Huazhou shadow puppetry has experienced both glory and decline. In order to keep the shadow puppetry art alive, we have tried to make it a souvenir or even a home decoration accessory. Shaanxi shadow puppeteer Wang Haiyan said that by constantly innovating and closely integrating shadow puppetry with people's lives, this traditional art can keep up with the "trend" and rejuvenate. Huazhou shadow puppetry was born in the Qin and Han dynasties, improved in the Sui and Tang dynasties, passed down in the Song and Yuan dynasties, and reached its peak in the Ming and Qing dynasties. It is known as the "pioneer of world cinema". In 2006, Huazhou Shadow Play was selected as one of the first batch of intangible cultural heritage sites in China. Wang Haiyan is making shadow puppets. The interviewee provided a picture of Wang Haiyan as a representative inheritor of the national intangible cultural heritage project (Huaxian Shadow Play). As the fifth generation inheritor of "Wang style" shadow puppetry, Wang Haiyan learned traditional shadow puppetry production techniques and processes from her father, Chinese arts and crafts master Wang Tianwen. From a technical perspective, Huazhou shadow puppetry belongs to Shaanxi East Road, and 'pushing the skin and walking the knife' is the essence of making shadow puppetry. The sculptor uses his right hand to hold the knife, pierce the cowhide, and his left hand uses his index, middle, and ring fingers to rotate the cowhide fixed on the board. Wang Haiyan said that this technique makes the patterns carved by Shaanxi East Road shadow puppetry particularly delicate, and the lines of the work smooth. Wang Haiyan and her shadow puppetry works. In recent years, with the continuous development of society, the audience watching shadow puppetry has gradually decreased, and the art of shadow puppetry is also facing the dilemma of being a "useless land". How to create a new "stage" through innovation has become a problem that the generation of shadow puppeteers like Wang Haiyan needs to solve. A few years ago, my son took me to an anime festival. The young people at the scene wore various anime costumes and performed the storyline in the anime, creating a great atmosphere. It was only then that I realized that young people liked this trend. "Wang Haiyan smiled and said that after returning from the anime festival, she began designing new shadow puppets. Through constant attempts, the shadow play that once served the traditional opera has broken the inherent image, and through the combination of animation, games and other "anime" elements, a new form of shadow play has finally emerged. In Wang Haiyan's shadow puppetry studio, traditional shadow puppetry with theatrical designs and new style shadow puppetry integrated with anime and game IPs are displayed, including works customized by famous game manufacturers. "Anime" shadow play works produced by Wang Haiyan. In the past, shadow puppetry used to have side faces, also known as' five parted faces', while anime characters mostly had front faces. "Wang Haiyan said that traditional shadow puppetry character styling often used 'one line' to express the characters' emotions, emotions, and emotions, while facial expressions of anime and other characters were even more exaggerated. Therefore, when the characters of the "anime" are "shadow puppetized", the production methods of the past cannot be directly copied. To understand the basic background of the character and identify its styling characteristics, continuous adjustments and innovative craftsmanship are still needed during production. In addition to contacting the "anime" elements such as animation and games, Wang Haiyan also actively carries out cross-border cooperation with industries such as clothing, cars and fashion brands. Wang Haiyan told reporters that although there are more and more commercial brands seeking cooperation with her, inheriting her shadow puppetry skills is still her top priority. This sense of responsibility to protect traditional culture will always be