Core Insights - The launch of the "Nano Comic Production Line" marks a significant advancement in the industrial-grade AI comic production sector, aiming to address common industry challenges such as production capacity bottlenecks and quality concerns [1][4] - The platform has gained rapid popularity during its public testing phase, with many leading companies switching to or integrating the "Nano Comic" for core project production, indicating a shift towards industrialized comic production [1][4] Group 1 - The "Nano Comic Production Line" is designed to provide a complete solution for creators, focusing on high controllability, consistency, cinematic quality, and top-tier efficiency [1][3] - The platform utilizes the self-developed "Nano Space Engine" to automate processes, ensuring precise execution of creative intentions and eliminating common issues in traditional AI production [3][4] - The tool has demonstrated its potential as a transformative engine for the industry, with early adopters reporting significant success in their projects, such as "全民诡异" and "丧尸之王" [4][5] Group 2 - The choice of Zhengzhou, known as the "Short Drama Capital," for the closed-door launch reflects a strategic alignment with a local billion-dollar industry cluster [5] - The "Nano Comic Production Line" aims to facilitate the transition from artisanal production to digital industrialization in the comic industry, breaking through the limitations of scale and quality [5]

Core Insights - The launch of the "Nano Comic Production Line," the first industrial-grade AI comic production platform in China, marks a significant advancement in the short drama industry, particularly in Zhengzhou, a hub for short dramas [1][3] - The platform has gained immense popularity during its public testing phase, with many leading companies announcing their transition to or integration with the "Nano Comic" for core project production, indicating a shift towards industrialized comic production [1][3] Group 1 - The platform addresses common industry challenges such as "capacity bottlenecks" and "quality anxiety," aiming to provide a complete solution for creators to produce works more efficiently and effectively [1][2] - The "Nano Space Engine," which underpins the platform, eliminates traditional AI production issues, ensuring precise execution of creative intent and achieving a "3x speed of production with movie-level quality" [2][3] - Early adopters of the platform, such as Qixiang Culture and Hongzhu Animation, have reported significant success, with Qixiang's series surpassing 1 billion views and Hongzhu's projects achieving high rankings [3][6] Group 2 - Industry discussions emphasize the need for tools that enhance productivity while improving quality, marking a strategic shift from content competition to productivity competition among leading and emerging content creators [6] - The choice of Zhengzhou for the platform's launch signifies a strategic alignment with a local industry cluster valued at billions, aiming to facilitate the transition from artisanal to digital industrialization in the comic industry [6] - The "Nano Comic Production Line" is positioned as a transformative engine for the industry, potentially revolutionizing production efficiency and opening new opportunities for Chinese comics in the global content market [6]

Core Insights - The Indian government's allocation of ₹250 crore for the AVGC ecosystem aims to formalize talent development in animation, visual effects, gaming, and comics, indicating a significant push towards institutionalizing the creator economy [1][2] Government Initiatives - The Union Budget includes support for the Indian Institute of Creative Technologies (IICT) to establish AVGC content creator labs in 15,000 secondary schools and 500 colleges across India, promoting early exposure to digital content creation [2] - This initiative aligns with the Economic Survey's recognition of the "orange economy" as a vital growth driver in India's media and entertainment sector, projected to reach ₹2.5 trillion in 2024 [4] Industry Valuation and Growth - The animation, VFX, and post-production segment of India's media and entertainment industry was valued at ₹10,300 crore in 2024, highlighting the sector's growth potential [3] - Digital media now constitutes approximately one-third of the sector's revenues, increasing demand for content production and related services [4] Expert Opinions - Industry leaders emphasize the importance of formal training in enhancing content quality and career sustainability, with the creator economy influencing over 30% of consumer purchase decisions and generating $350–400 billion in consumer spending [5][6] - The initiative is expected to strengthen India's gaming ecosystem and build long-term industry capacity, positioning the country as a global hub for gaming and interactive entertainment [6][7] Skills Development and Employment - The focus on skilling in creative industries is seen as a hedge against traditional job roles affected by AI and global supply chain changes, creating new monetizable skills in content creation and game development [8] - Experts note that the COVID-19 pandemic has shifted consumption patterns towards smartphones, emphasizing the need for new storytelling formats that cater to evolving audience preferences [9][11] Educational Impact - The government's emphasis on creative education is viewed as crucial for fostering innovation and imagination among young minds, preparing them for future opportunities in animation and gaming [10] - There is a call for a stronger pipeline of trained talent in film language and narrative craft, with suggestions for educational reforms to better align with industry needs [14]

Core Insights - The upcoming TV anime series "THE GHOST IN THE SHELL" is set to premiere in July 2026, coinciding with the grand opening of a large-scale exhibition dedicated to the franchise [1][4] Project Details - Title: THE GHOST IN THE SHELL - Format: TV Animation - Based on the manga by Shirow Masamune, originally serialized in YOUNG MAGAZINE published by KODANSHA Ltd [4] - Director: Mokochan, making his directorial debut [3] - Script: EnJoe Toh, known for works like "Self-Reference ENGINE" and "Godzilla Singular Point" [3] - Character Design and Executive Animation Director: Shuhei Handa, recognized for "SCOTT PILGRIM TAKES OFF" and "Spriggan" [3] - Music Director: Taisei Iwasaki, with contributions from Ryo Konishi and YUKI KANESAKA [4] - Animation Production: Science SARU, known for acclaimed works like "Inu-Oh" and "DAN DA DAN" [3] Music Production - Music direction led by Taisei Iwasaki, a winner of the Japan Academy Film Prize for "BELLE" [2][5] - Collaborative soundtrack creation involving Ryo Konishi, who was the Music Director for the 2025 World Expo in Osaka, and YUKI KANESAKA, known for his work on "Dr. STONE" [2] - Iwasaki expressed a deep personal connection to the franchise, aiming to create a sound that resonates with the essence of "Public Security Section 9" [6] Exhibition Information - The "Ghost and the Shell: The Ghost in the Shell Exhibition" is the first large-scale exhibition covering the entire anime series [10] - Venue: TOKYO NODE GALLERY A/B/C, Toranomon Hills Station Tower 45F - Exhibition Dates: January 30, 2026 – April 5, 2026, with operating hours from 10:00 to 20:00 [10]

Table of Contents As filed with the U.S. Securities and Exchange Commission on January 26, 2026. Registration No. 333-[*] UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM F-1 REGISTRATION STATEMENT UNDER THE SECURITIES ACT OF 1933 MDJM LTD (Exact name of registrant as specified in its charter) Cayman Islands 7812 Not Applicable (State or other jurisdiction of incorporation or organization) (Primary Standard Industrial Classification Code Number) (I.R.S. Employer Identification Nu ...

Table of Contents As filed with the U.S. Securities and Exchange Commission on January 26, 2026. Registration No. 333-[*] UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM F-1 REGISTRATION STATEMENT UNDER THE SECURITIES ACT OF 1933 MDJM LTD (Exact name of registrant as specified in its charter) Cayman Islands 7812 Not Applicable (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) Fernie Castle, Letham Cupar, Fife, KY15 7RU United ...

Core Insights - The AI comic drama industry is rapidly transitioning from a niche to a mainstream market, with the number of comic dramas launched in a year reaching 46,931, and the market size expected to exceed 20 billion yuan by 2025, with projections of over 85 billion yuan by 2030 [2][3] Industry Growth and Trends - The production cycle for AI comic dramas has significantly decreased, allowing for rapid content creation and lower costs, with some productions taking only 7-10 days to complete [4][6] - AI technology has improved efficiency in the production process by 50% to 80%, reducing the cost per minute of comic drama from 2,000-5,000 yuan to 1,000-2,500 yuan, and in some cases, even lower [4][6] - The market is becoming increasingly competitive, with production costs dropping to as low as 500-400 yuan per minute for some projects [4][6] Market Dynamics - The AI comic drama ecosystem consists of three main participants: producers, copyright holders, and platforms, with a new balance allowing ordinary creators to produce content using AI tools [5][6] - The industry is characterized by a decentralized production model, where small teams and individual creators can participate alongside larger platforms [6][9] - Major platforms are investing in the ecosystem, with initiatives to support creators through funding, technology, and distribution [6][7] Challenges and Regulatory Landscape - The rapid growth of the AI comic drama market has led to challenges regarding copyright and originality, with many creators lacking the necessary production capabilities [9][10] - Regulatory measures are being implemented, including the inclusion of AI comic dramas in official reviews and initiatives to combat copyright infringement [10]

Core Viewpoint - The Netflix animated film "K-POP: The Witch Hunter" won the Best Animated Feature at the 83rd Golden Globe Awards, defeating Disney's "Zootopia 2," significantly increasing its chances for an Oscar nomination, while also sparking debates about its focus on popular culture over artistic depth [1][3]. Group 1: Awards and Recognition - "K-POP: The Witch Hunter" has previously won multiple awards during the awards season and its recent Golden Globe win enhances its Oscar prospects [1]. - The film is part of a growing trend where non-American animated films, particularly from East Asia, are gaining recognition in major awards, challenging traditional views held by institutions like the Academy [4][6]. Group 2: Industry Trends - The animation landscape is shifting, with increasing acceptance of non-traditional animated films at major awards, as seen with recent winners like Latvia's "The Cat's Magical Drift" and Guillermo del Toro's "Pinocchio" [6]. - The success of "K-POP: The Witch Hunter," which has garnered 5.41 billion hours of viewing on Netflix, indicates a significant shift towards fan-driven content in the animation industry, reflecting changing audience preferences [5]. Group 3: Cultural Impact - The film's integration of K-pop culture and superhero themes represents a merging of Eastern and Western storytelling styles, highlighting the evolving nature of animated content [5]. - The Academy's historical bias towards family-friendly animated films from studios like Disney and Pixar is being challenged by the popularity of films that cater to specific fan bases, suggesting a potential reevaluation of what constitutes "great" animation [4][5].

Core Insights - In 2025, animated films emerged as a key driver of box office performance in China, contributing nearly half of the total box office revenue of 518.32 billion yuan, with animated films generating 254.85 billion yuan [1][5][6] - The total box office for animated films in 2025 saw a remarkable increase of 272% compared to 2024, setting a new record for animated film box office in China [2] - The success of animated films like "Nezha 2" and "Zootopia 2" has raised questions about the sustainability of this trend in 2026, as traditional box office draws are losing their effectiveness [3][4] Industry Performance - The Chinese film market in 2025 included 289 films, with 57 being animated, accounting for approximately 19.7% of total releases [1] - The overall box office in 2025 grew by about 22% year-on-year, marking the second time since 2020 that the annual box office surpassed 500 billion yuan [5][6] - The market is experiencing a significant polarization, with a notable absence of films in the 2 billion to 3 billion yuan box office range, indicating a gap in mid-tier films [3][16] Factors Driving Animation Success - The rise of animated films is attributed to several factors, including the appeal of established IPs, industrial upgrades, and emotional resonance with audiences [8] - Animated films have successfully attracted a broader audience, including adults, by addressing complex themes while maintaining child-friendly elements [7][8] - The animation sector has shown resilience against the uncertainties faced by live-action films, which are often affected by star power and public controversies [7] Future Outlook - The animation industry is expected to continue evolving, with a shift towards IP-driven models that integrate licensing, merchandise, and new business collaborations [9][10] - Despite the current success, there are concerns about the sustainability of animated film production, as the number of new projects has not significantly increased [13][15] - The industry is facing challenges in maintaining a steady supply of high-quality animated films, with a limited number of strong IPs available for future releases [15][16]

Investment Rating - The investment rating for the industry is "Outperform the Market" (maintained) [1]. Core Insights - AI applications are entering a global acceleration phase, with both domestic and overseas markets continuing to expand on a high base. As of September 2025, overseas AI application monthly active users (MAU) have surpassed 1.2 billion, a year-on-year increase of 76.7%, while China's AI application MAU reached 490 million, growing by 172.3% [12]. - AI search, composed of AI chatbots and AI search engines, has become the core engine of AI application development, shifting user behavior from "searching links" to "asking AI for answers." This transformation is reshaping information access and making shopping recommendations a core use case, fundamentally changing brand communication models [12][18]. - The Generative Engine Optimization (GEO) is revolutionizing traditional marketing models, enabling better advertising effectiveness by allowing brands to be directly referenced in AI-generated answers rather than just appearing in search results [13][17]. Summary by Sections AI Marketing: GEO Reshaping Advertising Models - GEO enables a complete transformation of advertising strategies, allowing brands to be directly referenced in AI-generated responses, enhancing exposure and engagement [13][17]. - The shift from traditional SEO to GEO is evident, with brands needing to optimize for AI-generated content rather than traditional search engine visibility [21][30]. AI Short/Anime Series: Multi-Modal Capabilities Driving Market Explosion - AI-driven short series, utilizing AIGC technology, significantly lower production costs and improve efficiency, making it a high-growth area in the content market [33][42]. - The number of AI animation micro-short series launched has been increasing, with 2,902 episodes released from January to August 2025, primarily targeting a younger audience [45]. Market Growth and Company Benefits - The GEO market is expected to grow rapidly, with projections indicating a global market size of $24 billion by 2026 and $100 billion by 2030. In China, the GEO market is anticipated to reach 11.1 billion yuan by 2026 and 36.5 billion yuan by 2028 [30]. - Companies benefiting from this trend include technology providers and content platforms such as 引力传媒, 光云科技, and 哔哩哔哩, which are positioned to capitalize on the shift towards GEO [30].