7 月 3 日更新 4.0 版本「于深空见证的」的《恋与深空》成功吸引了大量玩家的目光，一跃攀升至畅销 榜总榜第三。同时，在 2025 年 6 月 30 日 - 7 月 6 日的小红书涨粉榜中，《恋与深空》位列第四位，一 周涨粉超 13 万。 这次成绩的取得，很大程度上或许要归功于新版本中的混池主题。 尽管官方将其命名为「誓约卡」，但玩家们更习惯称它为「婚卡」。 乙游婚卡：常见却依旧吸睛 乙女游戏推出婚卡，如今已不是什么新鲜事。 回顾国乙市场，大部分游戏第一次推出的婚卡剧情，多为「假结婚」设定。比如玩家和男主可能以伴娘 伴郎的身份参与婚礼，或是共同拍摄婚纱照，亦或是进行角色扮演等。 不过，也有部分乙游推出过官方盖章或玩家公认的真婚卡，像《遇见逆水寒》《月影别墅》《未定事件 簿》等。 目前，国内四大头部乙女游戏《恋与制作人》《未定事件簿》《时空中的绘旅人》《光与夜之恋》均已 推出过婚卡，且有的游戏不止推出一次，这些婚卡的破圈程度有目共睹。与《恋与深空》同期上线的 《世界之外》，虽然没有出过婚卡混池，但也有婚礼主题的卡面。 《恋与深空》此次的婚卡，从剧情来看，似乎仍属于「假结婚」范畴。或许正因如此，这次混池的官方 ...

Core Insights - Tmall's潮玩 (trendy toys) sector has seen a surprising success story with the game company "叠纸" (Paper Games), whose flagship store "叠纸心意" became the top seller during the first phase of the 618 shopping festival, achieving over 100 million in sales [1][5] - The popularity of叠纸's merchandise is attributed to its strong gaming IPs, particularly the "恋与" (Love and Production) and "暖暖" (Warm Warm) series, which cater primarily to a female audience [2][11] - The surge in sales of叠纸's products reflects a broader trend in the gaming industry, where merchandise has become a significant revenue stream, especially for companies focusing on emotional connections with players [20][23] Company Overview -叠纸 was established in 2013 and has gained recognition in the gaming community, particularly for its female-oriented games [2][3] - The company has released several successful titles, including《恋与制作人》 (Producer of Love), which became a phenomenon in the mobile gaming market [3][11] Sales Performance -叠纸's merchandise sales have shown remarkable growth, moving from sixth place to second in Tmall's潮玩 sales rankings within two years [4] - During the 618 shopping festival,叠纸's store topped the sales charts, surpassing established competitors like泡泡玛特 (Pop Mart) and米哈游 (miHoYo) [5] Product Strategy -叠纸's merchandise primarily consists of affordable items, with over 70% priced under 60 yuan, and the highest-selling products being low-cost items like 18 yuan figurines and 12 yuan postcards [8][9][10] - The company employs various sales strategies, including pre-sales and limited-time offers, which create urgency among consumers [14][15] Consumer Demographics - The majority of叠纸's user base consists of women, with 87.2% of《恋与深空》 (Love in Space) players being female, and over half being born in the 1990s [11] - Players often exhibit strong emotional attachment to game characters, leading to high demand for related merchandise [12] Market Trends - The gaming merchandise market is experiencing explosive growth, with domestic orders for gaming-related products increasing significantly, indicating a cultural export of "国谷" (national trendy toys) [21] - The trend reflects a shift in consumer behavior from practical to emotional value in toy and merchandise purchases, with a growing interest in collectibles and character-based products [25]

Group 1 - The article discusses the rise of the "dream girl" subculture, which involves women fantasizing about interactions with male characters, both fictional and real [1][21] - "Dream girls" (or "梦女") engage in a form of escapism, often blurring the lines between reality and fantasy, leading to significant consumer behavior in the virtual love economy [2][23] - The emergence of AI companionship products is highlighted, with companies targeting the dream girl demographic by offering virtual relationships that mimic real emotional connections [4][6][8] Group 2 - The article differentiates between mature dream girls (ages 25+) who seek controllable virtual relationships and younger dream girls (ages 12-18) who often engage in more chaotic and emotional interactions [2][23] - Various products catering to dream girls include physical items like dolls and themed accessories, as well as AI-driven companionship apps that simulate emotional connections [3][10] - The concept of "cosplay commissioning" is introduced, where dream girls can hire cosplayers to enact their fantasies, further blending the lines between virtual and real experiences [11][17] Group 3 - The rise of "dream divination" services is noted, where practitioners provide emotional support and guidance to dream girls, enhancing their fantasy experiences [17][19] - The article emphasizes the impact of these fantasies on younger dream girls, who may struggle with real-life relationships and self-identity, often leading to unhealthy comparisons and emotional distress [20][24] - The influence of technology and media on the dream girl phenomenon is discussed, highlighting how new platforms and products encourage deeper emotional investments in fantasy relationships [26]

2025年的618购物节正式落下帷幕，与往年的声势浩大不同，今年的宣传论调呈现出罕见的平和，网上讨论也是零零散散。头部平台不约而同地开始淡化对 GMV宣传，折射出行业的一丝凉意。 事实上，今年618可谓"buff"叠满，不仅以"最长购物季"刷新纪录，时间跨度长达39天，期间内还完美覆盖了母亲节、"520"、儿童节、端午节、父亲节等多 个重要节点，并在平台补贴的基础上还叠加了国补，结合即时零售等新业态的下场助威，矢志要打造一场全民参与的购物盛典。 然而根据国家统计局数据显示，2025年前五个月，全国实物商品网上零售额占社会消费品零售总额的比重从去年的26.8%进一步下降到24.5%。而复旦消费 大数据实验室报告统计的数据，虽然同比增长约为9.8%。但超长的时间跨度让同比增速失去了可比性。更有市传今年618期间全网交易额同比下滑18.7%， 客单价下降23%。 来源：复旦消费大数据实验室《2025年"618"线上消费数据观察》 在GMV较高的前几大的品类中，今年家电和3C类商品顶着"骗补"争议实现数据增长，服装品类被曝部分品牌退出618活动。 美妆行业更是被指以牺牲5月销量的代价换取6月增长。根据海豚社调研数据， ...

编者按：近期来，随着泡泡玛特拉布布公仔的火爆出圈，谷子潮玩等切中社会情绪的消费热点频频引发社会关注。潮玩盲盒、疗愈经济、AI陪伴、悦己消 费……当Z世代消费者为一只会跳舞的电子宠物支付月费，当打工人对疗愈消费产生兴趣，当直播间里解压捏捏乐单日销量突破10万件——情绪消费正成为 经济的新增长极。在此背景下，南都将推出"情绪经济专题研究"系列报道，持续关注情绪消费以及背后的产业生态及资本动向。本期，我们一起关注二次元 背景下年轻人的情绪消费——Cos委托，揭秘这种消费现象以及背后的国内乙女游戏产业生态。 高考后的一个夏天，18岁的淑怡（化名）终于在现实生活中见到了夏鸣星。夏鸣星是淑怡最喜欢的游戏《光与夜之恋》的男主角。下出租车的时候，刚好下 雨了。淑怡的手被牵起，随后就跟着夏鸣星在雨中奔跑，"被他牵手的时候很心动。" 这不是某个短剧的拍摄现场，而是淑怡购买的情绪消费服务——时下火热的Cos委托服务。Cos委托是通过将二次元角色转化为三次元互动，成功地将虚拟 情感转换为现实体验的一种消费体验服务。相关数据显示，国内女性游戏玩家数量已突破3亿。其中，女性玩家在角色扮演、恋爱养成等游戏类型的活跃度 持续攀升，形成Cos ...

叠纸游戏开始卖盲盒了？ LABUBU的火爆持续刷新着网友的认知，在潮玩大热的当下，女性向游戏起家的叠纸竟然也卖起了潮玩盲盒，新的潮玩品牌DearNikki于6月份正式上 架，发售产品以手办、毛球挂件、金属徽章盲盒为主。 显而易见，DearNikki是专注于"Nikki"即暖暖IP的潮玩盲盒品牌，目前并不涉及叠纸游戏旗下爆红的"恋与"系列乙游，即便如此，第一批暖暖盲盒与6月1 日上架后也遭到了大量玩家疯抢。 数据显示，截止到6月18日，DearNikki梦织序章系列手办盲盒销售量超过7万，按照79元一盒的定价，销售额已经超过550万元，如果算上毛球挂件和金属 徽章两款盲盒，以及预售新产品耳机包，店铺总销售额为600万左右。 作为叠纸游戏在盲盒领域的试水之作，DearNikki显然是成功的。比起徽章、小卡、拍立得这类传统二游周边售价基本不超过20元，手办盲盒的定价高出 不少，但仍然能够催动暖妈们的抢购热情，足以见得暖暖IP的影响力。 不过也不能否认，相比于掀起全民抢购热潮的Labubu，暖暖手办盲盒的火热仍然局限在玩家群体，但叠纸游戏对DearNikki的期待显然不仅于此，否则不 会专门从叠纸心意旗舰店拆分出一个 ...

题图 / 叠纸心意 当游戏公司在谷子市场认真起来 卖谷子是不是个好生意？ 对于游戏公司来说，比起自身营收，衍生品业务可能没那么赚钱。但随着谷子消费成为年轻人生活常态，游戏衍生品承担起情感链接、社交传播的职能， 已经成为许多游戏公司的"必修课"。 今年618电商大促，叠纸心意超过泡泡玛特和万代，登顶"天猫潮玩抢先购成交榜"榜首。而且该榜单前十，游戏IP数量过半。 叠纸心意、光与夜之恋品牌依靠的女性向游戏，玩家拥有"为爱消费"的需求，而米哈游身后的二游玩家，则与衍生品消费有着天然联结。 ACGx便打算从"打进500强"的三家游戏衍生品品牌入手，分析各家游戏公司布局谷子生态的思路差异。 本篇，我们聚焦的是叠纸心意。 还有前不久，由北京大学国家发展研究院发布、淘天集团提供技术支持的"全球品牌中国线上500强榜单"（CBI500）中，叠纸心意、米哈游、光与夜之恋 赫然在列。游戏公司的线上谷店虽客单价不高，但"18-24岁成交人群增速"和"成交金额增速"优势明显，玩家的高粘性和高复购率不容小觑。 | | | T- | | | 知名度 | | | 忠诚度 | | | 新锐度 | | | 美誉度 | | | --- | -- ...

而这种"打女主"的现象在乙游圈可以说相当常见，并不局限在《未定事件簿》玩家群体中。 按理来说，乙游的女主角就是玩家本人，但为什么玩家反而无法接受女主角拥有具体的形象？标榜爱女、爱自己的乙游玩家，为何唯独不爱乙游女主角？ 乙游玩家执着于"打"女主 "禁女主党"其实是乙游圈的常态。 所谓"女主党"，就是泛指将女主角视为独立角色的乙游玩家，往往会做出夸赞、吹捧女主角的行为。 或许不玩乙游的路人无法理解，女主角本身就是游戏中一个客观存在的人物角色，为什么不被玩家承认？这要归结到乙游这种游戏的特殊性上。 传统乙游以为玩家提供恋爱陪伴感为主，核心关键就在于营造"代入感"，让玩家能够代入女主角的身份与多位男性角色产生情感交互，因而在乙女游戏 中，女主角并不被看做是一个独立的角色个体，只是一个方便玩家代入的"皮套"。 刚出新活的乙游《未定事件簿》，又惨遭玩家狠狠吐槽，不出意外争议点依然集中在女主角蔷薇该不该露脸上。 在此次的"恋时旅纪·夏彦篇"活动中，动态SSR"致夏阳"卡面上，除了男主角夏彦之外，女主角蔷薇露出的半张脸招致玩家不满，大多数女性玩家似乎无法 接受甚至是反感女主角的脸出现。 由于"女主党"强调女主角的独立存在， ...

这场填补北方大型游戏动漫展空缺的展会，看似 "姗姗来迟"，实则是微博生态能力的一次蓄势释放。 2025年第一季度，微博交出了一份稳健增长的财报：总营收28.83亿人民币，调整后运营利润9.43亿人民币。更值得关注的是，微博的月活跃用户达到5.91 亿，日活跃用户达到2.61亿。 这一数据既彰显了微博作为国民级社交平台的影响力，也暗示着其在内容生态建设上的长远规划。五一期间，微博首届游戏动漫展WAW强势破圈，正是这 一规划的集中体现。 微博生态能力下，WAW爆火的必然性 当6.8万观众涌WAW展馆时，外界或将其归因于"二次元风口"，但更深层的逻辑是微博用多重能力的系统性释放，将二次元文化的"圈层狂欢"转化为覆盖全 产业链的"破圈效应"。 当前，微博拥有5.91亿月活跃用户，为内容提供了坚实的公域传播基础。尤其在ACG垂类领域，已沉淀出超3.2亿泛二次元用户，涵盖动漫、游戏、电竞等 多个细分兴趣圈层，90后为主力人群。这种精准的用户聚集不仅保证了流量规模，也为内容的有效转化奠定了基础，是WAW热度及参与度的重要支撑。 其独有的"社交互动+热搜机制+内容分发"协同体系，赋予垂类文化向更广泛受众扩散的能力。WAW期间 ...

Core Viewpoint - The collaboration between the game "如鸢" and the cultural tourism of Yangzhou has deepened the integration of game IP with local culture, creating a new trend of "pilgrimage" for players to explore real-world locations that resonate with the game [6][12][40] Group 1: Game and Cultural Tourism Integration - The partnership between "如鸢" and Yangzhou is driven by the historical and cultural alignment between the game's setting and the city, particularly the historical significance of Yangzhou as the fief of the Guangling King [10][12] - Players are actively visiting Yangzhou's landmarks, such as the Guangling King Tomb Museum and Slender West Lake, to find elements that mirror the game, enhancing their experience through social media sharing [5][13] - The phenomenon of "pilgrimage" in the ACGN (Animation, Comics, Games, Novels) community is exemplified by players visiting real locations that inspired their favorite games, creating a blend of virtual and real experiences [16][40] Group 2: Challenges in Immersive Experience - Despite the excitement, the integration of game IP with cultural tourism faces challenges, such as achieving a truly immersive experience and avoiding conflicts between game content and cultural elements [7][29] - Many collaborations have not met expectations, leading to a superficial experience where players feel disconnected from the deeper cultural narratives [8][31] - The "immersion deficit" stems from a lack of meaningful interaction and engagement with the real-world locations, often reducing them to mere photo opportunities rather than immersive experiences [31][32] Group 3: Diverse Collaboration Models - Various models of collaboration between games and cultural tourism are emerging, ranging from large-scale provincial initiatives to city-specific partnerships that highlight local cultural heritage [21][27] - Successful collaborations often involve creating thematic experiences that allow players to engage with the narrative and history of the game in a real-world context [28][32] - The development of immersive theme parks or districts based on game IP is another avenue being explored, enhancing the connection between the virtual and physical worlds [23][24] Group 4: Future Directions and Recommendations - The integration of game IP with cultural tourism offers new opportunities for both sectors, fostering cultural expression and enhancing player engagement [27][28] - To improve the immersive experience, a collaborative ecosystem involving players, cultural tourism officials, and game developers is essential, allowing for deeper cultural interactions [33][34] - Careful management and respect for cultural narratives are crucial to avoid negative impacts on both the game and tourism sectors, ensuring a mutually beneficial relationship [34][39]