
Consumer-Oriented Marketing Strategy of Chinese Domestic Otome Games: A Case Study of Love and Deepspace
- 1 Beihang University
* Author to whom correspondence should be addressed.
Abstract
Otome games, story-based romance video games targeting women, originated in Japan in the late 1990s and have since gained popularity all around the world. This paper investigates the rise of Chinese domestic otome games, focusing on Love and Deepspace, a burgeoning and competitive title. The study analyzes its marketing strategy using the 4P model and examines the game's reflection on consumer behavior. The findings show that Love and Deepspace has innovated marketing approaches within the otome game industry, leveraging 3D modeling as the core of its product and price strategies and employing consumer-centric promotion strategies globally. As a conclusion, the paper states that understanding target consumers’ preferences is vital for future market planning. The research uses Love and Deepspace’s success as an example to highlight the significant business value of domestic otome games and provide insights for companies to refine their strategies in this growing market.
Keywords
Chinese domestic otome games, marketing strategy, Love and Deepspace, consumer feature.
[1]. Y.X., Xie, (2018). Interpretation of the female user group in the development process of Chinese female-oriented mobile games. Audiovisual, 5, 151-152.
[2]. LeadLeo Research Institute. (2020). Overview of the Chinese female gaming industry. LeadLeo. https://www.leadleo.com/pdfcore/show?id=6004ee8320410e67ca9557ec
[3]. Kotler, P. (1967). Marketing management: Analysis, planning, andcontrol. Prentice-Hall.
[4]. McCarthy, J. E. (1960). Basic marketing: A managerial approach. Richard D. Irwin, Inc.
[5]. Love and Deepspace Wiki. (2024, July 24). Combat. Fandom. Retrieved from https://loveanddeepspace.fandom.com/wiki/Combat
[6]. Lei, Q., Tang, R., Ho, H. M., Zhou, H., Guo, J., & Tang, Z. (2024, May). A Game of Love for Women: Social Support in Otome Game Mr. Love: Queen’s Choice in China. In Proceedings of the CHI Conference on Human Factors in Computing Systems (pp. 1-15).
[7]. DataEye Game Observation. (2024, March 7). "Love and Deepspace" Going Overseas: Revenue Exceeds 300 Million, Going Crazy in Japan, Can the Special Strategy Conquer the World? Weixin. Retrieved from https://mp.weixin.qq.com/s/wVPlcF9nVyHu5Gs-J2d7Sg
[8]. Feng, J., & Zhang, X. (2022). Analysis of Mobile Game Intellectual Property Marketing Strategy: A Case Study of Honor of Kings. Applied Economics and Finance, 9(4), 112-112.
[9]. Urban, G. L. (2005). Customer advocacy: a new era in marketing?. Journal of public policy & marketing, 24(1), 155-159.
[10]. Wen, C.,& Zhou, X. (2018). Love, games, and daydreams: An analysis of the psychological mechanisms in otome games. Art Criticism, 8.
[11]. Li, Y. D. (2021). From cognition to intention: A study on the consumption behavior of female-oriented video game players - A case study of the female-oriented game "Food Fantasy" (Master's thesis). Chongqing University, Chongqing.
Cite this article
Tang,C. (2024). Consumer-Oriented Marketing Strategy of Chinese Domestic Otome Games: A Case Study of Love and Deepspace. Advances in Economics, Management and Political Sciences,117,19-25.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the 3rd International Conference on Financial Technology and Business Analysis
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).