The real appeal experience brought by Tiankun cultural products is obviously more than that.

As the interview deepened, Liu Linlin and President Wu quickly discovered more shocks.

First, they found that the proportion of these Japanese tourists who came to visit Tiankun R&D headquarters brought genuine figure souvenirs far higher than they thought when they first came into contact.

In addition to the authentic licensed peripherals of "Romance of the Three Kingdoms", several other well-known characters in archiveable rpg/strategy war chess games launched at the end of last year and early this year have also been sought after by Japanese customers.

For example, "Fire Fantasy" and "Flame Emblem". These games are actually exclusive games developed by third-party studios with relatively loose cooperation with Tiankun, but the peripheral authorizations are also divided into Tiankun's unified management, because those small pure software studios are simply unable to operate the peripherals themselves. They are too lightweight and have no physical properties.

Because these games are more or less like "Romance of the Three Kingdoms", they have created a category, with historical monumental significance, and naturally there are otakus to support the collection market.

(The games in this era are basically exclusive to consoles, and few of them are ported to computers at the same time. Here we emphasize "exclusiveness" to show that these studios have signed a certain proportion of shareholding agreements with Tiankun, and at the same time ensure that the developed games will not be logged in to Nintendo. Similarly, Nintendo will also sign exclusive bindings with hardcore developers such as Namco and Korome.)

To sum up, Liu Linlin and the others also saw more foreign tourists buying the images of Arnold and Stallone's tough guys. It is obvious that when the Tiankun group sold these peripherals, they were under the banner of the old game "Future Warrior" (Contra), which was 4 years ago, but anyone with discerning eyes could see that Arnold and Stallone's looks were the ones in "Terminator" and "The First Drop of Blood".

But it doesn't matter. Anyway, Gu Ao is holding both the production company, the publisher like Miramax, and the game company like Tiankun. So he has all the authentic peripheral authorizations for all IPs. The ones he sells here must be the most authentic, limited, and most collectible, and there is no risk of protecting rights.

It is estimated that in this venue alone, each Japanese tourist spent at least hundreds of dollars worth of foreign exchange to buy these seemingly worthless things. Fanatics can spend thousands of digits of dollars.

At the end of the interview with Tiankun R&D headquarters, the staff told Liu Linlin kindly: Those involving both movies and games are also sold in Lanting Cinema in the city. There are many foreign tourists there, especially Japanese and Nanyang tourists. If you are interested, you can go and take a look.

Liu Linlin, who was originally going to dig out this information, was of course very interested, so after lunch at KFC that day, she drove a long distance with President Wu for an interview.

At around 2 p.m., after rushing to Lanting Cinema, there were another scene of similar visual impact.

They saw many Japanese tourists who came to China to visit Chinese costume shooting bases, and many of them bought genuine official Hanfu around them.

This situation may seem incredible to the Chinese in later generations, but it is all true. Because the Hong Kong martial arts dramas in the 1980s were at their most glorious time, even the Japanese were more popular. (Nan Bang actually also followed Hong Kong martial arts dramas at that time, but unfortunately, Nan Bang was still poor at that time and was not as affordable as Japanese, so they rarely traveled to China, and the two countries had not yet established diplomatic relations.)

In addition, there is a Tiankun Pictures store in the cinema, so you can also buy Hollywood movie peripheral souvenirs that were not filmed at Lanting Cinema, but are invested and produced or distributed by Gu Ao.

It is also authorized by the original version, and is said to have collection significance.

This is a business model that Chinese people dare not even imagine. In the eight years of opening up, they have copied the outside world. Who has ever seen a premium on the external side by relying on the name of genuine editions and collections?

...

After obtaining all the front-line field interview materials, Liu Linlin was completely convinced.

She rushed back to the guesthouse overnight, sorted out the materials, and asked the local tourism authorities for some additional statistics, and wrote a quick pen to rush the manuscript.

The next day, she took the preliminary manuscript and visited the Grand View Garden again, asking Gu Ao to personally express her summary views and outlook on this industry.

"Mr. Gu, I didn't expect that your business can also drive the domestic cultural and tourism industry. This is really surprising. I wonder if you have any summary of this model? Can you provide some insights for us to report?"

Of course, Gu Ao was willing to give advice, and he answered generously:

"Originally, our ideas on the development of the tourism industry were limited to relying on natural scenery and historical monuments to explore foreign values ​​and attract foreigners. We have never considered relying on the legendary colors of other contemporary industries to attract attention.

I can only say that before me, who could have allowed foreigners to travel to China to visit a company?

This kind of thing is different even if it is to visit luxury companies in Paris, or visit the world's top department stores in Ginza, Tokyo. If you have to find an analogy, I think it's a kind of nature to go to Hollywood to visit Universal Studios, New York to visit Manhattan and Wall Street with tourists from all over the world.

Because we have all achieved the goal of ‘making a company, an industrial park, itself a spiritual totem that tourists around the world admire’. Just like people who go to Wall Street, do they actually want to see what scenery? They don’t want to see any scenery. They just want to see the concreteness of their imagination of money, an ethos, an atmosphere, a smell of old money in the air that they have made up for themselves, and a worship.

If you really want to talk about the scenery... Haha, it's so amazing. There are many children around me who have never seen the world. When I went to Manhattan for the first time, I stood at the intersection of Wall Street and Broadway, and then looked at the signs and was stunned: What? Isn't this the 'Wall Street wide road'? Wall Street and Broadway. But there is no scenery, and the place with a rustic name can attract foreigners and attract foreigners to actively transliterate and beautify it. This is the soft power brought by the sense of cultural superiority! I also want to build the Chinese people's sense of cultural superiority!"

(Note: wall-street, wall street, broad road)

Liu Linlin wrote quickly and wrote down all of them.

"From this industrial trend, we can extend a new question: What is the cultural superiority of a nation? Or, to build a good sense of cultural superiority of a country, what should we do?" Gu Ao pointed out the country, and as he spoke, he thought of a new question and subconsciously paused.

"Yes, what should I do?" the female reporter also asked from the bottom of her heart.

If it is an official-oriented article that can make achievements, when encountering such a problem, most people will write about the style and style without distinction. Either they can make some movies, win international awards in literary works to enhance national self-confidence; or sponsor some sports events and win more gold medals. If the protagonist has commercial interests, he will use the advantage of time travelers to sign some sports star endorsements that have not yet become popular.

More common is to buy some football teams, set up a club, and make up awards...

But in the eyes of Gu Ao, the real time traveler, only some of those goods are stepping stones, but at least they have the value of knocking on the door and footsteps; while the other part is completely a data brush.

After sorting out this idea, Gu Ao continued to say loudly: "The most intuitive manifestation of a country and a nation's true sense of cultural superiority is that after the people of this country go abroad, they will not be ashamed of what they produce in their own country."

Perhaps, distance will really produce beauty.

Rich people in any country need to rely on scarcity to prove that they are better than the people around them. Therefore, the close distance and easy-to-get domestic products are indeed more difficult to use to show off.

But this demand for scarcity is obviously not exactly the same as the Chinese people's contempt for the pretentious value of domestic products.

At least the French will not be ashamed of buying Chanel Hermes abroad, the Italians will not be ashamed of buying Prada Gucci Armani abroad, and the Americans will not be ashamed of buying Apple phones abroad.

In this regard, even when China had become many times stronger in the 2010s, it was still because of its large population and uneven development. The new middle class was eager to prove that it was different from its original similar species... for various complex reasons, it could not rise.

Therefore, most Chinese people don’t have this concept at all in their minds, so they are completely immune to blocking and can’t think about it.

As for the Chinese people in the late 1980s, they didn’t have this string in their minds.

Therefore, when a group of Japanese tourists with hundreds or thousands of people every day and tens of thousands of people come to Qiantang and come to the spotlight of the local Xinhua branch to visit reporters,

When they show an attitude of "the game and cultural products of the Tiankun brand are of limited collection value, and their attributes are witnessing historical significance, because these categories are all Gu Ao, and Tiankun was first created by humans, so we would rather buy make in china to commemorate than make in japan. It is not that the quality of Japanese goods is not good, but it just lacks historical significance."

The journalists from the News Agency are so collectively confused.

Gu Ao's words made people fall into deep thoughts.

Fortunately, Gu Ao finally made a loud summary and quickly brought the reporter back: "The sense of cultural superiority is used on the added value of 'even if your quality does not have an advantage, others are still willing to buy you'.

In contrast, the superiority of technology is more clearly marked and priced, and it is a little bit unrestrained. There is no premium in technology. If you are awesome, you are awesome, and if you are not awesome, you are not awesome. If your technology is super high, users will immediately change their course and use more advanced things from your home; if you are not advanced one day, others will immediately abandon you.

If you are not awesome one day and others still buy you, it is not called a sense of technological superiority, that is, cultural superiority. Just like when you buy German goods, it is just because the quality of German goods is good. When you buy French goods, you are voluntarily committing the slaughter of this knife. The more likely the luxury goods are to be broken, the more you feel that they have a foundation.
Chapter completed!