Game Releases - NetEase's "Marvel Secret War" began its Android paid test on September 15, focusing on team-building strategy and character development in a card RPG format, featuring Marvel superheroes like Doctor Strange and Iron Man [1] - ByteDance's "Shadow Hunter" launched its first domestic test on September 16, achieving over 180,000 concurrent players within 90 minutes and climbing to 7th place on Steam's global sales chart [3] - miHoYo's "Honkai: Origin Spirits" started its first closed test on September 17, combining sprite collection with auto-chess combat mechanics [6] - "Dungeon Castle 4: Knights and the Broken Chronicle" was officially released on September 17, continuing the dark dungeon adventure RPG series with 3D graphics and strategic gameplay [8] - Tencent's "The Finals" (translated as "Ultimate Contest") began its second limited test on September 19, developed by members of Embark Studios, featuring a PVP shooting game set in famous global cities [10] Industry News - Tencent's "Delta Force" celebrated its first anniversary on September 21, reporting a daily active user (DAU) count of 30 million, up from 12 million in April and 20 million in July [11] - McDonald's announced a collaboration with "Black Myth: Wukong" on September 19, launching limited-time meal sets and promotional items for the Mid-Autumn Festival [14] - "Love and Producer" revealed a new voice actor for the character Li Zeyan on September 20, following the departure of the previous actor [16] - Zulong Technology was ordered to pay 150,000 yuan for trademark infringement and unfair competition against Suzhou Die Paper Network Technology, due to improper use of registered trademarks in advertising [20] - miHoYo established two new companies in Shanghai, focusing on software development and AI applications, with a registered capital of 10 million yuan each [21]

Core Insights - The article discusses the changing dynamics between voice actors (CVs), players, and game developers in the gaming industry, particularly in the context of character voice changes and player expectations [1][2][3] Group 1: Voice Actor Changes - The recent departure of CV Wu Lei from the game "Love and Producer" has been met with mixed reactions, with some players celebrating the change while others express dissatisfaction with current CV performances [1][2] - The industry has seen a trend of CV replacements due to various issues, including personal controversies and declining performance, leading to a more cautious approach from developers when selecting voice actors [2][7][11] - Players are increasingly vocal about their expectations for CV performances, leading to significant backlash against CVs who do not meet these standards, as seen in the cases of Zhao Yang and Wu Lei [11][15][17] Group 2: Industry Dynamics - The relationship between CVs, players, and developers has shifted from a mutually beneficial arrangement to a more adversarial one, where each party holds the other accountable for quality and performance [18][20] - Developers are now more inclined to keep CV identities hidden to mitigate backlash and player dissatisfaction, reflecting a broader trend in the industry [26][28] - The introduction of AI technology in voice acting is becoming a consideration for developers, as it offers a potential solution to the challenges posed by human voice actors, although concerns about authenticity and emotional connection remain [30][32][34] Group 3: Market Trends - The gaming market is witnessing a decline in the willingness to invest in high-profile CVs, as seen in the case of "Shining Nikki," where a CV was replaced without prior notice, leading to player protests [22][24] - The pricing structure for CVs remains relatively stable, with rates ranging from 100 to 500 per line, but the overall market dynamics are shifting as developers seek cost-effective solutions [24] - The industry's future may hinge on how well it adapts to these changes, particularly in balancing player expectations with the realities of voice acting performance and the potential integration of AI [34]

Core Viewpoint - The article discusses the evolving relationship between voice actors (CVs), players, and game developers in the gaming industry, highlighting recent controversies surrounding voice actor changes and the impact on player satisfaction and brand reputation [1][4][27]. Group 1: Voice Actor Changes - The recent departure of CV Wu Lei from the game "Love and Producer" has been met with mixed reactions, with some players celebrating the change while others express dissatisfaction with current CV performances [1][2][21]. - The industry has seen multiple instances of CV changes due to various reasons, including personal issues affecting performance, leading to a shift in how players perceive and react to these changes [5][20][29]. - The relationship between CVs and game developers has become more complex, with developers now more cautious about publicizing CV identities due to potential backlash from players [41][55]. Group 2: Player Expectations and Reactions - Players have become increasingly critical of CV performances, demanding higher standards and expressing dissatisfaction when they feel a CV does not match the character's persona [20][24][48]. - The emotional connection players have with characters is significant, making it challenging for new CVs to replace established ones without losing the original character's essence [48][49]. - Players' reactions to CV changes can lead to significant backlash against both the CVs and the game developers, as seen in the cases of "Overwatch" and "Honor of Kings" [15][17][43]. Group 3: Industry Trends and Future Directions - The rise of AI technology in voice acting is becoming a consideration for game developers, with discussions around its potential to replace human CVs in the future [55]. - Developers are exploring new methods to manage CV relationships, including keeping CV identities confidential and utilizing AI to mitigate risks associated with human performance variability [41][55]. - The industry is at a crossroads, where the traditional model of CVs being integral to character identity is being challenged by technological advancements and changing player expectations [54][56].

Core Insights - The article discusses the phenomenon of "Cos委托" (Cosplay Commission), where clients (referred to as "单主") pay for a "Coser" to portray characters from anime or games, leading to a unique interaction that blends fantasy and reality [1][5][19] - The narrative is centered around the experiences of a part-time Coser who reflects on the emotional complexities and challenges faced in this role, highlighting both the joys and burdens of the job [12][22] Group 1: Industry Overview - "Cos委托" has emerged as a specialized service where clients pay for personalized experiences with Cosers, often involving activities like watching movies or visiting amusement parks [1][5] - The demand for such services is particularly high among female clients who have a deep emotional connection to the characters being portrayed [1][19] Group 2: Personal Experiences and Challenges - The Coser shares initial excitement and subsequent disillusionment with the role, noting that the emotional labor involved can be exhausting and lead to feelings of detachment [4][19] - The Coser's journey includes both successful and challenging commissions, revealing the emotional toll and the need for careful management of client expectations [12][19] Group 3: Emotional Dynamics - The article illustrates the complex emotional dynamics between the Coser and the clients, where clients often project their feelings onto the Coser, leading to blurred lines between professional and personal relationships [16][18] - The Coser experiences a range of emotions, from joy in creating memorable moments to anxiety about meeting client expectations and maintaining boundaries [19][22] Group 4: Industry Implications - The narrative suggests that while "Cos委托" can provide financial benefits and creative fulfillment, it also poses significant emotional risks and challenges that may not be immediately apparent [22][23] - The Coser ultimately decides to leave the industry, indicating a need for self-care and a reevaluation of personal boundaries within this unique service sector [22][23]

Core Insights - The rise of "Z generation" young people engaging in two-dimensional (2D) travel reflects a growing trend in cultural tourism consumption driven by anime and related IPs [1][3][4] - The two-dimensional culture has expanded beyond traditional media to include merchandise, virtual idols, and themed events, indicating a shift in consumer preferences towards emotional and cultural experiences [2][8] Group 1: Market Trends - During the BW2025 event in Shanghai, there was a 35% week-on-week increase in cultural tourism product bookings, and nearly a 50% year-on-year rise in flight bookings to Shanghai [4] - Over 200 anime exhibitions were held across major cities during the recent May Day holiday, with the 21st China International Animation Festival attracting over 1.46 million visitors [6] - Traditional shopping malls are transforming into popular destinations for young people, with over 20 cities featuring 2D-themed malls, and social media posts about these locations garnering 540 million views [6][7] Group 2: Consumer Behavior - The user base for 2D culture in China has reached 526 million, a 150% increase from 210 million in 2017, with "Z generation" being the primary consumers [8] - Young consumers are willing to pay for experiences that provide emotional connections and identity recognition, often traveling to attend events and exhibitions [8][9] Group 3: Cultural Integration - The integration of traditional Chinese culture into 2D content has enhanced cultural recognition and confidence, transforming 2D culture from a niche market to a new consumer highlight [9] - Recent policies from central and local governments aim to promote cultural tourism by supporting the development of original IP brands and integrating traditional culture into product design [10] Group 4: Future Development - To sustain the growth of 2D cultural tourism, there is a need to enhance service quality and diversify experiences, leveraging local cultural resources and developing themed performances and exhibitions [11][13] - Technological innovations, such as AI and AR, can enhance the immersive experience for consumers, making cultural tourism more engaging [15]

Core Insights - Xiaohongshu's recent foray into the ACG (Anime, Comic, and Game) community has not significantly altered the existing landscape, with core players still favoring platforms like Bilibili for in-depth content and Douyin for short videos [1][10] - The RED LAND event in Shanghai, strategically located near Bilibili's headquarters, symbolizes a new round of competition among internet platforms for the youth demographic [1][3] User and Strategic Drivers - Xiaohongshu's RED LAND marks its first large-scale offline event in the gaming and ACG sector, with a 175% increase in ACG content and a 168% rise in gaming content published on the platform over the past year [3][5] - The user demographic has shifted, with 50% of users being post-95s and 35% post-00s, predominantly female, aligning closely with the ACG audience [3][5] - The platform's rebranding from "Your Life Guide" to "Your Life Interest Community" reflects a strategic pivot towards interest-based social engagement, aiming to harness the spending potential of younger users [5][10] 2.5D User Engagement - The concept of 2.5D users, who integrate ACG interests into their daily lives, is crucial for Xiaohongshu's strategy in the ACG space [7][9] - The rise of "Guzi Economy" has facilitated the conversion of ACG enthusiasm into real-world consumption, contrasting with traditional core ACG communities [7][9] - Despite advantages in the otome game sector, Xiaohongshu struggles to attract hardcore gamers focused on in-depth content, indicating a limitation in its appeal to competitive gaming audiences [7][9] Competitive Landscape - The Chinese ACG industry is projected to reach a market size of 221.9 billion yuan in 2023, with the number of ACG users expected to grow from 210 million in 2017 to 526 million by 2025 [10][12] - Bilibili's established community culture and content ecosystem provide a more immersive ACG experience, while Xiaohongshu is still in the early stages of community expansion [12][13] - Other platforms like Douyin and Weibo are also targeting the youth demographic, leveraging their unique strengths to engage with ACG audiences [12][13] Future Challenges - Xiaohongshu's ability to convert the enthusiasm of 100,000 event participants into a sustainable community ecosystem will be critical for its success in the ACG sector [10][13] - The platform's current focus on brand exposure rather than deep partnerships with game developers may limit its long-term growth potential in the ACG market [12][13]

Group 1 - The core viewpoint of the articles highlights the transformation of consumer behavior among Generation Z, emphasizing emotional engagement and social empowerment as key drivers of consumption [1] - Digital cultural IPs are evolving into "super interfaces" that activate various industries such as cultural tourism, retail, and food and beverage [1] - Government policies are facilitating the development of a collaborative ecosystem in the cultural industry, promoting a model based on content creation, digital transformation, derivative development, and cross-industry empowerment [1] Group 2 - The "New Cultural Creation Ignites New Consumption" salon in Shanghai focused on discussions around innovation in the digital cultural industry and deep development of digital cultural IPs [2][4] - The concept of "tone alignment" emerged as a key consideration for brands when selecting IP partners, emphasizing the importance of compatibility in brand identity [5][7] - Companies like Softstar Technology and Century Huatong are exploring cross-industry collaborations to enhance brand visibility and consumer engagement [9][11] Group 3 - The tea beverage brand Lemon Right has observed a slowdown in the pace of IP collaborations, indicating a shift towards strengthening its own brand identity [12][14] - The importance of brand building is emphasized, with companies recognizing that successful collaborations should enhance their core offerings rather than solely relying on emotional value [14][15] - AI technology is being integrated into IP collaborations, providing interactive experiences and enhancing consumer engagement [17] Group 4 - Intellectual property protection is crucial for the value realization of IPs, with ongoing challenges related to infringement and the need for effective enforcement strategies [19] - The rise of counterfeit products, such as the imitation of the popular IP "Labubu," highlights the ongoing issues within the industry regarding brand reputation and market integrity [19]

（文/观察者网 万肇生；编辑/张广凯） 目前已有玩家联名发律师函，相关话题7日登上微博热搜，相关讨论量达到2.4万。 据中国电子商会旗下消费者服务保障平台"消费保"统计，近一年来，来自网易《世界之外》和叠纸《恋 与深空》两款游戏玩家的投诉，占近一年来乙女游戏总投诉的九成。 | 序号 | 游戏名称 | 品 | | --- | --- | --- | | 1 | 世界之外 | 66. 23% | | 2 | 恋与深空 | 23. 94% | | 3 | 恋与制作人 | 6.10% | | র্ব | 如善 | 1.66% | | 5 | 光与夜之恋 | 1.23% | | 6 | 未定事件簿 | 0. 47% | | 7 | 时空中的绘旅人 | 0. 37% | | | | 来源:消费保数据研究院 | 仅7月29日至7月31日短短3日内，《恋与深空》玩家投诉量累计超1500条，众多投诉案例均指向游戏最 新活动"沈星回·暗蚀国王"。 玩家钟女士（化名）在投诉中就表示："我观看（新卡池）PV技能前瞻展示，加之活动前叠纸四处广告 宣传超强战斗力，让我毫不怀疑地氪金购买礼包。因此我在7月25-至26日期间共花费1461元 ...

Group 1 - The article discusses the emotional and social value derived from spending on virtual characters and idol culture, highlighting how these expenditures serve as a coping mechanism for young individuals facing real-world pressures [1][2][12] - It emphasizes the shift in spending priorities among younger generations, where emotional consumption is prioritized over traditional necessities, reflecting a clear value hierarchy in their spending habits [1][12] - The narrative illustrates personal experiences of individuals who invest significantly in virtual goods and idol interactions, showcasing the psychological benefits and emotional support they derive from these activities [3][13][28] Group 2 - The underground idol culture in China is thriving, with young fans engaging in live performances and personal interactions with idols, which provide a sense of community and emotional fulfillment [13][16][22] - The phenomenon of "cutting" or taking photos with idols after purchasing special tickets highlights the unique emotional connections formed between fans and idols, which are often absent in their real-life relationships [16][20] - The financial commitment to idol culture is substantial, with fans spending thousands on tickets and merchandise, indicating a willingness to invest in experiences that enhance their emotional well-being [17][24][28] Group 3 - The rise of otome games (female-targeted romance simulation games) reflects a growing trend in the gaming industry, where players seek emotional engagement and self-exploration through virtual relationships [28][29] - Players often find solace and encouragement in the narratives of these games, which can provide valuable life lessons and emotional support during challenging times [29][40] - The financial investment in these games is seen as worthwhile by players, as they believe the emotional and psychological benefits outweigh the costs, leading to a shift in how spending is perceived [39][40]

Group 1 - The core viewpoint is that Generation Z, characterized by their unique consumption behaviors and social interactions, is expected to contribute significantly to global consumer spending, with a projected $12 trillion by 2030 [2] - Generation Z is heavily influenced by digital technology and values-driven purchasing, often seeking emotional experiences and social identity through their consumption choices [4][15] - The rise of the "谷子经济" (Guzi Economy) reflects a shift in consumer mindset, where emotional and identity-driven purchases, particularly in the realm of anime and gaming, are becoming mainstream [14][18] Group 2 - Social media platforms like Weibo and Bilibili serve as essential spaces for Generation Z to express their identities and connect with like-minded individuals, facilitating a shift from functional consumption to value resonance [4][10] - The phenomenon of "线上蹦迪" (online partying) versus "线下社恐" (offline social anxiety) illustrates the duality of Generation Z's social behavior, where they thrive in online interactions while often feeling isolated in real life [7][8] - The popularity of niche communities and interest-based discussions on platforms like Weibo highlights the importance of belonging and emotional connection for this generation, driving their consumption patterns [11][12]