Industry Dynamics - In July, a total of 134 game licenses were issued, with 127 being domestic games, indicating a stable approval rate for the year with 893 domestic online games approved so far [2] - The proportion of casual puzzle games among the approved titles saw a significant decline, dropping to 27.6% [2] - The Chinese Football Association plans to establish a national esports football team to participate in various international esports football competitions [3] Company Developments - The domestic AAA game "Mingmo: Yuanshu Zhi Yu" was globally released, but faced controversy due to issues like identical content in different editions and price discrepancies, leading to a drop in its Steam rating from below 20% to 34% after the developers issued an apology and adjusted prices [4] - The game is expected to contribute to the growth of the single-player market in China, with industry experts suggesting that the market for high-quality domestic single-player games is on the rise [4][6] - The gaming company Paper Games experienced executive changes, with Yao Runhao resigning as the legal representative of multiple companies [7] - Zhejiang Shuju Culture held a shareholder meeting to increase its board members from 5 to 7, adding an independent director and a staff representative [8] - NetEase won a bid for a big data platform project with Huatai Securities, amounting to approximately 1.43 million yuan [9] International Developments - The international version of "No Man's Sky" was launched, with the domestic version expected to be released in the fall [11] - Finnish mobile gaming giant Supercell announced an investment in AI gaming company Glass Bead Games, founded by former Alibaba executives [12][13] Esports Events - The third anniversary celebration of "League of Legends Mobile" was successfully held, with teams JT, EW, and TT.Chenxi winning their respective championships [14] - The 2025 League of Legends World Championship will return to China, scheduled from October 14 to November 9 [15]

Core Perspective - The article explores the contrast between idealized romantic narratives in games and the harsh realities of modern dating and marriage, particularly through the lens of female players who engage with otome games like "恋与深空" [2][5][19] Group 1: Game Features and Marketing - The 4.0 version of "恋与深空" features a wedding-themed event that enhances player immersion with realistic companionship functions and collaborations with media and popular artists [2] - The game aims to provide players with a tangible sense of romance, contrasting with their real-life experiences [2][5] Group 2: Player Experiences and Realities - Players like 小恩 find it difficult to separate the game's romantic ideals from their real-life experiences, leading to feelings of fear and frustration when faced with the realities of arranged dating [4][6] - Many players experience societal pressure regarding marriage, often feeling like passive participants in their own romantic lives due to family expectations [5][6] Group 3: Emotional Impact of Family Dynamics - 小恩's experiences with her parents' troubled marriage shape her views on relationships, leading her to have low expectations for her own romantic future [7][19] - The frequency of arranged dates creates tension within her family, highlighting the generational conflict regarding marriage expectations [8][19] Group 4: Coping Mechanisms and Personal Growth - Players like 木木 use otome games as a means of emotional support, finding solace in the characters and narratives that offer a sense of understanding and validation [12][14] - The article illustrates how these games help players navigate their feelings about relationships, allowing them to assert their own standards and desires in the face of societal pressures [16][21]

Core Insights - The new version 4.0 of "Love in Deep Space" has successfully attracted a large number of players, ranking third on the sales chart and fourth on the Xiaohongshu follower growth list, gaining over 130,000 followers in a week [1] - The success is largely attributed to the new "Oath Card" theme, commonly referred to as "Wedding Card" by players [1][5] - The introduction of wedding cards in otome games is not new, but it continues to capture attention, with many games having previously implemented similar themes [3][5] Game Mechanics and Themes - The wedding card in "Love in Deep Space" appears to follow a "fake marriage" narrative, where players assume the role of a wedding planner, leading to a wedding-themed storyline [5][6] - The wedding scenes are set in a fantastical "anomaly space," emphasizing romantic vows rather than the institution of marriage itself [5][8] - Players have expressed mixed feelings about wedding cards, with some openly sharing their fears of marriage on social media, marking a shift in player sentiment [6][7] Player Sentiment and Emotional Exploration - The current discourse among players reflects a calm expression of fear regarding marriage, contrasting with previous aggressive or narcissistic comments [7] - Players' reasons for disliking wedding cards vary, with some citing personal experiences and others feeling that marriage signifies the end of romance [6][8] - The game serves as a safe space for players to explore their feelings about relationships and marriage, allowing for emotional introspection [8] Commercial Strategy and Market Trends - Wedding cards have become a significant marketing strategy in the domestic otome game market, with successful implementations in various titles leading to increased revenue [9][10] - The core user demographic for otome games is primarily aged 18-30, a group that seeks emotional connection and companionship through gaming [10] - The introduction of wedding cards is seen as a way to fulfill emotional needs, providing a sense of belonging and security that may not be present in real-life relationships [10] Industry Challenges and Opportunities - The female-oriented gaming market remains underdeveloped, with high expectations from players leading to challenges in content creation and community engagement [11][13] - The presence of wedding cards represents a deepening of content in female-oriented games, addressing emotional needs and enhancing player engagement [13] - The industry's evolution towards more sophisticated emotional narratives and gameplay mechanics indicates significant potential for growth and innovation [13][14]

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]

Core Insights - The rise of emotional consumption, particularly through services like Cosplay commissions, reflects a growing trend among young consumers seeking emotional and social fulfillment [1][2][20] - The domestic otome game industry has seen significant growth, with over 300 million female gamers in China, creating a core user base for Cosplay commission services [1][12] Group 1: Emotional Consumption Trends - Emotional consumption is becoming a new growth driver in the economy, with services like Cosplay commissions transforming virtual emotions into real-life experiences [1][2] - The phenomenon of "compensatory psychological satisfaction" drives demand for these services, allowing consumers to pay for idealized companionship [2][20] Group 2: Market Dynamics - The Chinese two-dimensional industry has experienced explosive growth, expanding from 18.9 billion yuan in 2016 to 221.9 billion yuan in 2023, with a compound annual growth rate of 42% [10] - The surrounding derivative industries, including Cosplay commissions, are expected to continue growing, with projections indicating the two-dimensional content market could reach 110.58 billion yuan by 2026 [10][12] Group 3: User Experience and Challenges - Users report mixed experiences with Cosplay commissions, with about one-third of experiences being unsatisfactory due to issues like lack of professionalism and quality [4][5] - The industry faces challenges such as the "killing familiarity" phenomenon, where service quality declines after initial positive experiences [4][5] Group 4: Safety and Regulation Concerns - The lack of industry standards and regulations raises safety concerns for consumers engaging in these services, particularly regarding personal safety and emotional well-being [20][22] - Experts emphasize the need for early legislative and regulatory attention to establish service standards and protect consumer rights [22][23] Group 5: Industry Perspectives - Service providers express concerns about the commercialization of Cosplay commissions, fearing it may lead to a decline in service quality and emotional value [19][21] - The industry is characterized by a significant disparity in service quality and pricing, with some providers charging excessively high fees without corresponding service quality [7][9]

Core Insights - The article discusses the successful launch of the new潮玩盲盒 brand DearNikki by叠纸游戏, which focuses on the暖暖 IP and has seen significant sales since its release in June 2023 [1][4][15] - The盲盒 market is growing, with projections indicating that the market size in China will reach 52 billion yuan by 2024, with潮玩盲盒 accounting for 58% of that market [14] Group 1: Product Launch and Sales Performance - DearNikki launched its first series of盲盒 on June 1, 2023, and sold over 70,000 units by June 18, generating sales exceeding 5.5 million yuan [1] - The盲盒 are priced between 59 yuan and 79 yuan, which is higher than traditional二游周边 products, yet still attracted significant consumer interest [5][11] Group 2: Market Dynamics and Consumer Behavior - The盲盒 market is not mainstream within the二游周边 market, primarily due to the random nature of盲盒, which can deter players who prefer transparency in purchasing [5][10] - Games with strong character loyalty, such as《恋与深空》 and《光与夜之恋》, have struggled with盲盒 sales, while games with less divisive character bases, like《王者荣耀》, have seen more success [8][10] Group 3: IP Strength and Future Potential - The暖暖 IP is uniquely positioned to succeed in the盲盒 market due to its lack of character disputes and the ability to create diverse designs based on the character's customizable features [11][12] - The long-standing popularity of the暖暖 series, which has been around for over a decade, provides a strong foundation for expanding into new product categories like盲盒 [11][15] Group 4: Strategic Goals and Market Expansion - The creation of DearNikki is part of叠纸游戏's strategy to enhance the暖暖 IP's recognition and reach beyond its traditional gaming audience [15] - The company aims to attract a broader consumer base, including those who may not identify as "暖妈," thereby integrating the暖暖 brand into everyday life [15]

Core Viewpoint - The controversy surrounding the female protagonist in otome games, particularly in "Undecided Incident," highlights a broader trend where players prefer to see the female character as a mere vessel for their own identity rather than as an independent character [1][3][17] Group 1: Player Reactions and Trends - Players expressed dissatisfaction with the female protagonist's visibility in the new event of "Undecided Incident," indicating a strong preference for anonymity in the character's portrayal [1][4] - The phenomenon of "anti-female protagonist" sentiment is prevalent in the otome game community, where players often reject the notion of the female character having a distinct identity [3][6] - Similar backlash occurred in "Love and Deep Space," where the female character's appearance in promotional materials led to player outrage and even some quitting the game [4][6] Group 2: Character Development and Market Evolution - The evolution of female protagonists in otome games has shifted from having defined identities to being more customizable, reflecting the changing preferences of the player base [8][10] - Early otome games allowed for more character individuality, but as the genre evolved, the focus shifted towards enhancing player immersion by minimizing the female character's distinctiveness [10][12] - Recent titles like "Love and Deep Space" and "World Beyond" have taken this to an extreme, allowing players to create their own characters, thus reinforcing the idea that the female protagonist is essentially the player themselves [12][13] Group 3: Industry Challenges - The otome game industry faces a dilemma between enhancing player immersion and maintaining narrative depth, as reducing the female protagonist's presence can lead to weaker storylines [14][16] - The current market trend prioritizes player engagement and emotional connection with male characters, often at the expense of character development and plot richness [14][16] - This ongoing challenge suggests that the otome game industry may struggle to balance player expectations with the need for compelling storytelling in the future [16][17]

Group 1 - Weibo reported a solid growth in Q1 2025 with total revenue of 2.883 billion RMB and adjusted operating profit of 943 million RMB, alongside 591 million monthly active users and 261 million daily active users [1] - The successful WAW event during the May Day holiday showcased Weibo's strategic planning in content ecosystem development, filling a gap in the northern large-scale gaming and anime exhibition market [1][3] - The WAW event attracted 68,000 attendees, indicating Weibo's ability to leverage its user base and content ecosystem to create a significant cultural impact [3] Group 2 - Weibo's unique synergy of "social interaction + trending topics + content distribution" enabled the effective spread of niche cultural content to a broader audience, with WAW generating 87 trending topics and over 2.45 billion topic views [6] - The platform has established a comprehensive content ecosystem in the ACG sector, involving over 3.2 million users and a diverse creator matrix, which supports the event's popularity and engagement [7][9] - WAW featured over 130 IPs and 700 guests, with more than 30 interactive activities, enhancing the integration of fans and content providers [9] Group 3 - The event's success demonstrated Weibo's ability to create a closed-loop content ecosystem, enhancing the depth and breadth of content while facilitating user engagement and social sharing [11] - WAW served as a new customer acquisition platform for game developers, with significant participation and download rates for various games, showcasing the event's commercial potential [11][13] - The event also contributed to local economic growth, boosting foot traffic and revenue in the surrounding areas during the May Day holiday [16] Group 4 - WAW reflects a strategic shift for Weibo from a social platform to an industry hub, aligning with the evolving ACG industry trends and user demands for immersive experiences [17] - The user operation strategy is transitioning from traffic aggregation to community-driven content co-creation, with significant contributions from core user groups [18] - Weibo's content ecosystem is evolving towards a more integrated model, enhancing IP influence and expanding commercial opportunities [23][27] Group 5 - Weibo's systematic approach to talent cultivation through various plans is fostering a structured IP development process, linking online engagement to offline monetization [28][30] - The platform is now a connector within the ACG industry, facilitating seamless integration across multiple sectors, including culture, entertainment, and retail [31] - WAW exemplified the deep integration of ACG culture with urban cultural consumption, contributing to the development of new cultural landmarks [33][34]

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]