In 2016, the potential secondary consumer population is expected to reach 200 million. Original content is the king of popularity

Relevant analysis reports believe that the number of active core users among China's "secondary yuan" population has reached 50 million, and in a broad sense, the number of potential consumers in 2016 is expected to exceed 200 million, mainly concentrated between the ages of 10 and 25, including middle-aged and above who use WeChat to send emoticons every day.

"Journey to the West: The Return of the Great Sage" won the Huabiao Award;"Big Fish and Begonia", which has been expected by the audience for many years, was released; the Pleasant Goat and Gourd Brothers have successively launched new versions;"What Things to the Rabbit That Year" has become popular and will be launched more "That Rabbit" products...

Analysts predict that China's "secondary economy", which consists of the entire industrial chain of animation, comics, games, music, derivatives, etc., will usher in a blowout in 2016. During the year, China's "pan-secondary users" may reach 200 million, and the consumer market of hundreds of billions of billions has yet to be developed. However,"fans" of the second dimension can't help but ask, how can local originality become stronger when a large number of mid-to-high-end overseas works are "besieged"?

How big is the scale of the "secondary economy"? Post Bar and Station B responded: The scale is "100 million" In

2015,"Journey to the West: The Return of the Great Sage" created a phenomenon-level movie-watching craze, known as the "second element" victory. Then there was "Qin Shi Mingyue" and "Get lost! "Tumor King" and "Langya Bang" inspire young people to interact with animation, comics, film and television in their spare time, and participate in live role playing, online dubbing, electronic music originality, etc. The release of the animated film "Big Fish Begonia", which fans have been waiting for for twelve years, is a major event known as the "second dimension".

What exactly is "second element"? The organizers of the 12th China International Animation and Game Expo, which recently opened in Shanghai, gave an explanation: The word was first born in Japan. In the early days, it referred to "two-dimensional space" and "two-dimensional world" graphic comic works, and corresponded to the three-dimensional real world referred to by "three dimensions". Later, it generally referred to virtual content in Animation, Comic, and Game works. In some overseas countries, it has formed a relatively complete industrial chain, involving video playback, performing arts economy,"fan economy", tourism routes and derivative product development, etc.

So how big is the scale of the "secondary economy"? The largest "secondary" cultural social platforms in China, such as Baidu Tieba and Bili Bili. com, believe that their scale can be calculated in "100 million".

Big data analysis from Baidu shows that Baidu Post Bar currently has a total registration volume of 1.5 billion (including multiple registrations by one person), with 300 million monthly active users, of which 70% call themselves "anime fans." The entire Baidu platform currently has an astonishing number of anime post bars, about 85000. The "post-90s" and "post-00s" are the absolute main force of post bars.

Another statistic shows that from 2013 to 2015, the scale of large-scale live events held by the "secondary" cultural social platform "Bili Bili website" in Shanghai increased from 3000 people on the first day to about 30,000 people throughout the day. This platform, nicknamed "Station B" by netizens, has rapidly grown into one of the largest "secondary yuan" platforms in China in recent years.

Compared with online platforms such as Taobao, QQ, and Baidu, the younger Station B currently mainly gathers users under the age of 25, with the post-90s and post-00s accounting for about 75%, and this group is still growing. Among them are young people living in first-tier cities and developed coastal cities, as well as new users in second-tier and third-tier cities and inland areas.

Relevant analysis reports believe that the number of active core users among China's "secondary yuan" population has reached 50 million, and in a broad sense, the number of potential consumers in 2016 is expected to exceed 200 million, mainly concentrated between the ages of 10 and 25, including middle-aged and above who use WeChat to send emoticons every day.

Is it the rise of originality or the "false fire" of the industry? "Warcraft" producers:

From last year's "Return of the Great Sage" to this year's "Big Fish Begonia", thousands of anime fans have praised the rise of domestic "secondary yuan".

However, some netizens calmly analyzed: We must admit that the routines and styles of Japanese animation can be seen in "Return of the Great Sage" and "Big Fish Begonia", and there are still shortcomings in local originality. Regarding the creation of "Big Fish Begonia", netizen "slothChisle" left a message,"The painting style is too similar. When I watched the trailer, I directly thought it was produced by Hayao Miyazaki." Netizen "I am MrLonely" analyzed that it was not completely domestically produced, and there was also South Korea outsourcing.

During the China International Animation and Game Expo, the "heat" and "cold" encountered by overseas and domestic manufacturers were still relatively obvious. Analysts also expressed concerns about the original core competitiveness of the local "secondary economy".

Relevant research reports analyze that the current domestic acceptance of "secondary yuan" culture in China is gradually increasing. Although content consumers have maintained steady growth, the growth rate of the scale of consumer goods has not kept up with the increase in consumer demand, which means It still depends on imports to a considerable extent.

As Japan's early development of "Sailor Moon","Naruto" and "Detective Conan" have successively entered China in the form of musicals and physical exhibitions,"Warcraft" films have been released simultaneously around the world, and China's "secondary" derivative consumption has not yet got rid of the status quo of "mainly imports, supplemented by domestic products."

"I have to admit that this year's" Warcraft "movies swept the domestic box office, allowing us to see the vitality of the" secondary "economic expansion in Europe and the United States. The 'IP craze'(referring to the craze for online copyright adaptation) itself has aroused the enthusiasm of the animation and game industries., but at the same time it is difficult to conceal some of the 'false fires' of local originality." Zhang Wei, publicity director of China International Animation and Game Expo, analyzed.

The journey from the game "World of Warcraft" to the movie "Warcraft" lasted for more than 20 years. However, the phenomenon that "Warcraft" broke through 1 billion yuan in the box office in five days has also triggered the "impulse" of relevant domestic counterparts. Some companies have announced that they will quickly enter the ranks of "second-dimensional movie-game linkage" in game-based movies.

"Warcraft" producer Gartner recently "poured cold water" on his China counterparts. He said frankly that the phenomenon of "rushing into action" in the industry can certainly avoid risks and help withdraw funds, but it is indeed "a detour that Hollywood has taken." He reminded,"Homogenized work will only make you lose the audience and the market."

Analysts believe that China's current consumer content for "secondary yuan" is still too single, and the market segments are underdeveloped. At the same time, it does not rule out the use of "secondary yuan" to launch inferior products, dump at low prices, etc., and relevant intellectual property laws and regulations also need to be improved.

How can the "second element" be self-reliant? Audiences and professionals: Looking forward to the rise of positive energy of originality

, how can local original "secondary" content production grow from big to strong? "Second Yuan" audiences and industry insiders are also trying to answer this question.

At the beginning of this year, the documentary "I Repair Cultural Relics in the Forbidden City" unexpectedly became popular on Station B. Its single episode was broadcast more than 800,000 times. It was once at the forefront of the bullet screen rankings. It was called "a perfect counterattack of local original documentary works in the secondary world."

Entering July, Xinhua Agency's "Red Temperament" micro-movie and "That Rabbit" patriotic theme serial also broadcast on Station B, which received a large number of views and bullet screen messages. Many "post-90s" left messages one after another: "Tears","I'm proud" and "So temperament".

Industry insiders analyze that a group of excellent anime rich in positive energy, as well as "high-concept" works that blend film and animation, are being sought after by the "secondary yuan" crowd, which will form a deeper cultural interaction.

Wang Lei, deputy dean of the School of Animation and Digital Arts at Communication University of China, believes that the rise of local original "secondary" content must also follow some internationally accepted creative rules, such as touching people's hearts in the original communication model and emotional core, and secondly, it has spiritual resonance with contemporary audiences and is related to contemporary culture. This has certain commonality for content producers in China and even around the world.

"I hope everyone can still create their own works in a down-to-earth manner." Yu Xin, co-founder of Shanghai Zuobuchi Culture Communication Co., Ltd., which is engaged in the research and development of "secondary yuan" content, said at the China International Animation and Game Expo,"Many animation companies do have a mentality of eager for quick success and instant benefit, and it is not ruled out that some companies are aiming to collect money. But the bubble will always burst one day."

Liang Xuan and Zhang Chun, directors of "Big Fish Begonia", also have their own answers. They said: "Creators can only do well by doing what they are familiar with. China people have their own way of expression and should not simply imitate other countries."

Editor: Nancy