Core Viewpoint - The article highlights the significant box office success of "Demon Slayer" in North America, indicating a strong demand for anime content in international markets [2]. Group 1: Box Office Performance - "Demon Slayer" achieved the highest box office revenue in its opening week in North America, surpassing previous records for anime films [2]. - The film grossed approximately $45 million in its first weekend, showcasing a robust performance compared to other animated films [2]. - The success of "Demon Slayer" reflects a growing trend of anime gaining popularity outside of Japan, particularly in North America [2]. Group 2: Market Implications - The strong performance of "Demon Slayer" may encourage more anime adaptations and releases in the North American market, potentially leading to increased investment in this genre [2]. - The article suggests that the success of anime films could influence the strategies of major film studios, prompting them to explore more collaborations with Japanese content creators [2]. - The rise of anime in mainstream cinema could also impact merchandise sales and related industries, creating new revenue streams for companies involved in anime production and distribution [2].

Core Insights - The film "Demon Slayer: Infinity Castle Chapter" has achieved a box office of 22 billion yen (approximately 1 billion RMB), surpassing the entire run of "One Piece: Red-Haired Songstress" which grossed 20.33 billion yen (approximately 1 billion RMB) [2][3] - The momentum of "Demon Slayer" continues, positioning it as a strong contender for the annual box office champion in Japan, with its previous film "Demon Slayer: Mugen Train" holding a total box office of 40.43 billion yen [3] - The original creator, Koyoharu Gotouge, is unlikely to benefit significantly from the box office success due to Japan's copyright regulations, which limit the maximum royalty to 10 million yen (approximately 470,000 RMB) [5][6][10] Box Office Performance - "Demon Slayer: Infinity Castle Chapter" is on track to become one of the top ten highest-grossing films in Japanese history within a month of its release [3] - The film's success is expected to contribute to a total box office of over 100 billion yen when combined with other planned films in the franchise [5] Creator's Earnings - The earnings for original creators in Japan are minimal, with Koyoharu Gotouge potentially receiving only 7 to 8 million yen (approximately 350,000 to 390,000 RMB) after deductions from the maximum royalty [6][8] - Other creators have expressed frustration over the low earnings from box office successes, with the majority of profits going to production committees and distributors [8][10] Industry Context - The anime industry in Japan faces significant challenges, including low salaries and long working hours, leading to high turnover rates among new creators [18][20] - Despite the limited financial benefits from the film's box office, Gotouge's income from manga royalties has significantly increased, with projected sales of over 220 million copies by 2025 [20][22]

Core Viewpoint - The Chinese secondary dimension market is expected to reach approximately 597.7 billion yuan in 2024, nearly double the size of 2019, driven by the growing popularity of domestic IPs and government support for their development [1][9]. Market Expansion - The market for character-related sectors such as animation and gaming in China is rapidly expanding, with a projected market size of about 12 trillion yen (approximately 580.5 billion yuan) in 2024, doubling from five years ago [1]. - The "BiliBili World" event in Shanghai attracted around 300,000 attendees over three days, indicating a significant increase in interest and participation in the secondary dimension culture [8]. Domestic IP Popularity - The popularity of domestic characters is on the rise, exemplified by the success of the animated film "Nezha," which grossed over 15.4 billion yuan during the Spring Festival, setting a record for Chinese box office earnings [12]. - The top trending IPs on China's second-hand trading platform include "Love and Deep Space" and "Identity V," showcasing the growing presence of Chinese IPs alongside popular Japanese works [15]. Government Support - The Chinese government is actively promoting the development of original IP brands, as outlined in the "Special Action Plan for Boosting Consumption," which emphasizes support for the animation, gaming, and esports sectors [14]. - Policies in Shanghai aim to revitalize tourism through IP and support the development of original IPs, reflecting a broader governmental strategy to enhance the domestic market [14]. Future Projections - The secondary dimension market in China is projected to expand to 834.4 billion yuan by 2029, driven by increased production and circulation of animation and gaming content, as well as the growth of emotional value consumption [9].

日本电影市场被《鬼灭之刃 剧场版 无限城篇 第一章 猗窝座再来》（下称《无限城篇》）彻底搞癫了。 开画首日零点场上座率几近100%是什么概念？一个周末就改写了首日票房、单日票房以及首周末（上映前三天）票房三项日本影史纪录又是什么概念？ 上映8天票房超过100亿日元又是什么概念？ 就这么说吧，上次看到如此现象级的项目，还是今年春节档的《哪吒2》。 这场"票房斩鬼人"的爆发，不仅席卷了日本本土，还传到了大洋彼岸。好莱坞权威媒体Deadline也对其首周票房进行了报道。 我们有我们的"票房魔童"，日本也创造出了自己的"鬼灭神话"。 日本影史"制造机"再临 要形容《无限城篇》在日本的热度，一个词即可——抢票。 工作日白天影院满场、想买GT IMAX记得先开影院提前购会员、大量影院开票即售罄，这就是这部动画电影在日本的热度现状。在民众的巨大热情下， 日本影院甚至也出现了国内春节档《哪吒2》排片的奇观。据日媒报道，有多家影院每日《无限城篇》排片达到20-30场，最夸张的TOHOシネマズ新宿甚 至一天排了40场。 根据日本興行通信社，截至7月28日，《无限城篇》上映10天累计票房已经超过128亿日元票房，观影人次高达910 ...

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].

Core Insights - Japanese animation has become a powerful soft power tool for the country, enhancing its global influence through decades of creative accumulation and artistic innovation [1][2] - The global revenue from Japanese anime reached $19.8 billion in 2023, with merchandise sales typically three times the revenue from streaming, indicating significant business opportunities [1] - The Japanese government has recognized the anime industry as a strategic asset capable of driving economic growth [1] Industry Analysis - The unique narrative style and aesthetic of Japanese anime are particularly appealing to global Generation Z audiences, who view these works as part of their cultural identity [2] - However, the Japanese anime industry faces challenges, including lower compensation for creators compared to foreign counterparts and the need for reform in the traditional production committee model [2] - Increasing competition from countries like China, South Korea, and Southeast Asian nations poses a threat to Japan's current dominance in content production [2] Competitive Landscape - China's "Nezha: The Devil's Birth" has become the highest-grossing animated film globally, earning over $2 billion, which allows the Chinese entertainment industry to invest further in production and reach a broader audience [2] - Experts suggest that while China has advantages in cultural depth and technological innovation, it must learn from Japan to build a unique cultural output system [2] - The global streaming revolution presents unprecedented opportunities for countries to share their stories and drive economic growth through cultural exports [2]