【Practical】Basic knowledge you should know about game IP

The gaming industry is perhaps the most special one among the 365 industries in China. When facing traditional industries that are not so progressive, it can look down on all others; on the other hand, when it looks at those seemingly "aloof" Internet companies that actually rely on capital transfusions and are extremely poor, it can be a little arrogant. The Chinese gaming industry stands alone in this way, neither going up nor down, neither old nor old.

Based on this, some "strange things" always happen in this wonderful industry. For example, the game industry, which is known as the most "impulsive", is the industry in China that attaches the most importance to intellectual property rights, and may even be the only industry that attaches great importance to intellectual property rights.

1. History: Who unveiled the first year of IP?

Baidu Encyclopedia explains "intellectual property" as an intangible property right, also known as the right to intellectual achievements. Its English name is Intellectual-Property, abbreviated as "IP". I believe that most Chinese game developers have heard this abbreviation more frequently in the past two years than in the previous decades combined.

However, due to well-known reasons, my country's protection of intellectual property rights is not strong enough. Apart from the central media, "intellectual property rights" are rarely mentioned repeatedly by an industry.

In the gaming industry, IP products usually refer to game products produced by obtaining authorization from literature, film and television, and popular games to use their characters, images, images, texts, plots, etc.

The earliest IP-adapted game was "Swordsman (pre-order)" launched by Soft World in 1993. As one of the earliest companies to license games through Chinese martial arts and original IP in the field of Chinese stand-alone games, Soft World obtained the unified authorization of 14 novels by Jin Yong in 1996, and also launched the stand-alone version of "The Legend of Jin Yong" in the same year. Different from it, Soft World focused on developing its own IP games in the early days of its establishment. The birth of products such as "Monopoly", "Chinese Paladin" and "Star Dream" created conditions for Soft World's future IP-adapted games and film and television dramas.

Although "The Legend of Jin Yong" achieved unprecedented success, the mainland game market was still in a "chaotic period" at the time, with almost no truly large game companies; and there were no consecutive IP-licensed games that achieved commercial success. In that era, IP existed as a derivative of the cultural industry chain, and was just a derivative form of the industry chain outside of the artistic expression of movies and TV series.

The information is taken from the official website of Soft-World Taiwan

Afterwards, the market performance of stand-alone games continued to be sluggish. The online game market, which had just entered the historical stage, was occupied by Korean non-IP online games such as "Miracle", "Stone Age" and "Legend". In that decade, the only IP product that could be called successful was "The Legend of the Jin Yong Online".

By 2005, the business model of free games and paid props had changed the fate of IPs. The large-scale application of IP traffic and the three-ring business model of Come-Stay-Pay made PC games such as "Zhu Xian" and "Tian Long Ba Bu" even more successful.

It has been proven that highly recognizable IPs and the Come-Stay-Pay model are a perfect match: giving users a sense of belonging in the "come" phase, thereby gaining a large amount of traffic; providing users with familiar plots and content in the "stay" phase, gaining player recognition while maintaining high game retention; and increasing user payment rates through highly appealing characters and items in the "pay" phase. No wonder major game companies are salivating over IPs.

Therefore, there were joint rights protection actions in 2013 against literary works such as Jin Yong's themes and well-known anime such as One Piece and Naruto; and 2014 was called the "first year of IP".

It is worth mentioning that after the emergence of web games and mobile games, which are game types that take advantage of users' fragmented time, some manufacturers simply use the brand value of IP, that is, the ability to "attract traffic", and "skin-changing" behavior has also become rampant with the rise of IP.

2. The significance of IP: to attract traffic? To save promotion costs?

In any case, a high-quality IP can at least help the game attract a large number of users in the early stage, thereby saving promotion costs. According to statistics, whether a game has an IP or not has a 3 to 7 times impact on its conversion rate. There is a several-fold difference in downloads and a 2-fold difference in revenue. In addition to the powerful volume-reducing ability of the IP itself, the fierce competition in mobile games is also one of the key reasons for the intensified competition for IPs and the rising prices.

For most game CPs, the significance of IP is often not just "icing on the cake", sometimes it is even "a matter of life and death". Xu Bo, vice president of Giant Mobile, said: IP can quickly accumulate a huge user base in a short period of time, and to some extent it represents a certain market. But if a game wants to be successful, it cannot rely solely on IP. In terms of selection, four dimensions should be considered: popularity, dissemination, product extension space and team matching. Yu Miao, CEO of Leheng Interactive, also mentioned to reporters: "At present, for channels, IP is now standard. If a game does not have an IP, the channel may pass it as soon as it hears that it is an unknown small product. So from the perspective of satisfying channels, IP is also necessary. However, compared with excellent products, IP is 1. If 1 is successful, how many times the value is magnified in the future depends on the value of the 0 behind it. Because there are also many IPs of first-line products, but the final product Waterloo is everywhere."

On the other side of the coin, publishers and distributors, who should have been in a "strong position", have also begun to hoard IPs on a large scale in the face of increasingly fierce competition, in order to require CPs to "take sides". Last year, Chinese mobile games went to Japan to "buy goods" and this year 360's "Idea for IP" policy also added fuel to the hot IP market.

This information is compiled from information provided by manufacturers and publicly released information.

Nowadays, the application of IP in domestic game products has already surpassed the three traditional classic IPs - Three Kingdoms, Journey to the West, and Martial Arts: online literature IP, film and television drama IP, animation IP, PC game IP... Various types are emerging in an endless stream. Fortunately or unfortunately, we are all in an "IP era".

3. Four most realistic issues regarding IP

1. Authorization model: adaptation/brand use/brand agency

In the current licensing model, the main ones are brand use rights, brand adaptation rights, and brand agency rights. Among them, in the brand use rights, taking "Dota Legend" as an example, even if Lilith obtains the authorization from Vavle in the future, it is only the brand use rights of the characters and portraits in "DOTA". Lilith can develop a "Dota Legend", but cannot make a mobile version of "DOTA"; and the recently popular "The Journey of Flower", iQiyi and Ciwen are the IP acquirers of "The Journey of Flower", and Tianxiang Interactive obtained the game development and adaptation authorization from the above two parties.

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2. IP price: from 0 to 10 million

Affected by Baidu Index, product popularity, partners, business candidates, etc., the market price of IP fluctuates greatly, but as IP becomes more popular, the rights of copyright holders increase day by day, and the price also increases accordingly. At present, whether it is online literature or animation IP, the highest IP licensing fee is the highest level, such as the highest author asking price of at least 20 million.

Among them, the licensing fees for the masterpieces and new works of literary masters can be as high as 5-10 million, and the commission can reach 5%-10% of the turnover. For other authors' works, when the Baidu index is above 100,000, the licensing fee is basically about 10 times the index, and the commission income can be obtained. For example, if the Baidu index is 300,000, it can get about 4 million in licensing fees, which may be higher this year. For example: the licensing fees of the works of first-line masters such as Demonic Heaven Record, Great Lord, Legend of the Wilderness (rush to stay in the new server), and Fights Break Sphere (Weibo) are all above 10 million, and the commission can reach 5-10% of the game turnover; a person who specializes in IP licensing game negotiations revealed: *** authors are currently in the strong side, and most of them will set up studios\companies to participate in IP adaptation in the form of requesting shares, which also means that now it is not a simple sale of IP, but capital operation with IP.

The data comes from IP intermediaries, developers, channels, etc. and is for reference only.

Japanese anime IPs are licensed separately by copyright holders, so the price of a single license is slightly lower. But if it is a top-notch IP like "Naruto" or "One Piece", the sum of the prices of several sub-licenses is also quite high. Tencent Interactive Entertainment once told reporters that the copyright division of Japanese anime IPs is rigorous and complex. There are as many stakeholders in "Naruto" - including comic authors, publishers, animation production committees, illustrators, music and sound effects, and voice actors.

According to industry insiders, the starting price for first-tier IPs such as One Piece has reached a minimum of 8 million yuan + 5% share on PC and 8% share on mobile; Bleach MG reaches 800,000-1.2 million yuan, with a share of 10% of CP revenue. However, even if a pornographic or violent title like Tokyo Ghoul is very popular, it is still a taboo in licensing.

Source: IP intermediaries, developers, channels, etc., for reference only

The licensing fee for TV drama IP is slightly lower than the first two. However, if it is a TV drama IP with many stars, the fee is not cheap. At present, the general TV drama IP licensing price is about 1-2 million.

Source: IP intermediaries, developers, channels, etc., for reference only

In addition, there are various signs that copyright holders are beginning to make different offers based on the strength of the game companies. Yu Miao, CEO of Leheng Interactive, mentioned: "In the early stages of IP cooperation, the operation will provide a revenue/loss statement to determine the price of the IP purchase. The total revenue minus the revenue shared by the three parties, minus the revenue from the IP purchase, to see if it can make a profit. The copyright holder will also make a comparison. If they think the R&D company is strong, the copyright fee will be reduced because the profit will be greater; otherwise, they will ask for more copyright fees. There is a price difference of about 2-3 times between the two."

3. Profit-sharing model: Buyout/Authorization + Profit-sharing model/MG/Extra accounting

In the 1990s, due to the small output value of games, copyright holders were often casual about IP licensing. For example, in 1996, Jin Yong licensed all 14 of his novels to Wisdom Star at once and allowed it to develop "The Legend of the Condor Heroes".

As the value and price of IP continue to rise, not only has the IP licensing model evolved from the initial buyout system to today's licensing + profit-sharing model, but even for the same IP, copyright holders will rack their brains to split it up to "make money."

Yu Miao, who had jointly obtained "All People's Group" with Touch, said that although the profit-sharing model is usually authorization + profit-sharing, for a project like "All People's Group", if you still want to invite celebrities to endorse or promote the music after obtaining the music copyright, you will need to pay extra fees. However, if you use celebrities from the authorized company and cooperate on a packaged basis, the cost will be relatively cost-effective.

The mobile game "The Journey of Flower" is one example. When Tianxiang Interactive obtained the adaptation authorization for novels and film and television works, it also included the endorsement of the heroine Zhao Liying, and obtained the right to use Zhao Liying's portrait in publicity and peripheral production. From the early stage of the game's launch, Zhao Liying would promote "The Journey of Flower" on Weibo and attend press conferences.

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Xianghudong has obtained the authorization from iQiyi to adapt the film, which also includes the right to use Zhao Liying's image.

In summary, although only Japanese comic IPs often use the guaranteed advance payment (MG) + turnover/profit sharing model, it is basically similar to the current copyright fee + profit sharing model in the domestic mobile game market. The guaranteed advance payment is determined based on the popularity of the IP, the profit sharing ratio, and the predicted income in the income plan. It can be used to offset the profit sharing. Only when it exceeds the guaranteed advance payment will the real profit sharing be paid. In addition, according to different IP licensors and different products, if they contain artist resources and promotion channels, there is more room for rights and interests.

4. Profit model: The algorithm is fuzzy and basically relies on guessing

After investigation, it was found that the current method of calculating IP value by game companies is rather vague.

Whether an IP is worthwhile or not depends mainly on whether the input is greater than the return. The price of an IP is clearly marked, but how much revenue increase an IP can bring to a game is currently impossible to calculate and can only be estimated by guesswork.

Qi Yunxiao, vice president of Linekong, revealed that most game companies currently divide IPs into two levels: "extremely popular" and "not very popular." For "extremely popular" IPs, it is assumed that they will bring a 35% to 50% increase in revenue to the game; while for "not very popular" IPs, a "conservative" estimate of 10% to 20% revenue increase will be made.

Tianxiang Interactive CEO He Yunpeng also admitted: Although the multi-party profit-sharing model such as "The Journey of Flower" will reduce profits, considering the volume, a successful work can achieve a considerable turnover, and the single-party profit sharing is also relatively considerable.

Fu Qiang, CEO of ***bo, has a different view on this. In his opinion, game revenue, retention, ARPU value and other data seem to be the limit of evaluating the success of a game. But from a deeper perspective, the fit between IP and derivatives and the acceptance of fans can better represent the success criteria of the product.

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4. Top 4 IP types most favored by manufacturers

1. Literary IP: Adaptation*** Users have good payment habits

For major game companies, literary IP is still the most important.

Literary IPs are mainly divided into two categories: traditional literature and online literature. Traditional literature IPs are often more valuable because they have a profound cultural heritage and accumulated fans: Youzu Network's Wen Ruian's "Four Cute Catchers", *** World (Weibo)'s "The Return of the Condor Heroes (pre-order)", Changyou's "The Demi-Gods and Semi-Devils", Junmeng Games' "Ancient Dragon Heroes" are all representatives.

In the era of stand-alone games, traditional literary IPs were the largest and most successful IP types in China. Unfortunately, due to their limited number and early creation, most of them have been divided up and are mostly exclusive. For example, Jin Yong's "Flying Snow and Shooting White Deer, Laughing Book and Heroes Relying on Green Mandarin Duck" has long been divided up by Changyou and the online world.

In comparison, the emerging online literature IP has quickly replaced the former and become the most popular IP type today, thanks to its characteristics such as "low difficulty to obtain", "high overlap with young players", "high fit with game play", and "strong willingness to pay".

The rankings are taken from the best-selling list available on APP STORE, as well as data published by manufacturers.

As a representative of online literature IP adaptation, ***wave has successfully authorized 9 works including "Tangmen World", "Peerless Heavenly Mansion", "The Legend of Chusen" mobile game, "The Legend of Chusen" web game, "The Legend of Chusen 2" mobile game, "Ice and Fire Magic Chef", "School Beauty's Personal Bodyguard", "Legend of Lingtian", "Hunting Kingdom (Weibo) Storm" and so on. As an authorized company, ***wave will also participate in the details of the game's plot adaptation, world view structure, etc., invite the original author to participate in the plot setting, and brand marketing.

Forgame, which has recently transformed into a mobile game, purchased five popular online literary novel IPs from Qidian Chinese in August last year, including "Ever Night", "Tang Brick", "Invincible Summoning Spirit", "Martial Arts" and "Emperor", but the market performance was flat. Liu Chang, vice president of Forgame, once said: The reason why we chose novel IPs at the beginning is that, on the one hand, from the perspective of game development, CP does not need to think about the world view, character structure, and the relationship between characters, and it is more labor-saving to turn the expression of words into the expression of games. On the other hand, we value the sustainability of the influence of novel IPs.

However, Fu Qiang, CEO of ***bo, admitted that although literary IP is popular, not every popular online literary IP is suitable for full industry chain development. It is necessary to consider the fan recognition, market demand, content of the work, and commercial feasibility. In the second half of 2013, the price of a popular online novel was only 1 million yuan. A year later, this price generally doubled by 2-5 times, and some of the most popular novels could even sell for 10 million yuan.

During this process, Shanda Literature, the former "big brother" of Chinese online literature, naturally got the lion's share of the pie. At the online literature game copyright auction held by Shanda last year, the total auction price of the mobile game adaptation rights of 6 works reached 28 million yuan, 8.1 million yuan for the first and 1.6 million yuan for the second, with an average of 4.67 million yuan per work. In September, Shanda Literature changed its previous external fee-based licensing model to the "commissioned development-distribution profit-sharing" IP licensing model, moving the "IP equity model" to the field of online literature. In addition, on reading platforms like Shanda Literature and Qidian, users have cultivated the habit of paying for many years, and have become recognizable to IP derivatives such as games, and user stickiness will be higher.

Although online literature IP is very popular, and there are representative works such as "The Great Lord", "The Legend of the Great God", "The Invincible God of War", and "The Sky Change", etc. However, corresponding to the rising IP licensing fees, online literature IP games still lack a phenomenal product, and the conversion rate of fans is still controversial.

2. Classic game IP: The "shortcut" to success for traditional PC game companies with higher ARPU value

Mobile games adapted from classic game IPs are a "shortcut" to success that traditional PC game giants have recently discovered. Whether it's NetEase's "Fantasy Westward Journey", Changyou's "Demi-Gods and Semi-Devils", Giant's "Zhengtu", ***World's "Magic Baby", Ledao's "The King of Fighters", or even Jibit's "Wendao" which is expected to be launched in Q4... They often achieve amazing PCU and ARPU as soon as they are launched.

Take the mobile version of Fantasy Westward Journey as an example. This highly anticipated game was launched on the App Store on March 26. In just 32 hours, it became the first mobile game in China to exceed 1 million PCU (concurrent online users). In contrast, it took the PC version of Fantasy Westward Journey two years to achieve this result.

According to sources, in the first full month after the launch of the mobile version of Fantasy Westward Journey, the turnover on the iOS platform alone exceeded 150 million. If we infer from the data performance during the closed beta test: the monthly ARPU value of players exceeds 250 yuan*1 million users, the most conservative turnover of the game in all channels in April is also more than 250 million. Indeed, PC game players with good payment habits and IP recognition are undoubtedly the highest quality mobile game players.

An interesting proof is that despite not having a legitimate IP license, Red Moon Technology still "reorganized and merged" with Tianxiang Interactive through "Romance of the Three Kingdoms 15" (formerly known as "Romance of the Three Kingdoms 15-Bawang's Continent"/"Romance of the Three Kingdoms-Power-Up Edition"). Although the specific amount is unknown, according to the disclosure by former Red Moon Technology COO Meng Kun that "a listed company once offered 600 million to acquire Red Moon Technology but failed", it can be inferred that Tianxiang must have paid a high price to "reorganize and merge" with Red Moon.

It is worth mentioning that although most classic game IPs are "internalized" by the old PC game manufacturers themselves, since 2014, Taiwan's old stand-alone manufacturers represented by Softstar have set off a wave of "bringing IP to the mainland to make money", and the entire PC game IP market has begun to show "chaos". In the final analysis, it is because most Taiwanese manufacturers have adopted the model of splitting IP into successive versions and licensing each game category separately. At present, there are four products in China that have obtained genuine authorization for "Chinese Paladin" IPs alone, namely: Tencent's "Chinese Paladin"; Zhongyou's "New Chinese Paladin (New Server)" 3D remake; "Chinese Paladin Inn" developed by Softstar, Or and Digital Sky; and Changyou's "Chinese Paladin V Prequel".

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3. Anime IP: It has a strong ability to attract traffic in the early stage, but it is also a hard-hit area for infringement

In the past two years, animation IP has been the most popular and hottest IP type, except for online literature IP: "One Piece: Journey to the West", "Naruto", "Detective Conan", "Saint Seiya", "The Legend of Qin", "Qiba: Rise of the God of War"... A large amount of content we are familiar with has been put on mobile phone screens.

Because the character images and scene settings of anime IP are originally two-dimensional forms of expression, also known as the "second dimension", and its subject matter has a large overlap with users born between 1985 and 1990, it has a strong ability to attract users in the early stages.

Based on this, anime IP has become the hardest hit area in the chaos of the game IP market. Because anime IP is too suitable for combining with card gameplay, but the licensing fees of most well-known anime IPs from Japan and South Korea are not affordable for small and medium-sized domestic teams, so many small teams take risks and embark on the "road of infringement."

In addition, it is becoming the norm for some publishers to hoard anime IPs and then license them to small and medium-sized CPs for "changing skins".

The animation IP in the Chinese game market can be mainly divided into two categories: Japanese animation and Chinese animation.

As for Chinese comic IP, thanks to Chen Tianqiao's dream of "online Disney", Shanda has cultivated a number of Chinese comic platforms similar to "YouYaoQi", and it has achieved initial success. Chinese comic IP products such as "Bloodline", "One Hundred Thousand Bad Jokes" and "Qin's Moon" have begun to emerge in the mobile game market.

But it is still worth noting that although the price of Chinese comics IP is much lower than that of Japanese anime, most Chinese comics are still relatively childish and not suitable for making heavy games. High-profile works have almost been divided up. Among them, "The Legend of Qin" launched by Chukong ranked fourth on the Apple free list and 11th on the best-selling list; Blueport's "One Hundred Thousand Bad Jokes" ranked 8th on the iPhone free list and 9th on the best-selling list within 3 days of its launch. "The Bad Man", a mobile game of the same name adapted from the popular Chinese comic "Painting Rivers and Lakes: The Bad Man", topped the paid list within four hours after it was launched on the App Store. Wenzhe, the head of the market at Palm, revealed: Before signing the IP, the estimated turnover was about 40 million. The total number of broadcasts of the Chinese comic "The Bad Man" itself has reached 800 million, and the activity is high enough. The weekly broadcast arrangement is also very helpful for the rhythm of game operations, but the disadvantage is that the accumulation of time is slightly thin.

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The Bad Guys

Compared with Chinese comics IP, Japanese comics IP is more complicated. The key issues are:

In Japan, the same IP can be licensed to different companies and individuals to produce different types of games, such as cards, city building, etc. Comics and animations are different forms of the same IP, so they may have different owners, and the objects of these IP licenses may also obtain the derived IP ownership, such as game companies.

The above two points ensure that almost no one can get exclusive Japanese comic IP, and it is common for multiple games to have the same IP license. Taking "One Piece Onepiece" as an example, there are three companies in China that have obtained the license for the IP at the same time, namely DeNA, Zhongshouyou and Guangzhou Yeyou Information Technology Co., Ltd. Zhongshouyou Xiao Jian told the media: It is difficult to obtain exclusive authorization for Japanese IP. The IP authorization of "One Piece" is not distinguished by type, but evaluated by planning. DeNA cooperated with Bandai to obtain the IP authorization of "One Piece" and developed an RPG mobile game called "One Piece Journey", but it does not mean that Zhongshouyou cannot make an RPG mobile game of "One Piece".

Zhongshouyou issued a certificate of authorization from Toei

In addition, Japanese IP owners are very strict about licensing, especially for licensing companies, and have a very rigorous supervision and review system. During the cooperation process, Japanese copyright holders will also intervene in the planning, PR and even the later promotion of the game, greatly reducing the control of the developer over the game.

After Tencent obtained the mobile game adaptation rights of "Naruto" in mainland China, it also stated that during the entire product development process, the supervision committee composed of the original author Masashi Kishimoto, Shueisha, Tokyo TV, and Pierrot participated in the supervision of each version. Every system or gameplay in the game, including commercial-related content, needs to be supervised by the copyright holder before it can be officially developed.

An industry insider pointed out: The most frustrating thing about cooperating with Japanese copyright holders is not the strict requirements but the delay in providing feedback. Many companies drag their feet at the first step of the cooperation, which is when they show the development plan to the Japanese side, and some even fail to reach the supervision stage.

If "complex IP licensing model", "difficult Japanese copyright holders" and "weak controllability of game adaptations" cannot stop you from trying to obtain Japanese comic IP, then you only need to overcome one more difficulty to enjoy the rich rewards it brings - work hard to combat the endless infringing products in the country.

A list of prices (minimum guaranteed amount) of Japanese A-level anime IPs circulated online as of April:

4. Film and TV drama IP: Gradually getting rid of the "useless" treatment, and the ability to pay remains to be tested

In the past two years, IPs of TV dramas and movies are gradually getting rid of the "useless" treatment. From "Love Apartment", "The Empress of China", "Empress Wu", to the famous but unseen "Empresses in the Palace", "The Legend of Miyue", "The Legend of Shushan", and even the much-talked-about "The Journey of Flower", and various variety shows such as "Running Man", "Where Are We Going, Dad", and "Real Men", IPs of TV dramas and movies are springing up in the hot IP market.

The reason why film and television IPs were not valued by game companies before was due to two major bottlenecks:

1. Despite high user recognition, the popularity is often very short-lived. Movies and TV series are extremely popular during their release period, but once the release period is over, the popularity will drop rapidly. Therefore, even if the IP of a TV show or film has a strong ability to attract novice users and is easy to sell in the early stage, facing the dilemma of IP's value being close to zero in the middle and late stages, game companies often stay away from it.
2. Previously, when it comes to cooperation on film and television IPs, game companies were often "one-sided", so there were often fewer resources to cooperate with. The resources that the licensor could cooperate with the game company were often just a naming authorization for an IP, and even advertising placements in TV or movies were very rare.

This situation has been significantly improved in 2015. On the one hand, from "Diaosi Nanren" launched by Leheng Interactive, "Shushan Wars" released by Linekong at the beginning of this year, to "The Journey of Flower" by iQiyi and Tianxiang Interactive, almost all of them chose to launch TV series and games at the same time node, which can maximize the use of IP value, and the film and game synchronization model has become the killer of game companies;

On the other hand, unlike the past when only game companies were keen on acquiring IPs and copyright holders just sat and waited for money, the latter are more actively participating in the entire game distribution process and are even beginning to take the initiative. For example, in the process of cooperation between Leheng Interactive and Sohu Dapeng Studio on the mobile game "Diaosi Nanren", Dapeng will participate in providing content and product experience, and implant game plots in the web drama of the same name; the recent "The Journey of Flower" promoted by iQiyi is not only the copyright holder or channel party, but also the co-distributor. He Yunpeng of Tianxiang Interactive also said: The overlap between film and television drama and game users will be higher, because the age and characteristics of the audience are relatively close. The difference between film and television IP cooperation and other IPs is that they will consider whether the schedules are synchronized, whether the marketing stage can cooperate with resource sharing, and whether the mutual implantation cooperation in the research and development stage can intervene earlier to ensure content matching.

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Dapeng will promote the mobile game in "Diaosi Nanren 4"

But in the final analysis, although film and television IPs are popular, their audiences are often considered to be relatively light, and their paying capacity remains to be tested.

It is most appropriate to describe the current IP market as "a riot of colour". In addition to the four types of emerging IP themes mentioned above, historical IPs (mainly themes such as Three Kingdoms, Journey to the West, Water Margin, etc., which do not have clear IP owners), sports event IPs (NBA, football, etc.), variety entertainment IPs (Where Are We Going, Dad?, Real Men, The Voice of China, Fifteen of Us, etc.), and countless other content with user influence are slowly becoming "IPs" and are being pursued by "red-eyed" game manufacturers.

From a macro perspective, the phenomenon of IP proliferation is a necessary condition for the realization of the "fan economy". As an extension of the entertainment and cultural industry, games will inevitably penetrate and support each other with other forms of expression such as film, television, and literature, and the so-called "pan-entertainment" has become a general trend.