art and rough on-screen animation first circulated as screenshots, clips and jokes. Early viewers often went not because they expected a good film, but because they wanted to witness the contrast themselves.
As cinema reactions and check-ins returned to the feed, buying a ticket became a way to participate in the online event. Attention began converting into screenings and revenue.
Revenue cannot settle the artistic argument
Box office proves that people paid for an experience. It does not automatically prove that the story, animation or sound reached the standard expected of a theatrical feature.
This site therefore treats box office as a historical record of circulation, not a quality score. Every figure keeps its date and source, while current screenings and prices remain with the ticketing platform.