PRESS COVERAGE
  • China’s current intellectual property adaptation should stop aiming merely at growth volume, but make long-term plans to work on high-quality IP projects, a leading industry player said. Xie Guangcai, executive vice-president of ChineseAll Digital Publishing Group (CADP) — one of the Chinese mainland’s largest digital publishing companies — shared his views on the country’s future IP adaptation trend at the China Daily Asia Leadership Roundtable event on Thursday. IP adaptation in China comes mostly from online literature. CADP became the first listed digital publishing institution in the country in 2015, with 3.7 million signed writers, 4 million copyrights and 100,000 gigabytes of audio resources. Before 2006, the company’s business model was simple — selling its copyrights to studios and game companies. It had never been involved in the follow-up adaptation process, according to Xie. Recent years have seen the rapid development of IP adaptation in China, but problems have also arisen. Xie said CADP is not happy with the “reckless” adaptation of their works because the quality of the adapted works has fallen far short of expectations, and the lifespan of IP products in the market is short. Moreover, the studios that purchased the copyrights usually offer harsh contracts. They would often add more requirements, such as all future developments of the original works, but with no solid plans. “These platforms with big capital are draining the value of the original works. This oligopoly reminds us of what happened back in the old days when only State-owned TV stations on the mainland can produce TV series,” Xie recalled. The same thing is happening in the gaming industry. According to Xie, most online games in the market incredibly resemble each other in both content and form and, sometimes, they seem to simply keep the character settings by just having their names changed. Without the original storyline and gameplay, these mediocre games fail to attract users for long, said Xie, adding that all IP owners should shift their efforts to in-depth explorations of high-quality IPs. In the past few years, CADP had set up its gaming and film division, and it plans to do deep exploration of high-quality IPs, making use of its resources. In June this year, CADP and Wanda Media said they will cooperate fully in IP development. The two companies signed a 10-year contract that included three films, six TV series and a theme park ride, building on a popular fantasy novel Wu Song (the ode of sorcery). The original contents are from 17K — a novel network affiliated to CADP. After thorough research, Xie found that novels published on 17K, which targets mostly male readers, are better options to be adapted for gaming development. CADP will put in more resources and efforts in the new field, he said.
    2018-12-10
  • The lack of investors’ patience and a talent shortage are the top two challenges to the country’s fast-growing intellectual property industry, a pan-entertainment industry expert said. These are also the factors for an IP adaptation to become successful and sustainable both in profitability and audience satisfaction, said Leon Gao Shouzhi, president and founder of EntGroup — a big-data consulting company for the media and entertainment industry in China. According to statistics released by EntGroup, revenue for the whole entertainment industry is expected to exceed 650 billion yuan (US$94 billion) this year. And nearly half of it will come from customer subscription and payments for original IP content, which sets up the foundation of the IP industry. However, problems lurk in the prosperous market. One of them is the lack of patience from investors compared with their overseas counterparts like those in the Hollywood, Gao stressed. A mature IP usually takes a hatching cycle of 10 years. However, many mainland companies are eager to harvest profits before accumulating a big enough fan base, Gao said. “This made it impossible for the companies to sustain the profitability of the IP content.” And the capital poured into the newly evolving IP industrial chain in recent years aggravated the situation, he said. Many investors are eager to make fast money without paying due attention to the regular patterns of the industry, he added. Meanwhile, there is a talent shortage in the industry. While IP adaptation, a major part of the IP business is rapidly expanding into a whole industrial chain, the talent reserve may not be able to catch up. “Especially for those with creative ideas and skills, and talents equipped with high-tech expertise, which can’t be there overnight, are urgently needed in the industry,” Gao stressed. The industry observer took The Journey of Flower as one of the success stories of IP adaptations. The hot TV series was adapted from a web novel telling a love tale in ancient times. And its fantasy scenes also made special appeal to post-1995 audiences. The TV series broke many viewing records and became the first Chinese TV drama to attract over 20 billion views in 2015. Its success was extended to the gaming sector. The mobile game and other related products adapted from the same story were well received by the Chinese mainland market and were further distributed to other markets such as Taiwan. Not all big-hit stories, however, have the luck The Journey of Flower had, Gao said. “We see that many IP adaptations failed to attract the expected audience’s attention, and profits, too”, Gao told China Daily on the sidelines of the Business of IP Asia Forum. He cited as examples the films Gone With the Bullets (2014) and Aftershock (2010), both of which had box-office grosses exceeding 500 million yuan (US$73 million), but failed to achieve the same level of market acceptance with their mobile game adaptations. “These show that IP content compatibility has to be considered in the context of cross-media IP adaptations”, concluded Gao. Gao is still optimistic about the future of China’s IP industry. “I believe the prospects will become better,” he said. On the upstream, China has more locally created IPs, Gao said. The post-2000 generation grew up with home-made cartoons, unlike before, when Japanese manga and Hollywood cartoons were the most popular in the country, he elaborated. Downstream, there is a fast-growing market that saw more online users willing to pay for IP products. This means the market environment is more favorable for the industry, he said.
    2018-12-10
  • Content creators and game companies on the Chinese mainland must work harder for quality upgrade and innovations in the intellectual property adaptation business, industry insiders urged on Thursday. At a forum at the China Daily Asia Leadership Roundtable, themed “Maximising Benefits of Cross-media Collaboration”, they said creators and companies should not be concerned only about how much money they can make. Members of the audience had voiced disappointment over the poor quality of many IP-adapted games in China which, the panelists warned, would risk ruining the reputation of IPs. “To sustain profit growth, content creators need at least three to five years to develop a mature, well-made IP, and game publishers should not push them too hard,” said Xie Guangcai, executive vice-president of ChineseAll Digital Publishing Group — the first Chinese digital publisher to list on the Shenzhen Stock Exchange in 2015. However, in China, many game companies are chasing after popular IPs for quick profit returns. The IP creators, on the other hand, are eager to sell the authorization right of their IPs once their IPs reach a viewership of more than 10 million, according to Leon Gao Shouzhi, president and founder of EntGroup — a research company specializing in the Chinese entertainment industry. The games produced in such a rush do manage to attract millions of users, many of whom are fans of the original IPs, in the early stages of the launch, but fail to sustain them due to the game’s poor quality. Unfavorable comments on such games can often be seen in the social media. Statistics from EntGroup show that in China, only 20 percent of IP fans are satisfied with the game adaptations, while the satisfaction rate with films and teleplays is between 50 and 70 percent, Gao said. He pointed out that views should not be the sole standard when considering adapting an IP into a game, since not all subjects of IPs are fit for games adaptation. He cited the game adaptation of the movie Aftershock, which was directed by Feng Xiaogang and based on the massive 1976 Tangshan earthquake that killed 240,000 people. Though the movie raked in US$78.47 million at the box office in China, the disaster and tragedy theme should not be entertained, Gao said. Sophia Xie Fei, chief executive officer and director of Shanda Game — the early market leader in the PC-based games era — said while selecting IP for adaptation, the theme must convey positive values if a classic is to be forged. As a company with a near 20-year history, Shanda commands a group of loyal players of its classic titles, such as The World of Legend, Dragon Nest (CN) and The Legend of Mir. “A game’s spiritual core, such as the brotherhood and the determination to protect the world’s peace, can keep users for more than 10 years,” Xie said. Touching stories Cartoon creators at the forum echoed Xie’s views, emphasizing that touching stories and positive images are crucial to their popularity. Leo Huang Weiming — the creator of two super IPs, Pleasant Goat and Big Big Wolf and Happy Heroes, and general manager of Creative Power Entertaining — said cartoons need to cater to audiences of all ages, and a positive story can be better promoted by word of mouth. “The leading role of Pleasant Goat and Big Big Wolf was not the ‘pleasant goat’, but the ‘lazy goat’ at the beginning,” Huang said. “We decided to let the former be the star as no parent would want their children to be lazy, while a pleasant, brave figure can be a good model,” he said. Xu Han, creator of “Ali the Fox” and founder of Dream Castle Culture, said IP authors should be responsible in the cultural cultivation. He urged IP creators to look for inspiration from the Chinese culture to “make the story and the figures more attractive and help increase our own cultural impact on future generations”. Since March this year, mainland authorities have stopped approving licenses for new games. Game companies could still launch their games, but for beta tests only, at no charge. A beta test is the second phase of software testing in which a sampling of the intended audience tries out the product. A report by research firm CNG showed that the Chinese game industry experienced the slowest first-half-year growth compared with the past five years. CNG was assigned by the State Administration of Press, Publication, Radio, Film and Television to compile a report on the country’s game industry. Many game companies are seeing huge losses because, on one hand, they could not produce new games and, on the other, their old games have lost customers. These may force them out of the market, warned Xie Guangcai. In his view, companies should give thought to how to keep customers longer rather than relying on just taking advantage of trendy topics. Sound performance Xie estimated that “the shutoff is temporal and license approvals will resume, but the quota will be limited”. Despite the stagnation in the game industry, China Mobile Games and Entertainment Group (CMGE) — the largest mobile game publisher in China — put up a sound financial performance in the first half of this year. The company’s net profit surged 66 percent to 162.7 million yuan (US$23.7 billion), according to Bloomberg. In September, the company applied for a listing on the Hong Kong Stock Exchange. CMGE has launched 61 games, 10 of which have managed to stay in the market for more than three years. Hendrick Sin, co-founder and vice-chairman of CMGE, told the forum the company is dedicated to developing original IPs of good quality. It is a major strategy switch for the company, whose entire revenue came from game publishing a year ago. CMGE said it will publish 50 new games by the end of next year. The themes will include Chinese fantasy, wuxia or martial arts, and adventures. Looking to the future, the panelists said there will be more possibilities in the form of game adaptations. With the aid of technologies that are pushing the boundary, such as virtual reality and artificial intelligence, game adaptations will bring more immersive experience to users and will be integrated closely with other kinds of spin-off products of IPs, Xie Fei said. No matter how far the advanced technology will take us, we mustn’t forget our cultural roots are where the core competitiveness lies, panelists concluded. The forum was co-organized by China Daily Asia Pacific and the Hong Kong Trade Development Council as part of the Business of IP Asia Forum held at the Hong Kong Convention and Exhibition Centre.
    2018-12-10
  • In the 10 years since the State Council issued the Outline of the National Intellectual Property Strategy, new industries related to IP, ranging from online literature and animation to games, have developed in leaps and bounds. In 2017, the value of China’s pan-entertainment industry — multilevel creative products developed from IP — exceeded 500 billion yuan ($72.5 billion), accounting for more than 20 percent of the total digital economy. The monetization rate of mobile games is the highest among all pan-entertainment industries, surpassing 200 billion yuan, with IP-based mobile games accounting for over 60 percent of the revenue, according to a report by Chinese gaming industry database Gamma Data Corp. In response to the industry trend, a China Daily Asia Leadership Roundtable event was held on Thursday during the first day of the two-day Business of IP Asia Forum (BIP Asia) in Hong Kong. Co-organized by China Daily Asia Pacific and BIP Asia, the panel discussion brought together industry leaders, content producers and investors under the theme Era of IP Convergence: Maximizing Benefits of Cross-media Collaboration. Movies and TV dramas are a major form of IP adaptation in China and this IP mostly comes from online literature, said Leon Gao Shouzhi, president and founder of EntGroup, a provider of information and intelligence for China’s entertainment industry. Data from EntGroup show that about 50 to 70 percent of people of all ages accept IP-based movies and TV dramas, while only 20 percent of people accept IP-based games. In 2017, direct revenue generated by IP-based movies and dramas was about 350 million yuan, in which 76 percent of this content was adapted from online literature. Meanwhile, games based on movies, reality shows and dramas tend to be more popular with audiences. “For example, games based on the animation film Boonie Bears, the drama The Journey of Flower and the reality show Running Man have all gained good results in the number of active users, with some of them reaching tens of millions of active users,” said Gao. But a short product life is a shared issue among various IP adaptations, said Gao. He said he would like to see the industry focus more on the characteristics and preferences of young audiences, in particular the post-1995 generation. “Many people are also rushing to monetize their IP once they have attracted tens of millions of fans … In Hollywood, it needs 10 years for an IP to grow mature enough,” said Gao, hoping the industry can be more patient in producing high-quality IP. Hendrick Sin, co-founder and vice-chairman of CMGE Technology Group, noted the importance of companies creating their own IP as popular titles can generate huge profits. “When we tried to get the franchise for our third One Piece game from our partners in Japan, the IP price was several times more than that of the first game,” said Sin. One Piece is a popular Japanese manga series that began in 1997. As one of China’s largest publishers of mobile games based on IP, SMGE became China’s first mobile game company listed on Nasdaq, in 2012. So far, the company has more than 200 million registered users. IP incubation might not be as difficult as people think, the forum heard. Leo Huang Weiming and his team took only 15 minutes to come up with Pleasant Goat and Big Big Wolf, one of China’s most popular children’s cartoon shows. Today the brand spans 2,000 episodes, seven films and five stage plays. Its franchise business covers more than 10,000 products and a new film is being planned for the 2021 Spring Festival. On the back of the huge success of Pleasant Goat and Big Big Wolf, Huang, general manager of Creative Power Entertaining Co, created the cartoon Happy Heroes, which also became a big hit in China. “We have also combined this IP with the hospitality industry by launching themed hotels in China, bringing the IP to a new business format,” said Huang. To him, no matter how the market and times change, content as the core value of IP will never change. Seize the trend IP promotion needs to be combined with the trendiest things in the market, said Xu Han, founder, chairman and CEO of Dream Castle. Xu is also the creator of Ali the Fox, a popular cartoon character with over 22 million fans in China. “Twelve years ago, when I just started to create Ali the Fox, people liked buying picture books, so that was how I promoted the cartoon character,” said Xu. “Today, people like to send emoticons on social networking apps, so we also launched emoticon packs. On WeChat alone, Ali the Fox emoticons have been downloaded over 100 million times and were shared over 1 billion times.” Noting the importance of diversifying the IP, Xu promotes Ali the Fox through a wide range of online and offline platforms, launching spin-off products and even an international collaboration with Kishi Station in western Japan, which became famous for its cat stationmaster. Sophia Xie Fei, CEO and director of Shanda Games, a domestic gaming industry leader backed by tech giant Tencent, said the adaptation of IP is no longer limited to pan-entertainment sectors. She cited tourism, hospitality, theme parks and even new retail as other areas that generate huge potential for IP collaboration. Noting that many people think popularity and monetization are benchmarks to judge the success of IP, Xie said the industry should plan for long-term development to create IP that will resonate with people. “By doing so, we can transform (even) a single hit IP into a classic,” said Xie. “China has a lot of good stories and cultures. We need to figure out how to spread that out by combining them with films, dramas, games and literature,” said Xie Guangcai, executive vice-president of Chinese All Digital Publishing Group, a leading Chinese digital publishing company. “When developing IP, it is important for us to continue our efforts in creating good stories, using them to show the value and culture of China,” he said. Shanda’s Xie said that technology cannot be neglected as it plays a key role in stimulating development and guiding the direction of the entire industry. “Whether it is because of the maturity of 5G and cloud-based technologies, or the wide adoption of artificial intelligence and virtual reality, we will see disruptive changes (in the future),” she said, citing the mobile game industry as an example. Li Yao, news editor of China Daily Hong Kong, moderated the session.
    2018-12-06
  • 2018年12月6日 香港:中國日報亞洲領袖圓桌論壇今天在香港舉辦題為“知識產權融合時代:跨界合作價值最大化”的專題研討會,吸引逾300名来自國內外的政、商、法律及學界的业界翹楚參會。 本場研討會由中國日報與亞洲知識產權營商論壇合辦。藝恩公司創始人兼首席執行官郜壽智先生;廣東原創動力文化傳播有限公司總經理及“喜羊羊之父”、“開心超人之父”黃偉明先生;中手游科技集團有限公司聯合創始人及副董事長冼漢廸先生;中文在線數字出版集團常務副總裁謝廣才先生;盛大遊戲首席執行官兼董事謝斐女士;以及“阿狸”原創作者及夢之城創始人、董事長兼首席執行官徐瀚先生受邀擔任本場研討會演講嘉賓。 近年來,在IP(知識產權)熱潮的影響之下,除了影視,遊戲、文學及動漫IP的開發熱度也不斷推高。IP原意為知識產權,是英文知識產權的縮寫,隨著內容產業的發展和粉絲經濟的火熱,IP內容正逐漸成為商業變現的熱門所在,各行業也已迅速意識到IP的強大吸金能力。對熱門IP進行遊戲、影視、文學的改編,曾打造出不少廣受大眾喜愛的成功案例。目前,騰訊、愛奇藝等知名公司也開始致力於打通IP全產業鏈,構建打通遊戲、文學、動漫、影視等多種文創業務領域的互動娛樂新生態。在如此趨勢下,本次研討會將聚焦於知識產權的內容延伸性,六位演講嘉賓將探索在跨界合作的過程中,如何才能長線經營,將知識產權價值最大化。 致力於整合、發展及推廣手遊生態系統,中手遊坐擁強大的IP合作資源,從影視到文學再到動漫,已然成為中國內地第一大全平臺發行方。冼漢廸表示,盡管IP難以孵化,但是仍然要著力於發展自己的IP,因為獲取他人IP的成本越來越高。中手遊通過投資手段,目前已經有“仙劍奇俠傳”系列、“大富翁”系列、“軒轅劍”系列等近七十個知名IP,這些都為企業的下一步發展打下了良好的基礎。 定位為以數據洞察為核心的平臺公司,藝恩公司對IP跨界改編產業有獨到的見解。其首席執行官郜壽智指出,電影、綜藝節目、電視劇、漫畫等改編成遊戲,確實可以取得比較好的用戶活躍度,有的甚至可以達到千萬級用戶規模,但是背後存在非常嚴峻的問題,即跨界改編的產品生命周期相對較短,題材泛濫亦分流了大眾的吸引力。一個成熟的IP,往往需要十年周期的積累,而目前許多IP企業,積累了一定用戶就急於收割變現。他續指,IP業界應審慎改編經典作品,積極考慮如科幻類等的較新題材;在改編電影時,亦應了解票房情況與一部電影是否適合改編並無直接關係。 盛大遊戲成立於1999年。作為中國內地老牌遊戲公司的首席執行官,謝斐表示盛大遊戲在IP發展方面有發言權。她說,IP產業的發展,已經從傳統的遊戲、影視、動漫、文學等泛娛樂範疇,滲透到文旅、酒店、主題公園、新零售等形態,這些都為今時今日IP產業的發展增加了厚度,亦為IP融合在更大範圍內制造機會與想象力提供了條件。 謝斐相信,遊戲產品的生命周期是有限的,但一個IP的生命周期應是無限的。她說,真正成功的IP應是一個凝聚正能量、溫度、快樂的信仰,而不僅僅局限於其用戶流量、變現能力或熱度;當這一可持續的信仰建立起來時,盈利也自然會來。 作為中文在線的創始人,謝廣才坦言,中國內地IP行業面臨的一個重要問題,就是缺乏IP的開發。他說,一部IP作品的成熟需要較長的周期,在產生影響力和傳播力之後,才應進行相應的開發,“應該把IP作品當孩子養起來。” “喜羊羊之父”及“開心超人之父”黃偉明認為,IP市場不斷變化,風口不斷改變,但核心是“內容”,一個好的IP必須擁有獨特的內容,“幽默”、“感人”、“正能量”是打造IP品牌的關鍵要素。他解釋說,幽默是永恒的收視保證,感人亦不需要講大道理,而正能量是成為品牌的必要條件。 談及什麼樣的IP才是好IP,著名卡通人物“阿狸”的創作者徐瀚認為,其標准就是“你是否願意拿這部作品給孩子看”,因此他希望他創作的“阿狸”可以成為孩子和家長之間的愛心紐帶。 徐瀚以繪本為例,指出不同國家出品的繪本都反映了自己的價值觀,目前市場上有很多歐美繪本,他希望中國內地和香港可以出品更多令人喜聞樂見的繪本,將中國文化和東方文化傳播出去。 中國日報亞洲領袖圓桌論壇(www.cdroundtable.com)旨在搭建一個由亞洲國家和地區的政、商、學界領袖和社會精英參與的高端對話和交流平台,圍繞亞洲地區經濟、商業、產業和社會發展等具有戰略影響的重要議題展開討論和分享見解,以增進中國與亞洲和西方國家的交流和理解。 中國日報社擁有報紙、網站、移動用戶端、臉譜、推特、微博、微信、電子報等十餘種媒介平臺。在海外,通過每月發行《中國觀察報》(China Watch),直達美國《華爾街日報》和《華盛頓郵報》、英國《每日電訊報》、法國《費加羅報》、泰國《民族報》、俄羅斯《俄羅斯報》、日本《每日新聞》等美、歐、亞主流讀者群。(完) 媒體垂詢: 洪夢求 小姐 電話:(852)3465 5427 電郵:melody@chinadailyhk.com
    2018-12-06
  • 2018年12月6日 香港:中国日报亚洲领袖圆桌论坛今天在香港举办题为“知识产权融合时代:跨界合作价值最大化”的专题研讨会,吸引逾300名来自国内外的政、商、法律及学界的业界翘楚参会。 本场研讨会由中国日报与亚洲知识产权营商论坛合办。艺恩公司创始人兼首席执行官郜寿智先生;广东原创动力文化传播有限公司总经理及“喜羊羊之父”、“开心超人之父”黄伟明先生;中手游科技集团有限公司联合创始人及副董事长冼汉廸先生;中文在线数字出版集团常务副总裁谢广才先生;盛大游戏首席执行官兼董事谢斐女士;以及“阿狸”原创作者及梦之城创始人、董事长兼首席执行官徐瀚先生受邀担任本场研讨会演讲嘉宾。 近年来,在IP(知识产权)热潮的影响之下,除了影视,游戏、文学及动漫IP的开发热度也不断推高。IP原意为知识产权,是英文知识产权的缩写,随着内容产业的发展和粉丝经济的火热,IP内容正逐渐成为商业变现的热门所在,各行业也已迅速意识到IP的强大吸金能力。对热门IP进行游戏、影视、文学的改编,曾打造出不少广受大众喜爱的成功案例。目前,腾讯、爱奇艺等知名公司也开始致力于打通IP全产业链,构建打通游戏、文学、动漫、影视等多种文创业务领域的互动娱乐新生态。在如此趋势下,本次研讨会将聚焦于知识产权的内容延伸性,六位演讲嘉宾将探索在跨界合作的过程中,如何才能长线经营,将知识产权价值最大化。 致力于整合、发展及推广手游生态系统,中手游坐拥强大的IP合作资源,从影视到文学再到动漫,已然成为中国内地第一大全平台发行方。冼汉廸表示,尽管IP难以孵化,但是仍然要着力于发展自己的IP,因为获取他人IP的成本越来越高。中手游通过投资手段,目前已经有“仙剑奇侠传”系列、“大富翁”系列、“轩辕剑”系列等近七十个知名IP,这些都为企业的下一步发展打下了良好的基础。 定位为以数据洞察为核心的平台公司,艺恩公司对IP跨界改编产业有独到的见解。其首席执行官郜寿智指出,电影、综艺节目、电视剧、漫画等改编成游戏,确实可以取得比较好的用户活跃度,有的甚至可以达到千万级用户规模,但是背后存在非常严峻的问题,即跨界改编的产品生命周期相对较短,题材泛滥亦分流了大众的吸引力。一个成熟的IP,往往需要十年周期的积累,而目前许多IP企业,积累了一定用户就急于收割变现。他续指,IP业界应审慎改编经典作品,积极考虑如科幻类等的较新题材;在改编电影时,亦应了解票房情况与一部电影是否适合改编并无直接关系。 盛大游戏成立于1999年。作为中国内地老牌游戏公司的首席执行官,谢斐表示盛大游戏在IP发展方面有发言权。她说,IP产业的发展,已经从传统的游戏、影视、动漫、文学等泛娱乐范畴,渗透到文旅、酒店、主题公园、新零售等形态,这些都为今时今日IP产业的发展增加了厚度,亦为IP融合在更大范围内制造机会与想象力提供了条件。 谢斐相信,游戏产品的生命周期是有限的,但一个IP的生命周期应是无限的。她说,真正成功的IP应是一个凝聚正能量、温度、快乐的“信仰”,而不仅仅局限于其用户流量、变现能力或热度;当这一可持续的“信仰”建立起来时,盈利也自然会来。 作为中文在线的创始人,谢广才坦言,中国内地IP行业面临的一个重要问题,就是缺乏IP的开发。他说,一部IP作品的成熟需要较长的周期,在产生影响力和传播力之后,才应进行相应的开发,“应该把IP作品当孩子养起来。” “喜羊羊之父”及“开心超人之父”黄伟明认为,IP市场不断变化,风口不断改变,但核心是“内容”,一个好的IP必须拥有独特的内容,“幽默”、“感人”、“正能量”是打造IP品牌的关键要素。他解释说,幽默是永恒的收视保证,感人亦不需要讲大道理,而正能量是成为品牌的必要条件。 谈及什么样的IP才是好IP,著名卡通人物“阿狸”的创作者徐瀚认为,其标准就是“你是否愿意拿这部作品给孩子看”,因此他希望他创作的“阿狸”可以成为孩子和家长之间的爱心纽带。 徐瀚以绘本为例,指出不同国家出品的绘本都反映了自己的价值观,目前市场上有很多欧美绘本,他希望中国内地和香港可以出品更多令人喜闻乐见的绘本,将中国文化和东方文化传播出去。 中国日报亚洲领袖圆桌论坛(www.cdroundtable.com)旨在搭建一个由亚洲国家和地区的政、商、学界领袖和社会精英参与的高端对话和交流平台,围绕亚洲地区经济、商业、产业和社会发展等具有战略影响的重要议题展开讨论和分享见解,以增进中国与亚洲和西方国家的交流和理解。 中国日报社拥有报纸、网站、移动用户端、脸谱、推特、微博、微信、电子报等十余种媒介平台。在海外,通过每月发行《中国观察报》(China Watch),直达美国《华尔街日报》和《华盛顿邮报》、英国《每日电讯报》、法国《费加罗报》、泰国《民族报》、俄罗斯《俄罗斯报》、日本《每日新闻》等美、欧、亚主流读者群。 媒体垂询: 洪梦求 小姐 电话:(852)3465 5427 电邮:melody@chinadailyhk.com
    2018-12-06
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