Who would have thought that "Nezha 2" suffered a box office slide in Japan, the third largest box office in the world.

On 2/0, "Nezha 0" was released on a large scale in Japan, and it was already in a state of release two weeks after its release.Its cumulative box office is 3.0 billion yen.

換成人民幣，差不多在1172萬左右，而日本常住人口有1.3億，華人100萬，如此之差的票房，簡直無法想像。

對比一下，中國內地152億票房，北美2091萬美元，差不多1.5億票房，馬來西亞人口只有3500多萬，票房則拿到了8300多萬。

日本那麼大的市場，連1500萬票房都沒拿到，還有，更重要的是，Zha Er actually lost to Louis Koo in Japan.

13 year 0 week, 0 0 to 0, the Japanese box office rankings were released, and the top three were"Doraemon: Nobita's Drawing Adventures", "Spy Hunting" and "Magic Bad Witch".

其中最新版“哆啦A夢”蟬聯6周票房冠軍，累計總票房達到40.77億日元，拉米的新片《諜網追凶》在701家場館開畫，首週末僅收1.63億日元，也是撲街的節奏。

而《哪吒2》第二周票房為180萬日元，換成人民幣為9萬多塊，未能衝進榜單排名，這不是日票房，而是周票房統計。

It shows that Zha Er is close to being released in Japan.

How can I say Waterloo?

This is relative to expectations and the difficulty of getting a ticket for the screening.

Despite Japan's small population, they love to watch movies, and their annual box office is second only to North America and China, ranking third, and the third largest box office in the world.

日本的動漫產業，全球第一，喜愛到什麼程度呢？這麼說吧，去年日本票房排行榜前十中，有8部動畫電影。

Japanese culture is similar to China, and there are 25 commonly used kanji in Japanese, accounting for 0%. As early as the Tang Dynasty, our oriental culture deeply influenced Japan, such as "Journey to the West" and "Romance of the Gods", their children also know about it.

另外，3月14日，《哪吒2》在日本做了小規模點映，當時上映的場館為32家，票房出奇的好，開畫即大爆了1.56億日元，摺合800多萬人民幣。

Whether it is expected or the box office data, all indicators of "Nezha 2" are in line with the Japanese market, but the box office just hasn't risen.

就在《哪吒2》節節敗退的同時，另一部中國電影卻在日本悄悄創造了奇跡，那就是由古天樂主演的《九龍城寨》，日本票房爆了4億日元。

The trend of this film is exactly the opposite of "Nezha 2".

《九龍城寨》於1月17日登陸日本，第一周1900萬日元，幾乎無人問津，第四周票房則爆到1.35億日元，從小規模慢慢擴映，最終用了13周，創下了日本年度華語片最高票房。

So, why did Zha Er lose to Louis Koo?

Is it a bad reputation?

Definitely!

Makoto Shinkai, a famous Japanese animation producer, recently posted an article, using a lot of exclamation points and "too shocking" to highly praise "Nezha 2".

Makoto Shinkai is second only to Hayao Miyazaki in Japan, and his representative works include "The Journey of Suzume", "Your Name", "Weather Child" and so on.

"Nezha 2" can be recognized by people in the animation industry, can the reputation be bad?

Also, "Nezha 5" got a score of 0.0 on the Japanese rating website, calculated according to the 0-point system, that is, 0.0 points, which is almost the same as our Douban 0.0 points, and the audience's big data reputation is very good.

Since it's not a word-of-mouth problem, why did you lose to "Kowloon Walled City"?

Actually, it has to do with the following points.

First, there was a major mistake in the issuance strategy.

The release of "Nezha 2" in Japan can be called a catastrophic demonstration, divided into on-demand screenings and large-scale releases.

As we mentioned earlier, because the Japanese dubbed version has not yet been produced, the distributor is hot-headed, and the Chinese version is released first, with English and Japanese subtitles.

剛開始貢獻的800多萬票房，均為能夠聽得懂中國話的華人觀眾，其餘90%的本土普通觀眾，直接被勸退了。

On 160/0, the Japanese dubbed version was finally released, and 0 theaters were rolled out in the initial stage, but after the attendance rate was poor, it was quickly cut to a late-night show, forming a vicious circle.

and "Kowloon Walled City" is steady and steady, relying on long-term screenings to counterattack.

Second, violent publicity and zero publicity.

In the screening stage, the promotional posters were full of exaggerated slogans such as "No. 1 animation box office in the world" and "emergency release", Japanese audiences felt that it was too exaggerated, they are the country of animation, how can China be allowed to create the world's No. 1 animation?

From the bottom of my heart, I have some contempt for "Nezha 2" at all.

After the large-scale release, there are almost no promotional posters of "Nezha 2" in major cinemas, and I don't know if the film party has no publicity funds, or what's wrong?

In contrast, "Kowloon Walled City" entered the scene in a low-key manner and slowly fermented by word of mouth.

Third, there is still some cultural estrangement.

As a sequel movie, "Nezha 2" sets a natural viewing threshold for Japanese audiences, and it is difficult for audiences who have not watched the previous work to quickly understand the relationship between the characters and the worldview.

This "sequel dependence" directly dissuaded a large number of potential viewers.

And "Kowloon Walled City", although it is a comic adaptation, is an independent piece, and its core righteousness and brotherhood perfectly reproduce the spirit of "Ren Xia Dao", which is loved by Japanese audiences.

更妙的是，影片將八九十年代香港的市井江湖與現代動作美學相結合，既滿足了日本觀眾對港片黃金時代的懷舊情懷，又以淩厲的動作場面帶來新鮮刺激。

This ingenious treatment of "new wine in old bottles" allows the film to successfully transcend cultural differences, while "Nezha 2" is trapped in the context of Chinese mythology and difficult to break through.

In the final analysis, movies going overseas cannot only rely on visual spectacle, but also find emotional resonance points that can cross national borders.

In addition, the narrative rhythm of "Nezha 2" may also be uncomfortable for Japanese audiences.

The film continues the fast-paced, high-density style of Chinese animation, with a large amount of information and concentrated emotional explosions, which is in line with the viewing habits of Chinese audiences, but conflicts with the delicate and blank narrative preferred by Japanese audiences.

"Kowloon Walled City" has a relaxed rhythm, intertwined action scenes and emotional scenes, which is both compact and calm, which is more in line with the aesthetic expectations of Japanese audiences.

Finally, market timing is also key.

"Nezha 2" was selected to be released in the spring, facing the attack of local Japanese animation and Hollywood blockbusters, and the competition was fierce.

"Kowloon Walled City" avoided the peak period, accumulated word-of-mouth through small-scale screenings, and gradually expanded its influence.

In the final analysis, the film going overseas is not only a contest of the strength of the work, but also a game of cultural adaptation and market wisdom.

所以，吒兒輸給古天樂，真不冤。

What do you think about this?