Existing studies on Lu Yang have largely sidelined his engagement with Japanese anime, comics, and gaming (ACG) culture, despite the artist having frequently reiterated the significance of ACG to his upbringing and practice. Nor have they extensively explored what, if anything, is particularly Chinese about Lu’s work. This article argues that it is precisely Lu’s appropriation of ACG’s visual aesthetic and symbolic language that firmly positions the artist within twenty-first century Chinese youth culture. Focusing on The Beast (2012)—Lu’s tribute to the cult classic anime Neon Genesis Evangelion—I adopt an interdisciplinary approach synthesizing otaku research, fandom studies, Chinese socio-economic analyses and institutional critique to contextualize Lu’s practice within the socio-historical nexus of Sino–Japanese transcultural exchange and the global network of contemporary art.