Core Insights - In September 2025, 32 Chinese companies made it to the global mobile game publisher revenue TOP 100, collectively earning $1.95 billion, which accounts for 36.1% of the total revenue of the global TOP 100 mobile game publishers [1] Group 1: Tencent's Performance - Tencent's tactical shooting game "Delta Force" launched a new season "Blazing Fire" on September 17, leading to a 76% month-on-month revenue increase [2] - "Delta Force" topped the iOS mobile game sales chart in China and maintained its position for several consecutive days, contributing to Tencent's top position in the Chinese mobile game publisher revenue ranking [2] - Tencent's other major titles, including "Honor of Kings" and "Peacekeeper Elite," also performed exceptionally well [2] Group 2: NetEase's Growth - NetEase secured the third position in the revenue ranking, driven by the strong performance of multiple mobile games [2] - The newly launched "Dream Journey Mobile Light Enjoyment" saw a 46% month-on-month revenue increase due to its lowered gameplay barriers and enhanced social features [2] - The sci-fi shooting game "Destiny: Stars" launched at the end of August experienced a threefold revenue increase in September, ranking second in the revenue growth list for Chinese mobile games going overseas [2] Group 3: Other Notable Publishers - Lemon Microfun maintained its fourth position in the revenue ranking with a 10% month-on-month revenue increase, supported by several successful titles [3] - MiHoYo's games, including "Genshin Impact" and "Honkai: Star Rail," saw a 33% month-on-month revenue increase, elevating the publisher to the fifth position [3] - "Genshin Impact" launched a new version on September 10, resulting in a 94% revenue surge, making it the top mobile game in terms of revenue growth for overseas markets [3] Group 4: Emerging Publishers - Florere Game's revenue increased by 15% month-on-month, ranking sixth in the revenue list, with a notable 250% increase compared to January 2025 [4] - Mu Tong Technology's new game "ACECRAFT" quickly gained popularity, leading to a 10% month-on-month revenue increase and elevating its ranking to 11th [4] - Lingxi Interactive's "Three Kingdoms: Strategic Edition" saw its revenue double in September due to a successful anniversary event, contributing to a 38% overall revenue increase for the publisher [4] Group 5: Additional Publishers - Other Chinese mobile game publishers in the global TOP 100 include ONEMT and Mattel163, totaling 32 companies [5] Group 6: App Store Rankings - Tencent's "Honor of Kings," "Delta Force," "Peacekeeper Elite," and "Gold Shovel" occupied the top four positions in the Chinese App Store mobile game revenue ranking [6] - "Delta Force" achieved a 78% month-on-month revenue increase, reaching a new daily revenue high [6] - MiHoYo's "Genshin Impact" experienced a 53% month-on-month revenue increase, re-entering the revenue ranking at 17th place [7]

Core Insights - The rise of "Otome" games, designed for female players, reflects a significant shift in the gaming industry, driven by emotional consumption and a growing market for female-oriented content [2][19][20] - Players are increasingly investing substantial amounts of money in these games, with some individuals spending over 160,000 RMB, indicating a trend towards high emotional investment and consumer behavior [1][3][6] - The market for Otome games is expanding rapidly, with the female gaming market in China reaching 8 billion RMB in 2024, a 124.1% increase year-on-year, highlighting the growing influence of female gamers [6][19] Group 1: Emotional Consumption - Players are willing to spend large sums on in-game purchases and related merchandise, driven by emotional connections to characters and narratives [1][3][19] - The concept of "emotional consumption" is emerging, where players seek fulfillment and identity through their virtual relationships, reflecting deeper societal trends among women [20][23] - The Otome game market is evolving from a niche to a mainstream segment, with major companies like Tencent and NetEase entering the space, indicating its commercial viability [4][19] Group 2: Market Dynamics - The total revenue for popular Otome games like "Love and Deep Space" reached approximately 5.87 billion RMB in 2024, outperforming other well-known titles [5][6] - The number of female gamers in China has surpassed 300 million, accounting for nearly half of the total gaming population, with a significant portion engaged in Otome and related genres [6][19] - The rise of "Guzai" (merchandise) consumption, where players purchase character-related products, is contributing to a robust secondary market, further enhancing the emotional connection to the games [8][9] Group 3: Emerging Services - New service industries, such as "Cosplay commissions" and "Dream manuscript" artists, are developing around the emotional needs of players, providing personalized experiences that deepen engagement [10][13] - The "Dream Girl" service industry is gaining traction, where players can hire individuals to embody their favorite characters, reflecting a unique intersection of gaming and real-world interaction [10][12] - Traditional retail spaces are adapting to this trend by creating immersive experiences centered around Otome game IPs, enhancing customer engagement and driving foot traffic [15][18] Group 4: Cultural Impact - The phenomenon of Otome games is reshaping cultural narratives around female identity and emotional expression, as these games provide a safe space for exploring relationships and self-worth [19][20][23] - The emotional investment in these games is not merely a financial transaction but a reflection of broader societal issues, including relationship anxieties and the search for identity among young women [20][23] - The industry is urged to balance commercial interests with social responsibility, ensuring that the emotional needs of players are met without fostering dependency on virtual relationships [23]

Core Viewpoint - The article discusses the new update of the game "World Beyond," which introduces a new sub-gameplay combining pet-catching and auto-chess elements, but faces backlash due to increased monetization costs, specifically the price hike of in-game currency for card draws [1][19]. Gameplay Exploration - "World Beyond" has introduced a new gameplay style that combines pet-catching with auto-chess, providing a fresh experience for players who may not have encountered auto-chess in otome games before [4][6]. - The auto-chess gameplay is simplified compared to other games in the genre, with fewer levels and a focus on PVE, making it accessible for new players [6][14]. - The game features a unique mechanic where players can capture creatures during battles, which adds a layer of strategy to the gameplay [6][9]. Commercialization and Player Reception - Despite a slight improvement in sales rankings, the game has received significant negative feedback primarily due to the increase in card draw prices from 300 to 400 in-game currency, overshadowing the positive reception of the new gameplay [3][19]. - The price increase was justified by the developers as a result of enhanced card quality and additional effects, but this explanation did not alleviate player dissatisfaction [17][19]. Industry Trends - The article notes a trend among female-oriented games to explore new gameplay mechanics, indicating a shift in player expectations towards more engaging and varied gameplay experiences [20][26]. - The success of "World Beyond" in integrating different gameplay styles reflects a broader industry movement towards enhancing playability in female-targeted games, moving beyond traditional narrative-driven formats [22][26].

Core Viewpoint - The release of "Three Kingdoms Fantasy Continent 2: Song of the Heroes" has faced a rapid decline in reputation within a week, despite a strong initial performance on the iOS free game chart [1][3]. Performance Summary - "Song of the Heroes" debuted at the top of the iOS free game chart but fell to 36th place by May 23, and briefly entered the Top 10 of the revenue chart before dropping out of the top 20 [3][5]. - The game's rating on TapTap plummeted to 5.3, with a significant number of one-star reviews, indicating a poor reception among players [3]. Comparison with Predecessor - The predecessor, "Three Kingdoms Fantasy Continent," launched in 2020 and consistently ranked in the top 10, ultimately generating over 10 billion in revenue, establishing itself as a phenomenon in the card game genre [5]. - In contrast, "Song of the Heroes" has struggled to maintain a competitive position, being compared unfavorably to lesser-known games [5]. Artistic and Gameplay Changes - The project team acknowledged the importance of art style in attracting players, noting that the original game's aesthetic successfully drew in a diverse user base [6]. - The sequel has undergone significant changes in art style, moving away from the previous aesthetic that appealed to many players, which may alienate existing fans while attempting to attract new ones [10][12]. Narrative and User Experience - The narrative approach in "Song of the Heroes" has been criticized for lacking depth and failing to engage players, with a focus on a "camera-like" character perspective that diminishes player involvement [10][12]. - The storyline has been described as superficial, with the game failing to effectively utilize the Three Kingdoms backdrop, leading to dissatisfaction among players [12]. Company Background and Future Outlook - Lingxi Interactive Entertainment, a subsidiary of Alibaba, has seen mixed results in its gaming ventures, with internal criticisms regarding its cultural alignment with Alibaba's broader goals [16][18]. - The company aims to become the third-largest game company in China within eight years, but the poor reception of "Song of the Heroes" poses significant challenges to achieving this goal [18].

Core Viewpoint - The article discusses the rise and challenges of the interactive romance game industry, particularly focusing on the success of "I’m Surrounded by Beauties!" and its sequel, highlighting the market dynamics and player expectations [4][6][10]. Group 1: Market Performance - "I’m Surrounded by Beauties!" sold 1.9 million copies and generated over 80 million yuan in revenue within its first year [4]. - The game continues to sell tens of thousands of copies monthly, indicating sustained interest [4]. - In contrast, its sequel, "The Prequel," launched with a 75% approval rating, which later dropped to 69%, reflecting a decline in player reception [5]. Group 2: Industry Trends - The interactive romance game sector has seen over 60 new titles on Steam in 2024, but 90% of these games sold fewer than 2,000 copies, indicating a highly competitive and saturated market [5]. - The success of "I’m Surrounded by Beauties!" has created a perception that "borderline content can be profitable," leading to a proliferation of similar games [5][6]. Group 3: Player Expectations - Players express a desire for emotional engagement and validation through these games, often seeking experiences they feel are lacking in real life [12][45]. - The article suggests that male players often equate in-game benefits with affection, indicating a complex relationship between desire and emotional fulfillment [16][18]. Group 4: Creative Approaches - The article notes that while many new titles follow the "borderline" trend, some creators are attempting to innovate within the genre, such as "Sweetheart AI Capture Plan," which combines romance with mystery [22][25]. - However, despite positive reviews, innovative titles struggle to gain traction, suggesting that players prefer traditional romantic narratives over complex storylines [25][29]. Group 5: Gender Dynamics - The article highlights a growing market for female-oriented games, yet emphasizes that the demand for male-targeted content remains significant, with interactive romance games filling a gap for male players seeking emotional connection [36][44]. - The male player demographic on platforms like Steam remains dominant, with over 70% of users being male, indicating a sustained interest in content that resonates with their experiences [46].