Core Insights - The BilibiliWorld2025 (BW2025) event will take place in Shanghai from July 11 to 13, attracting a large number of young attendees, particularly from the post-00s and post-05s generations [1][3] Group 1: Event Impact on Tourism - During the BW2025 event week, Shanghai saw a 35% month-on-month increase in cultural and tourism bookings, with train ticket searches rising by 36% and flight bookings increasing by nearly 50% year-on-year [3][5] - The demand for high-end hotels near the event venue surged, with a staggering 475% increase in advance bookings for the summer [3][5] - The peak travel day for post-00s to Shanghai was July 10, the day before the event commenced, indicating strong interest from this demographic [5] Group 2: Demographic Insights - Major sources of flight bookings for the event included first- and second-tier cities, with rapid growth from third- and fourth-tier cities. Cities like Shenzhen and Wuhan saw nearly 100% growth in flight bookings from post-00s [5][6] - The BW2025 event has led to increased local spending in transportation, accommodation, dining, and entertainment, with food searches near the "Shanghai Bai Lian ZX" area rising over 800% in the first week of July [6] Group 3: Market Trends - The number of pan-ACG (Anime, Comic, and Games) users in China is projected to reach 503 million by 2024, with the ACG industry expected to exceed 270 billion yuan, making China the largest ACG market globally [6][7] - Searches for "二次元" (two-dimensional) related services, such as themed cafes and beauty services, have seen significant increases, with searches for "二次元咖啡厅" rising over 202% and "二次元女孩美甲美睫" increasing by nearly 80% [6]

Core Insights - The commercial anime and manga exhibition market in non-first-tier cities is facing challenges such as rising costs, increased competition, and a singular profit model, leading to unstable revenue streams [2][29] - Ticket sales are the primary revenue source for most exhibitions, accounting for up to 90% of total income in many non-first-tier cities, making ticket sales critical for survival [4][29] - The rising costs of inviting guests, which have increased significantly post-pandemic, are straining the profitability of exhibitions, with guest fees rising four to five times compared to pre-pandemic levels [16][19] Group 1: Market Dynamics - The number of exhibitions has doubled in some areas, but the audience growth has only increased by 1.2 times, leading to decreased average attendance per event [5][19] - The lowering of entry barriers has resulted in an oversupply of smaller exhibitions, which compete for the same audience, further diluting attendance [7][19] - Major exhibitions like Bilibili World and ComicUp can secure significant sponsorship and ticket sales, while smaller events struggle to attract similar levels of interest and revenue [4][19] Group 2: Cost Structure - The cost structure of a commercial exhibition typically allocates 40% to venue and guest fees each, with the remaining 20% covering miscellaneous expenses and team salaries [10][19] - Venue operators benefit significantly from the exhibition business, often having little negotiation power over rental costs, which can further squeeze the margins of exhibition organizers [20][29] - Ticketing platforms also profit from the exhibitions, taking a commission from ticket sales, which adds to the overall cost burden on organizers [23][29] Group 3: Audience and Consumer Behavior - The primary audience for exhibitions has shifted to younger demographics, particularly middle and high school students, who have limited disposable income and are sensitive to ticket prices [8][29] - The evolution of audience preferences has led to a decline in the novelty of exhibitions, as frequent events and similar content contribute to audience fatigue [5][29] - The reliance on guest interactions, such as signings, has become a new revenue stream, but the effectiveness of this model varies and can lead to uncertain financial outcomes [17][29] Group 4: Regulatory Environment - The pandemic has led to stricter regulations for large gatherings, impacting the ability of organizers to host events and increasing compliance costs [26][28] - Government support for the anime and manga industry has not translated into tangible benefits for smaller exhibition organizers, who often face challenges in accessing subsidies [25][29] - The balance between promoting local cultural events and ensuring safety and compliance has created a complex environment for exhibition organizers [26][29]

Core Insights - The article discusses the resurgence of offline ACG (Anime, Comic, and Games) economy through the rise of "Only Exhibitions" (O Exhibitions), which cater to niche audiences and provide a platform for fan interactions and commerce [1][30] - The decline of traditional large-scale ACG events has led to a shift towards smaller, more specialized O Exhibitions, which are gaining popularity among fans [2][30] Group 1: O Exhibition Characteristics - O Exhibitions are defined by their focus on specific IPs or themes, allowing only related fan creations and merchandise, making them highly targeted and appealing to niche audiences [2][4] - Unlike larger commercial ACG events, O Exhibitions are more flexible in scale and theme, often providing a more intimate experience for attendees [2][4] - The content of O Exhibitions has diversified, including various activities such as themed food events and interactive games, which cater to the evolving interests of fans [4][6] Group 2: Market Dynamics - The popularity of O Exhibitions has surged due to the postponement of major events like CP30, leading to a significant increase in the number of O Exhibitions held across the country [5][30] - In May alone, there were over 70 O Exhibitions of the "National乙" (domestic otome games) type, indicating a robust demand for such events [5][6] - O Exhibitions are often organized by fans with limited professional experience, leading to a diverse range of operational practices and financial outcomes [11][13] Group 3: Consumer Behavior and Pricing - The target demographic for O Exhibitions is predominantly female, particularly younger audiences, who are willing to pay for niche experiences [22][30] - Ticket prices for O Exhibitions have increased significantly, with some events charging upwards of 600 yuan for special experiences, reflecting a shift in consumer willingness to pay [16][22] - Despite rising costs, consumers are becoming more accepting of higher ticket prices, indicating a potential for profitability in the O Exhibition market [16][30] Group 4: Challenges and Future Outlook - The O Exhibition market faces challenges such as inconsistent quality and potential scams, as some events are organized by non-fans or companies seeking profit [29][30] - The sustainability of O Exhibitions as a revitalizing force in the ACG economy remains uncertain, as they must balance niche appeal with broader market demands [30][31] - The future success of O Exhibitions will depend on the ability of organizers to maintain quality experiences while navigating the complexities of fan culture and commercial interests [30][31]

这不仅仅意味着量的井喷，而是二次元从小众到破圈质的改变，漫展从地下亚文化活动演变成年轻人 的"生活刚需"。 如今，去漫展就像逛早市一样稀松平常。于是我们也趁着五一假期加入"二次元赶大集"。透过漫展这个 切面重新认识了一番市场。 令人刷新认知的是，"追星"正在成为漫展上的新形态。 "天刚刚擦亮就来'顶门'"，"排了一个多小时只为得到一张签名小卡" "To签海报卖到150元一张" "黄牛代排队价格涨到了500元"…… 文 | 玩世代 今年五月，全国有1000+场漫展及相关活动。 自媒体@次元漫展 统计汇总显示，全国范围兴起大量漫展、嘉年华、only展、演出派对、赛事、拍卖 等，其中江苏95场、浙江74场、广东80场、四川67场。 这一数字相较去年同期显著增长，已经接近于十年前全年场次的三分之一。（2016年漫展场次不到3000 场） 别以为这是什么明星偶像见面会，这是漫展的现状。 在首届微博游戏动漫展（WEIBO ACG WORLD，简称WAW）地图看板上，明星见面会行程占据了活动 看板的三分之一。三天100+位嘉宾活动，包括电竞选手、coser、CV配音演员、热门二创作者和画师 等。 同在假期举办的广州萤火虫动 ...