Chinese Otaku Anime Situation] Popularity of New October Anime in China; Yin-Yang Master is the Standard Genre with High Popularity among Women

My name is Hundred Yuan Kagoyo, and I am introducing this and that concerning the otaku situation in China.
This time, I would like to introduce the popularity trends of Japanese October anime distributed on Chinese video sites and the surrounding circumstances.

The October season was relatively calm.

In the Chinese otaku community, the October season has been relatively quiet in terms of anime-related activities, and there have been no overwhelmingly outstanding works in terms of popularity, topics, or number of views, but there have been some works that have been talked about.

Among the works that started this season, "Watashi ga motete donde", "Natsume Yuujinchou Go", and "Toukenranbu Hanamaru", which I mentioned in my previous column, seem to be doing well, while "Nambaka" and "Girlish Number" also seem to be attracting attention.

As for "Nambaka," it is reported that it is gaining popularity among women, including the relatively lightweight segment. As mentioned in the previous issue, in seasons when there are no outstandingly popular works in the Chinese otaku community, sequels and works with strong female-oriented elements tend to enjoy stable popularity, and "Nambaka" is also accepted in China because of its comedic content.

For reasons such as the ease of use as a topic of conversation and the fact that the content is easy to watch and it is easy to start watching from the middle of the story, comedic works or works with comedic elements are considered solid for both male and female audiences when it comes to works distributed online in China, and in China's domestic In the Chinese domestic animation industry, works in this direction are also being mass-produced.

As can be seen from the Japanese comedic works that have entered China and disappeared without much publicity and the Chinese animation that has entered Japan in the past few years, there are many differences between Japanese and Chinese comedic works in terms of the point of humor, and it would be difficult to target Japanese comedic works in the Chinese animation market. However, "Japanese comedies that can be popular in China are not likely to be successful in the Chinese animation market. However, if the work is "a genre that sticks in China and has comedic elements," it is possible for it to gain long-term and stable popularity.

As for "Girlish Number," the fact that it also provides information about the otaku industry in Japan is said to be attracting the interest of the enthusiasts.
In the Chinese otaku community, the original author of "Girlish Number," Watanabe's "After all, my adolescent romantic comedy is wrong. However, once the show actually started airing, the story goes that people began to take an interest in the slightly black characters and comedic treatment of Japanese industry affairs.

In the Chinese otaku community, news about the Japanese otaku industry and otaku culture is a frequent topic of conversation, and it is said that not a few people are interested in works with otaku industry themes. SHIROBAKO" has become a topic of conversation among some enthusiasts in the past as a work set in the anime industry.

Incidentally, what is interesting about the reaction to "Girlish Number" is that the people who were not satisfied with "SHIROBAKO" and felt that the industry stories depicted in "SHIROBAKO" were not what they were looking for have taken a bite out of it.
This is not limited to the Japanese otaku industry or the otaku situation, but is also influenced by the fact that the way in which a theme favored by the enthusiasts is prepared can greatly change the way it sticks and spreads.