Group 1 - The core viewpoint of the article emphasizes the transformation of card games into a cultural and economic phenomenon, driven by IP globalization strategies and innovative marketing approaches [1][2][18] - The article discusses the significance of IP as a cultural amplifier and its role in attracting users, highlighting successful collaborations with major franchises like Disney and My Little Pony [1][2] - The concept of cultural reconstruction is illustrated through the example of the "Card Game Three Kingdoms," which combines historical elements with modern aesthetics to appeal to adult collectors [3] Group 2 - The article outlines the synergy between film and card games, showcasing how limited edition cards linked to popular movies can enhance collectible value and drive fan engagement [4] - It highlights the cultural export of Chinese sports through card games, exemplified by the collaboration with the National Sports Administration during the Paris Olympics [5] - The article identifies two main categories of card games: collectible cards and trading card games (TCG), each catering to different consumer needs and experiences [6][11] Group 3 - The operational logic of card games is explored, detailing how scarcity and limited editions create a "luck economy" that drives demand and market success [10] - The article discusses the emotional and social aspects of card collecting, emphasizing its role as a social currency among different age groups [10][12] - It notes the growing trend of TCGs in competitive environments, with significant participation in tournaments and the increasing appeal of female players [11][12] Group 4 - The article discusses the expansion of product categories and the creation of an ecosystem around IP derivatives, including toys and stationery [14][15] - It highlights the global ambitions of card companies, with plans to develop IP in international markets and leverage cultural soft power [17] - The article emphasizes the importance of social responsibility in the industry, detailing initiatives aimed at preventing irrational consumption among minors [19][20] Group 5 - The article concludes by addressing the challenges of balancing IP licensing with original content creation, as well as the need for sustainable industry practices [21] - It presents a user ecosystem model that captures the dual attributes of card consumption as social currency and collectible investment [22] - The article outlines strategies for IP ecosystem management, focusing on transforming traffic into cultural assets [24]