| | | 制图制表:游戏那点事 | | --- | --- | --- | | 奖项 | 游戏 | 研发商 | | 最佳家庭游戏 | 《咚奇刚:蕉力全开》 | Nintendo | | 最佳无障碍创新 | 《毁灭战士:黑暗时代》 | id Software | | 最佳电竞游戏 | 《反恐精英 2》 | Valve | | 最佳手机游戏 | 《赛马娘》 | Cygames | | 最佳独立游戏 | 《光与影:33号远征队》 | Sandfall Interactive | | 最佳动作游戏 | 《哈迪斯2》 | Supergiant Games | | 最感人心游戏 | 《午夜以南》 | Compulsion Games | | 最佳持续运营 | 《无人深空》 | Hello Games | | 最佳音效设计 | 《战地6》 | Battlefield Studio | | 最佳格斗游戏 | 《饿狼传说:群狼之城》 | SNK | | 最受期待游戏 | (GTA6) | Rockstar Games | | 最佳动作冒险 | 《空洞骑士:丝之歌》 | Team Cherry | | 最佳艺术指导 | 《光与 ...

Group 1 - The Japanese mobile game industry has a unique development trajectory, originating from social games that thrived post-2007, with market size growing from 4.9 billion yen to 342.9 billion yen within five years [2] - The rise of social games led to a bubble, characterized by high costs and a surge in game failures, resulting in significant job losses and a shift towards outsourcing [3] - The first bubble burst in the social game sector was accelerated by the proliferation of smartphones, leading to a decline in social games, which were later replaced by mobile games with character collection and gacha mechanics [3] Group 2 - The introduction of smartphones allowed for more complex storytelling in games, with titles like "Chain Chronicle" and "Granblue Fantasy" setting new standards for narrative depth in mobile games [19][22] - The success of "Fate/Grand Order" (FGO) in 2015 marked a turning point, emphasizing the importance of narrative in mobile games and leading to a surge in demand for game scripts [25][37] - The influx of Chinese mobile games into the Japanese market, such as "Knives Out" and "Azur Lane," has disrupted the traditional Japanese mobile game landscape, leading to a decline in revenue for local companies [66][69] Group 3 - The Japanese mobile game industry is facing a crisis, with many companies experiencing revenue declines and struggling to adapt to changing consumer preferences [69][70] - The concept of "social game bubble burst" has been reintroduced, highlighting the industry's challenges in meeting the evolving demands of players for richer experiences and higher production values [81] - The competitive landscape is shifting, with companies needing to invest in high-quality narratives and production values to remain relevant in the face of successful foreign titles like "Genshin Impact" [75][80]

Market Overview - The total revenue from in-app purchases (IAP) in the Japanese mobile gaming market is projected to be $11 billion (approximately 78.2 billion RMB) from August 2024 to July 2025, reflecting a year-on-year decline of 2.2% [1] - Despite a slight market contraction and a 2.5% decrease in downloads, the market remains stable due to a high average revenue per user (ARPU) and effective monetization strategies, maintaining annual revenue above 1.6 trillion yen (approximately 77.2 billion RMB) since 2021 [1] Category Performance - RPG games continue to dominate the Japanese mobile gaming market, contributing 37.4% of total revenue, with titles like "Uma Musume," "Monster Strike," and "FGO" leading the revenue charts [3] - Strategy games rank second with a 21.8% revenue contribution, driven by 4X strategy games like "Last War: Survival" and "Whiteout Survival," which saw a 35% revenue increase, and the card battle game "Pokémon TCG Pocket," which achieved a 305% revenue surge [5] - Casual puzzle games are the primary drivers of download volume, accounting for 33.2% of total downloads, with games like "Car Jam" and "Screw Sort 3D" experiencing over 70% year-on-year growth in downloads [5] IP Importance - Local IPs play a crucial role in the Japanese gaming market, with the "Pokémon" IP achieving a 32% year-on-year revenue increase due to the success of "Pokémon TCG Pocket" [10] - The "Gundam" IP, through the new release "SD Gundam GGENERATION ETERNAL," saw over 800% year-on-year growth, highlighting the effective operational strategies that enhance IP value [10][12] Publisher Landscape - Japanese publishers dominate the market, contributing over 52% of total IAP revenue while accounting for only 31% of downloads [14] - Major Japanese companies like Bandai Namco, Sega, and Capcom rank among the top ten global publishers on Steam, indicating strong influence in the PC and console gaming markets [14] - Overseas publishers adopt differentiated strategies to penetrate the Japanese market, focusing on core paying users and launching casual games that appeal to a broader audience [16][18] Advertising Strategies - The gaming sector is a leading category for digital advertising in Japan, with significant ad spending and display volume [19] - LINE is the most prominent channel for game advertising, with successful campaigns often aligning with major in-game events [19][20] - Targeted advertising strategies are employed, such as "Whiteout Survival," which focuses on male users aged 25-34, utilizing platforms like TikTok and Instagram to resonate with younger audiences [22]

Core Viewpoint - The article discusses the concept of "Anime Brahmin," a term that has evolved within the Chinese online anime community, often carrying a negative connotation, and explores its implications on cultural identity and community dynamics [2][9][24]. Group 1: Definition and Characteristics of Anime Brahmin - "Anime Brahmin" refers to a group of anime enthusiasts who exhibit a sense of superiority based on their extensive knowledge and experience with older anime works, often criticizing contemporary anime and its fans [12][17]. - The term originates from the Indian caste system, representing the highest social class, and was adapted to describe a specific demographic within the anime community in China [10][11]. - Three main characteristics define the Anime Brahmin: 1. Accumulation of cultural capital and knowledge, often favoring older works from the 1980s and 1990s [12][14]. 2. Establishing group identity through exclusive language and references, creating a divide between themselves and newer fans [15][17]. 3. A critical stance towards contemporary anime, viewing it as overly commercialized and lacking depth compared to classic works [17][24]. Group 2: Cultural Capital and Community Dynamics - The concept of cultural capital, as defined by Pierre Bourdieu, helps explain the Anime Brahmin's authority within the community, encompassing embodied, objectified, and institutionalized forms of capital [29][30]. - The historical context of the Anime Brahmin's emergence is tied to the early exposure of certain users to Japanese anime during its introduction to China, which shaped their cultural identity and knowledge base [31][32]. - The article highlights the tension between older and newer anime fans, as the influx of new viewers with different tastes challenges the established norms and preferences of the Anime Brahmin [45][46]. Group 3: Social Perception and Vulnerability - The Anime Brahmin's elitism is often met with criticism, as their perceived superiority can lead to social alienation within the broader anime community [38][39]. - The article notes that the anime culture has historically been marginalized, which contributes to the vulnerability of the Anime Brahmin as they seek recognition and legitimacy [35][40]. - The negative stereotypes associated with "otaku" culture further complicate the Anime Brahmin's social standing, as they navigate the duality of seeking validation while facing societal stigma [41][44].