Core Insights - The event titled "Cultural Innovation in Tianfu: Shining Future" was held in Chengdu, focusing on the integration of cultural tourism and digital innovation [1] - A total of 76 items were released in the cultural tourism industry chain demand and supply list, with 37 demand scenarios and 39 supply scenarios covering key areas such as digital cultural creation, tourism, music, sports, and exhibitions [1][12] - The event aimed to enhance market efficiency and foster collaboration between supply and demand sides in the cultural tourism sector [11][12] Group 1: Event Overview - The event was organized by various governmental bodies in Chengdu, including the Chengdu Municipal Committee of the Communist Party of China and the Chengdu Cultural Radio and Television Tourism Bureau [1] - It featured presentations from both demand and supply representatives, showcasing innovative projects and technologies in the digital cultural sector [4][5] Group 2: Demand Scenarios - Key projects highlighted included the East Suburb Memory West District project, which aims to create a dual-core product system combining a cultural IP display center and an immersive technology experience hall [5] - The Chengdu Natural History Museum presented a nature-themed immersive VR experience, emphasizing the integration of high-quality content with innovative multimedia techniques [6] Group 3: Supply Scenarios - Leading companies such as Lifan Digital Technology and BOE Aiyun Technology showcased their projects, focusing on digital art museums, immersive stages, and outdoor naked-eye 3D holographic devices [7][10] - The supply scenarios reflect a strong emphasis on technology-driven solutions that enhance the cultural tourism experience [16] Group 4: Policy and Support - Chengdu is developing a "1+4" policy framework to support the high-quality development of the digital cultural industry, which includes various specific policies targeting different sectors [15] - The event served as a platform for policy interpretation and aimed to provide targeted financial and innovation support to enterprises in the cultural tourism sector [12][15] Group 5: Market Trends - The demand and supply list indicates a trend towards integrating advanced technologies such as XR, AI, and holography into cultural tourism, enhancing user experience and engagement [16] - The diverse application areas of the supply content, including cross-border tourism, education, and new media, highlight the innovative potential within Chengdu's cultural tourism industry [16]

Core Insights - Chengdu's cultural tourism industry is currently in a crucial phase of high-quality development, emphasizing the need for innovative integration and the creation of new business models and experiences to attract visitors continuously [1] - The upcoming Chengdu Cultural Tourism Industry Chain Innovation Scene Supply and Demand Release Conference aims to provide a platform for innovative technologies and products, facilitating a two-way interaction between supply capabilities and market demand [1] - The rise of digital technology is reshaping content production and consumer experiences, leading to the emergence of new scenarios that enhance visitor engagement and drive the transformation of traditional experiences [1] Group 1: Industry Trends - The integration of "culture + technology" is driving a wave of innovation, resulting in immersive experiences that engage visitors emotionally and enhance their participation [8][10] - New scenarios in cultural tourism, such as the "Night Tour of Jinjiang," combine static art installations with dynamic light and sound displays, creating a poetic narrative for visitors [8] - The use of advanced technologies like VR and AI is becoming standard in enhancing visitor experiences, as seen in projects like the "Digital Dunhuang Immersive Exhibition," which allows deep engagement with cultural heritage [11][13] Group 2: Economic Impact - Large cultural events, such as concerts, have evolved into significant economic drivers, with a cross-city attendance rate exceeding 60% and generating over 200 billion yuan in related consumption [14] - The application of digital creativity in the exhibition industry is transforming complex cultural concepts into engaging, participatory experiences, enhancing the overall value of cultural events [16] - The sports industry is also benefiting from digital innovation, with trends like "Village BA" leveraging short video technology to create cultural phenomena and enhance community engagement [16][18] Group 3: Future Outlook - The upcoming release of the first batch of cultural tourism industry chain scenario lists is expected to showcase new dynamics from various fields, including digital cultural creativity, smart tourism, and intelligent exhibitions [18]

Core Viewpoint - The establishment of the Chengdu Sci-Fi and Future Industry Development Fund marks a significant step in promoting the high-quality development of the digital cultural and creative industry in Chengdu, aiming to transform the city's rich cultural heritage into future industrial momentum [3][4][10]. Group 1: Fund Overview - The fund has a target scale of 3.3 billion yuan and adopts an innovative model of "government guidance + market operation + ecological cultivation" [3][4]. - It aims to enhance the digital cultural and creative industry ecosystem, leveraging a "patient capital" approach to support long-term investments [7][12]. - The fund's structure includes a dual-driven model of "direct investment + sub-funds," focusing on macro layouts in sci-fi and future industries while also nurturing emerging projects [7][12]. Group 2: Economic Impact - Chengdu's cultural and creative industry is projected to achieve an added value of 287.6 billion yuan in 2024, with a year-on-year growth of 11.7% [4]. - The industry is expected to surpass 310 billion yuan by 2025, becoming a new engine for economic growth [4][12]. - The fund is anticipated to play a crucial role in addressing the long-cycle and high-risk financing challenges faced by digital cultural enterprises [12][14]. Group 3: Strategic Focus - The fund targets key areas within the sci-fi industry, including sci-fi reading, film, games, and cultural tourism, while also emphasizing the integration of technology and culture [12][13]. - It aims to foster the development of related industries such as digital technology, equipment manufacturing, and education, promoting a deep integration of strategic emerging industries [14][15]. - The fund's governance structure is designed to leverage resources from various stakeholders, including cultural investment and technology entrepreneurship [8][10]. Group 4: Talent Development - The fund is expected to attract top talent in sci-fi creation, technology research, and management to Chengdu, establishing a talent cultivation base in collaboration with universities and research institutions [14][15]. - This initiative aims to create a closed-loop ecosystem of "production—learning—research—investment," laying a solid foundation for the long-term development of Chengdu's digital cultural and creative industry [14][15].

Core Insights - The article discusses the emergence and significance of "digital cultural creativity" as a new economic form that integrates digital technology and cultural resources, aiming to reshape cultural production and consumption logic [1][5][6] Group 1: Definition and Concept of Digital Cultural Creativity - "Digital cultural creativity" can be understood both as a noun, referring to tangible products enhanced by digital technology, and as a verb, representing a dynamic mechanism that transforms cultural production and consumption processes [5][6] - The core of digital cultural creativity lies in converting vast cultural resources from "stock data" to "incremental assets," emphasizing innovative models rather than limiting definitions [8] Group 2: Current Stage and Challenges - The digital cultural creativity industry is currently in the late stage of "cyber migration," where real-world cultural elements are being digitized, such as online museums and digital archiving of artifacts [9] - Key challenges include insufficient digital awareness, the need for refined legal policies, limited resource supply, and low public engagement [9] Group 3: Content-Technology-Operation Model - The "content-technology-operation" triangle is a framework for digital cultural creativity enterprises to identify their positioning and strengths, with an emphasis on deepening content development and leveraging technology effectively [11][12] - Companies do not need to excel in all three areas but should focus on at least one to gain a competitive edge [11] Group 4: Market Trends and Consumer Demands - Five commercial types of digital cultural creativity—immersion, revitalization, embodiment, empathy, and common good—reflect evolving consumer demands from material to spiritual, passive to active, and physical to virtual [14] - The future market potential may not be dominated by a single model but could involve a fusion of multiple models or the emergence of new ones [14] Group 5: Strategic Recommendations for Enterprises - Traditional cultural institutions face significant challenges in digital transformation, including a lack of technology, talent, and financial resources, alongside operational model mismatches [16] - Companies should adopt systematic thinking to align new technologies with core capabilities and focus on creating value rather than following trends blindly [16][20]

Core Viewpoint - Chengdu is emerging as a significant player in the digital cultural and creative industry, showcasing its unique cultural strengths and innovative capabilities through companies like Sichuan Motuo Digital Technology Co., Ltd. [1][4] Group 1: Industry Trends - The digital cultural and creative industry is characterized by a high degree of integration and cross-industry collaboration, with a focus on expanding industry boundaries through technology and content [5][6] - The rapid evolution of digital economic models and applications, particularly in VR, AR, and XR technologies, is transforming various sectors including culture, tourism, and education [6][8] Group 2: Company Insights - Sichuan Motuo Digital Technology has developed over 20 VR games and holds more than ten patents, emphasizing the importance of original content and technology in establishing a competitive edge [6][8] - The company has collaborated with notable figures in the Chinese science fiction community to develop and transform classic IPs into VR experiences, enhancing its portfolio and market presence [7][8] Group 3: Market Opportunities - Chengdu's rich historical and cultural resources, along with a growing ecosystem of digital cultural and creative enterprises, provide fertile ground for innovation and project development [11][17] - The company is currently preparing a new film project titled "Taiji Panda," which integrates elements of panda culture, Taiji culture, and Jiuzhaigou culture, showcasing the potential for culturally rich content [13][15] Group 4: Future Directions - The integration of digital technology into all aspects of cultural creation and consumption is expected to reshape the content production, user experience, and business models within the industry [17] - Continuous improvement in original content and technology is essential for Chengdu's digital cultural and creative industry to achieve higher levels of development and competitiveness [17][18]

以下文章来源于天天IPO ，作者岳笑笑 如你所见，"成都造"正成为文创赛道中一个最具识别度的符号。 天天IPO . 投资界（PEdaily.cn）旗下，专注IPO动态 游戏撑起一个IPO。 作者 I 岳笑笑 报道 I 投资界-天天IPO 投资界-天天IPO获悉，游戏厂商星邦互娱网络科技有限公司（简称"星邦互娱"）向港交 所递交招股书，拟于港交所主板挂牌上市。 20 14年成立于成都高新区，星邦互娱由父女二人掌舵，不久前因为招牌手游《九州仙剑 传》总流水突破100亿元，全球注册用户数近9亿的消息受到关注。而相隔15公里的可可 豆动画，所出品的电影《哪吒2》不断刷新着历史。 父女的游戏生意，成都国资投了 时间回到20 14年，国内手游市场刚刚起步之时，成都商人郭中健盯上这条赛道。他在高 新区成立星邦互娱，最早定位是集研发、发行与运营于一体的移动游戏企业，在业内小 有名气。 真正让星邦互娱在行业中站稳脚跟的，是郭中健女儿——郭小兰的加入。1998年毕业于 四川师范大学中国语言文学专业，郭小兰在入职星邦互娱前，曾先后在几家互联网公司 任职十几年，在互联网行业和企业管理方面积攒了丰富经验。 郭小兰并非一位游戏行业新人。 ...