KEEP ON ROLLING
“Sharing the same culture is the best way to bond with each other. As long as people like our glove puppetry series, we will give it our best shot, and promote the culture of glove puppetry to every corner for the world to see.”
So far, Pili has released nearly 80 series for more than 3000 hours, giving birth to 4000 hero characters. For the past 30 years, Pili has been creating its characters ceaselessly and producing the series one-stop, including the television series Pili Gold, the movie The Legend of The Sacred Stone, Thunderbolt Fantasy: Sword Travels in the East, creating a buzz in Japan, and Pili Fantasy: War of Dragons on Netflix. Today, Pili series has become the modern entertainment that transcends the barrier of language and culture for the world to enjoy.
As the leader of the cultural and creative industry, Pili understands the only thing that doesn't change is change itself. We desire to explore the unknown, and dare to realize our fantasy. Play with new ideas. Change the world’s view on glove puppetry. Endow this culture with a new meaning in the spirit of kodawari.
We want every generation to say, “Pili is cool.”
霹靂創辦人 PILI FOUNDERS
Pili ’s founding entrepreneurs continue to dream big.
Pili International Multimedia
“For me, revitalizing the glorious tradition of glove puppetry is what makes life worth living.”
“My hair has turned from black to grey, while Su Huan Jen’s hair has turned from grey to black,” said Chris Huang, president and chief scriptwriter of Pili International Multimedia. With a pen and paper, he controls the fate of all characters. The Martial World and heroes created by him has been turned into a series of nearly 3000 episodes, breaking the Guinness World Records for the longest puppetry series.
Chris Huang does everything in person, such as holding an evening meeting with the script-writing group every day and seldom takes any leave. Chris didn’t know why he chose glove puppetry as his career, but he had a passion for traditional Taiwanese artistry, particularly its scriptwriting. “I love to achieve things that can’t be achieved in real life through my script,” Chris said. He has been honored by fans with the title “Ten Carts of Books,” which symbolized his infinite knowledge in Chinese texts.
He said glove puppetry is the traditional performing art with a history of thousands of years. The Huang family has been the carrier of this culture for more than 100 years, and every generation has made innovative breakthroughs to better this traditional artistry. He sincerely hopes their next-generation successors will be able to take it up a notch, think outside the box, and bring in new ideas to make glove puppetry shine in the international arena.
Chris believes the meaning of life is to create meaning for your life, “For me, revitalizing the glorious tradition of glove puppetry is what makes life worth living. I hope you all can find the thing that means the most to you. Good luck.”
Vice President of
Pili International Multimedia
“Protect glove puppetry and the Taiwanese language. They are the pride of Taiwan.”
Every day, Vincent works until morning, even when he is sick. For every 365 days, he spends 300 days on dubbing. This very much sums up the life of Vincent Huang, vice president of Pili International Multimedia.
The glove puppetry series is dubbed in Taiwanese, requires pleasant and melodious pronunciation and has a unique tradition of one person dubbing. With more than 30 years of experience, Vincent Huang has dubbed more than 4000 characters in the glove puppetry series. His rich vocal and emotional range give each wooden puppet its vivid personality, bringing each character to life. His talent won him the title of “Eight Tone Genius.”
“I am luckier than others,” Vincent Huang talked about his talent but also recognized his skill mainly comes from his hard work. “No more than 200 people can speak good Taiwanese in Taiwan,” he sighed. For two years, he had locked himself in his room to master his character dubbing skill.
For western animation, shooting comes before dubbing. For Taiwanese drama, shooting comes with the actors speaking. For the Pili puppet show, however, dubbing comes before shooting. “After I receive the script, I would work in the studio late at night. I’m very confident about my dubbing skill because most of the time, it matches perfectly with the sound effects and music. Then, the puppet masters can do their job,” Vincent Huang said.
“We have been strong to carry glove puppetry to where it is today,” Vincent Huang believes the changes and innovations of the Pili puppet show in the past 30 years has been necessary, whether it is successful or not. “Glove puppetry is one of the few cultural heritages that belong to Taiwan. As Taiwanese, we should cherish it,” he said.
霹靂經營者 PILI LEADERS
Taking up the torch, successors have a bright outlook on the future.
General Manager of
Pili International Multimedia
“Connecting different generations and forming a mutual affection for Taiwan is the spirit of Pili.”
Mr. Lianghsun Huang is the 5th generation successor of the Huang family and shoulders the responsibility of cultural inheritance and carrying forward the traditional artistry. Born into a family of puppeteers, he has witnessed the change of glove puppetry from outdoor stages to televisions and cinemas, and experienced the terrible fire in Huwei studio, from which he realized the importance of preserving, passing on, and innovating the culture of glove puppetry.
In addition to his creative DNA, he has a playful mind. He is determined to transform the world's view of the puppet show. His new approach gives the Pili puppet show a competitive advantage to enter the international arena. Glove puppetry has become one of the few cultural heritages that can represent Taiwan abroad, whether it is in Japan, Mainland China, or on Netflix. This makes Pili International Multimedia the first over-the-counter company of the cultural and creative industry in Taiwan and a successful business in the capitalist market. Nobody had imagined this folk culture would represent Taiwan abroad. This is the Pili spirit he is searching for.
He believes glove puppetry is the culture, memory shared by Taiwanese people, and it is also a precious treasure. Thus, he feels obliged to pass on good values and give cultural lessons, “Taiwan needs a mutual connection. Sharing the same culture is the best way to bond with each other. As a cultural worker, I have my responsibility.”
Brand Director of
Pili International Multimedia
“From my own revolution, to a generation’s revolution.”
Perhaps other people only see Pili as a fantasy world distinct from their everyday lives, but for Chengchia Huang Pili glove puppetry is essential in her life. “It is like water, like air—indispensable and irreplaceable,” she said.
She was born into a family of puppeteers, and the glove puppet theatre represents the connection between family members. As a big fan, she would discuss Pili glove puppetry with friends (and even strangers) to get to know their perspectives and preferences, and this is what connects her with other people.
As Chengchia becomes the brand director, the meaning of Pili has shifted. With more responsibility, she has to consider things from a higher perspective, but her emphasis on interpersonal connections remains the same. For Chengchia, who always keeps a close eye on every procedure such as characters, costumes, storyboards, soundtracks, and marketing strategy, it is the power of interaction and brainstorming that gives Pili unlimited potential. “Puppets on their own have no facial expressions, but with the performance of puppeteers, dialogues, visual and sound effects, they come alive. One person can’t do it alone,” she said. Behind the scenes, the laughter, sweat, and tears shared by the teams are the sweetest burden on her shoulders.
Constantly changing and evolving, the Pili glove puppet show has become the bridge and entertainment to connect different generations. “Pili is not afraid of revolution, whether it is about the script, outfit or music. I think the genes of change are in our blood,” said Chengchia. Facing an international and digital future, Chengchia hopes that more people will pass on the tradition of glove puppetry out of love. Therefore, a revolution is bound to happen. “This is my passion, or even obsession, for the thing I love. For me, every change is the result of dedication and perseverance,” she said.
霹靂幕後職人 PILI EXPERTS
Artisans behind the scenes: the art of music and dance
The script, written by Chris Huang’s team of scriptwriters, is where everything begins. With years of experience as a television director, Chris Huang can visualize the script and create forceful and exquisite visual styles, the witty and ingenious pieces of foreshadowing, the mystery-suspense stories. These all contribute to the unique worldview of the Pili puppet show.
02 Visual Design
With specialized teams, our visual designers strive to make the stories come true. We take pride in our puppet making skills and the series we create. The puppet makers will start to carve wooden puppets. Costumes are tailored for each character, and will be drawn and sewn by the costume designers themselves. Designers will make all kinds of stages and scenes to meet the requirements of the story. Each weapon is designed by our property masters to portray the character's personalities, adding the finishing touches to the fighting scenes.
“Dubbing before shooting” is the unique method of making the glove puppet series. Life and soul poured into our voices with rich emotions. In the Pili series, Vincent Huang, or the Eight Tone Genius, has dubbed for more than 4000 characters, accentuated each character's personality with his versatile and charming voice, keeping fans glued to the series.
Music plays an important role in the series. A select group of senior composers has created a soundtrack specifically for the Pili series. The passionate, elegant, and catchy rhythm, along with original lyrics, brings the audience to the fantasy world of heroes.
Puppeteering is the essence of puppet shows. How to make the puppets come alive requires years of practice and hard work. Whether it’s sheng, dan, jing, mo, chou, or za, glove puppet characters come to life in the hands of puppeteers. Presenting martial arts with puppets weighing more than 3 kilograms behind the green screen and together with animation effects, the puppeteers aspire to offer the audience with the total immersion in the story and the best entertainment experience.
Our original series adopted cinematography techniques, and the director and the film crew’s elaborate design leads the audience into the Pili universe, defying traditions to attempt an avant-garde style. The rich storyboard and detailed action close-ups make the puppet fighting scenes as impressive as live action ones. To achieve the highest quality, we hire specialists for explosion scenes, which makes the story even more thrilling.
Post-production includes computer graphics, sound effects, audio mixing, film editing, and each team carries out their duties to add brilliance to their work. This is the icing on the cake, where everyone’s effort is polished into a diamond, bridging the cultural art and the modern entertainment.