Analysis of information sources in references of the Wikipedia article "Girls' Frontline" in English language version.
时至今日，散爆CEO羽中和当时的阵面网络负责人姚蒙的恩怨仍然经常被提起。双方解除合作后，姚蒙创立了悠星网络，主做二游发行业务，目前在国内和日本市场都有不错的表现。2016年，《少女前线》前主美海猫络合物离开散爆网络，和黄一峰等人共同成立鹰角网络，并担任《明日方舟》的制作人。[To this day, the feud between Sunborn CEO Yuzhong and then-director of Array Network Technology Yao Meng is still often mentioned. After the two parties ceased cooperation, Yao Meng founded Yostar, which mainly engaged in the distribution of animesque games and currently performs well in the Chinese and Japanese markets. In 2016, Haimao, the former art director of Girls' Frontline, left Sunborn and founded Hypergryph alongside Huang Yifeng and others, serving as the producer for Arknights.]
因为早期缺乏发行经验，《少女前线》并非由散爆自主发行，而是交给了阵面网络发行，也就是悠星网络创始人姚蒙的公司。[In the early days, due to the lack of publishing experience, Girls' Frontline was not released by Sunborn itself, but instead handed over to Array Network Technology, which was the company of Yao Meng, the founder of Yostar.]
本次报告以散爆网络旗下的"少女前线"IP为例进行分析,从成果来看,"少女前线"系列的全球用户量已超3000万[The report takes Sunborn Network's IP "Girls' Frontline" as an analytical example. From the analysis results, the number of global users of the "Girls' Frontline" series exceeds 30 million.]
2015年，散爆网络成立，并开始在《面包房少女》的基础上制作手游《少女前线》，羽中及其团队负责研发，姚蒙的另一家公司阵面网络负责运营。在那段"蜜月期"，二人一度亲密到成为同睡上下铺的好兄弟。但后来的故事也都清楚：《少女前线》三测期间，羽中姚蒙二人因理念不合产生矛盾，分道扬镳... 2014年，米哈游联合创始人/总裁刘伟向姚蒙和陈开引荐了一位投资人，悠星网络由此成立... 2016年，研发遇到挫折后，悠星老板姚蒙无奈卖房筹措资金补贴悠星，才得坚持到拿下《碧蓝航线》的日本代理权[In 2015, Sunborn Network Technology was established and began to develop the mobile game Girls' Frontline based on Codename: Bakery Girl. Yuzhong and his team were responsible for research and development, while Yao Meng's company Array Network Technology was responsible for operations. During this "honeymoon period", the two men were so close that they even slept on the same bunk bed. However, what follows is just as apparent: During the third beta test of Girls' Frontline, Yuzhong and Yao Meng had conflicts due to opposing ideas and parted ways... In 2014, MiHoYo co-founder Liu Wei introduced an investor to Yao Meng and Chen Kai, and Yostar was established... In 2016, Yostar CEO Yao Meng had no choice but to sell his home to raise funds to subsidise Yostar, allowing him to persist until he gained the Japanese publishing rights to Azur Lane.]
当时悠星CEO姚蒙与散爆CEO羽中（黄翀）、鹰角网络创始人之一海猫络合物（钟祺翔）等人的故事，如今早已被业内所熟知... 同年，之后成为鹰角联合创始人的海猫也加入了云母组。[The story behind Yostar CEO Yao Meng, Sunborn CEO Yuzhong (Huang Chong), and founder of Hypergryph Haimao (Zhong Qixiang) is well known in the industry... In the same year, Haimao, who later became a co-founder of Hypergryph, also joined MICA Team.]
在指挥官同意的情况下，您可以在新版本中继承《少女前线》国服版的进度。[With the Commander's consent, you can carry over the progress of the Chinese version of Girls' Frontline to the new version.]
기존 <함대 컬렉션>류 게임 대부분은 스테이지를 깨는 재미보단 부대 육성이나 보급 등에 무게를 줬습니다. 부대를 어떻게 조합하고 자원을 어떻게 관리하는 등 운영 딴에서는 생각할 것이 많았어도, 스테이지 클리어 자체는 대부분 확률에 기반한 자동전투였죠. (...) <소녀전선>은 스테이지 클리어에도 힘을 줬습니다. 게임은 스테이지를 여러 말판과 갈래 길로 구성했습니다. 투입되는 부대는 저마다 제한된 탄약과 식량을 가지고 있어 거점에서 제때 보급해줘야 합니다. (...) 여기에 추가로 스테이지 내에서 벌어지는 전투도 컨트롤 요소를 넣었습니다. 유저가 스킬 발동 시기를 조절할 수 있는 것은 기본이고... 일부러 캐릭터를 엉뚱한 곳으로 이동시켜 돌격 시간을 늦춰 쿨타임 돌아갈 시간을 벌어야 하기도 합니다. (...) 이런 게임성은 <함대 컬렉션>류 게임의 단조로운 스테이지가 아쉬운 유저들에게 큰 호응을 이끌어 냈습니다.[Most existing Kantai Collection-type games focus more on unit development and supply than on clearing stages. There were a lot of things to consider operationally, such as how to assemble unit formations and how to manage resources, but most of the stage clearing itself was an automated battle based on probability. (...) Girls' Frontline additionally puts emphasis on clearing stages. The game consists of stages with multiple nodes and branching paths. Each unit deployed has limited ammunition and rations, so they must be supplied at bases in a timely manner. (...) In addition, the battles that take place within the stage also have control elements. The user is required to control the timing of skill activation... and sometimes a character must be moved to another position to delay the charge time and buy time for the cooldown to return. (...) This kind of gameplay has been very popular with users who are dissatisfied with the monotonous stages of games like Kantai Collection.]
2010년 이전까지 국내에서는 '서브컬처 마니아' 혹은 이른바 '오타쿠' 층을 대상으로 한 게임이 거의 없었으며, 이러한 게임들이 의미 있는 성과를 거둔 사례도 드물었다... <칸코레>는 일반적인 가챠 게임과 달리, 지속적인 게임 플레이를 통해 원하는 캐릭터를 '제조' 시스템으로 획득할 수 있었다. 이는 실질적으로 무과금으로도 캐릭터 수집이 가능하다는 것을 의미했다... 그러나 <칸코레>는 국내에서는 큰 반향을 일으키지 못했다... 이러한 상황에서 <칸코레>의 공백을 메운 것이 바로 <소녀전선>이었다... 특히 경제적 여건이 제한적인 학생들에게는 과도한 과금을 요구하는 캐릭터 뽑기 게임보다, 꾸준한 플레이를 통해 대부분의 콘텐츠를 즐기고 원하는 캐릭터를 획득할 수 있는 <소녀전선>이 더욱 매력적인 선택지였다.[Before 2010, there were almost no games targeting "subculture enthusiasts" or so-called "otaku" in Korea, and there were few cases where these games achieved meaningful results... Unlike typical gacha games, KanColle allowed players to acquire desired characters through a "manufacturing" system through continuous gameplay. This meant that character collection was possible without actually paying... However, KanColle did not have a big impact in Korea... And thus, it was Girls' Frontline that filled the void left by KanColle... Especially for students with limited financial resources, Girls' Frontline was a more attractive option than character gacha games that demanded excessive payment, as they could enjoy most of the content and obtain desired characters through continuous play.]
在指挥官同意的情况下，您可以在新版本中继承《少女前线》国服版的进度。[With the Commander's consent, you can carry over the progress of the Chinese version of Girls' Frontline to the new version.]
기존 <함대 컬렉션>류 게임 대부분은 스테이지를 깨는 재미보단 부대 육성이나 보급 등에 무게를 줬습니다. 부대를 어떻게 조합하고 자원을 어떻게 관리하는 등 운영 딴에서는 생각할 것이 많았어도, 스테이지 클리어 자체는 대부분 확률에 기반한 자동전투였죠. (...) <소녀전선>은 스테이지 클리어에도 힘을 줬습니다. 게임은 스테이지를 여러 말판과 갈래 길로 구성했습니다. 투입되는 부대는 저마다 제한된 탄약과 식량을 가지고 있어 거점에서 제때 보급해줘야 합니다. (...) 여기에 추가로 스테이지 내에서 벌어지는 전투도 컨트롤 요소를 넣었습니다. 유저가 스킬 발동 시기를 조절할 수 있는 것은 기본이고... 일부러 캐릭터를 엉뚱한 곳으로 이동시켜 돌격 시간을 늦춰 쿨타임 돌아갈 시간을 벌어야 하기도 합니다. (...) 이런 게임성은 <함대 컬렉션>류 게임의 단조로운 스테이지가 아쉬운 유저들에게 큰 호응을 이끌어 냈습니다.[Most existing Kantai Collection-type games focus more on unit development and supply than on clearing stages. There were a lot of things to consider operationally, such as how to assemble unit formations and how to manage resources, but most of the stage clearing itself was an automated battle based on probability. (...) Girls' Frontline additionally puts emphasis on clearing stages. The game consists of stages with multiple nodes and branching paths. Each unit deployed has limited ammunition and rations, so they must be supplied at bases in a timely manner. (...) In addition, the battles that take place within the stage also have control elements. The user is required to control the timing of skill activation... and sometimes a character must be moved to another position to delay the charge time and buy time for the cooldown to return. (...) This kind of gameplay has been very popular with users who are dissatisfied with the monotonous stages of games like Kantai Collection.]
2015年，散爆网络成立，并开始在《面包房少女》的基础上制作手游《少女前线》，羽中及其团队负责研发，姚蒙的另一家公司阵面网络负责运营。在那段"蜜月期"，二人一度亲密到成为同睡上下铺的好兄弟。但后来的故事也都清楚：《少女前线》三测期间，羽中姚蒙二人因理念不合产生矛盾，分道扬镳... 2014年，米哈游联合创始人/总裁刘伟向姚蒙和陈开引荐了一位投资人，悠星网络由此成立... 2016年，研发遇到挫折后，悠星老板姚蒙无奈卖房筹措资金补贴悠星，才得坚持到拿下《碧蓝航线》的日本代理权[In 2015, Sunborn Network Technology was established and began to develop the mobile game Girls' Frontline based on Codename: Bakery Girl. Yuzhong and his team were responsible for research and development, while Yao Meng's company Array Network Technology was responsible for operations. During this "honeymoon period", the two men were so close that they even slept on the same bunk bed. However, what follows is just as apparent: During the third beta test of Girls' Frontline, Yuzhong and Yao Meng had conflicts due to opposing ideas and parted ways... In 2014, MiHoYo co-founder Liu Wei introduced an investor to Yao Meng and Chen Kai, and Yostar was established... In 2016, Yostar CEO Yao Meng had no choice but to sell his home to raise funds to subsidise Yostar, allowing him to persist until he gained the Japanese publishing rights to Azur Lane.]
时至今日，散爆CEO羽中和当时的阵面网络负责人姚蒙的恩怨仍然经常被提起。双方解除合作后，姚蒙创立了悠星网络，主做二游发行业务，目前在国内和日本市场都有不错的表现。2016年，《少女前线》前主美海猫络合物离开散爆网络，和黄一峰等人共同成立鹰角网络，并担任《明日方舟》的制作人。[To this day, the feud between Sunborn CEO Yuzhong and then-director of Array Network Technology Yao Meng is still often mentioned. After the two parties ceased cooperation, Yao Meng founded Yostar, which mainly engaged in the distribution of animesque games and currently performs well in the Chinese and Japanese markets. In 2016, Haimao, the former art director of Girls' Frontline, left Sunborn and founded Hypergryph alongside Huang Yifeng and others, serving as the producer for Arknights.]
因为早期缺乏发行经验，《少女前线》并非由散爆自主发行，而是交给了阵面网络发行，也就是悠星网络创始人姚蒙的公司。[In the early days, due to the lack of publishing experience, Girls' Frontline was not released by Sunborn itself, but instead handed over to Array Network Technology, which was the company of Yao Meng, the founder of Yostar.]
当时悠星CEO姚蒙与散爆CEO羽中（黄翀）、鹰角网络创始人之一海猫络合物（钟祺翔）等人的故事，如今早已被业内所熟知... 同年，之后成为鹰角联合创始人的海猫也加入了云母组。[The story behind Yostar CEO Yao Meng, Sunborn CEO Yuzhong (Huang Chong), and founder of Hypergryph Haimao (Zhong Qixiang) is well known in the industry... In the same year, Haimao, who later became a co-founder of Hypergryph, also joined MICA Team.]
事后再复盘时，羽中察觉到...如果真的可以将一个题材做到自己满意，全球范围内必然不会缺少用户。比如对枪类题材尤为喜爱的美国玩家，以及全民服兵役，对武器更为熟知的韩国。尤其是后期，当海外收入与国内形成1:1时，他们就更加相信只要自己做到极致，喜欢此类型的玩家自然也会喜欢这款游戏。[Looking back, Yuzhong realised that... as long as he worked on a subject matter to his satisfaction, there would always be an audience somewhere in the world. For example, American players are particularly fond of gun-related topics, and South Koreans have mandatory service and are more familiar with firearms. Especially in the later period when overseas revenue reached a 1:1 ratio with domestic revenue, they believe that as long as they keep putting their heart into the game, players who enjoy this genre will continue to love the game.]
本次报告以散爆网络旗下的"少女前线"IP为例进行分析,从成果来看,"少女前线"系列的全球用户量已超3000万[The report takes Sunborn Network's IP "Girls' Frontline" as an analytical example. From the analysis results, the number of global users of the "Girls' Frontline" series exceeds 30 million.]
2010년 이전까지 국내에서는 '서브컬처 마니아' 혹은 이른바 '오타쿠' 층을 대상으로 한 게임이 거의 없었으며, 이러한 게임들이 의미 있는 성과를 거둔 사례도 드물었다... <칸코레>는 일반적인 가챠 게임과 달리, 지속적인 게임 플레이를 통해 원하는 캐릭터를 '제조' 시스템으로 획득할 수 있었다. 이는 실질적으로 무과금으로도 캐릭터 수집이 가능하다는 것을 의미했다... 그러나 <칸코레>는 국내에서는 큰 반향을 일으키지 못했다... 이러한 상황에서 <칸코레>의 공백을 메운 것이 바로 <소녀전선>이었다... 특히 경제적 여건이 제한적인 학생들에게는 과도한 과금을 요구하는 캐릭터 뽑기 게임보다, 꾸준한 플레이를 통해 대부분의 콘텐츠를 즐기고 원하는 캐릭터를 획득할 수 있는 <소녀전선>이 더욱 매력적인 선택지였다.[Before 2010, there were almost no games targeting "subculture enthusiasts" or so-called "otaku" in Korea, and there were few cases where these games achieved meaningful results... Unlike typical gacha games, KanColle allowed players to acquire desired characters through a "manufacturing" system through continuous gameplay. This meant that character collection was possible without actually paying... However, KanColle did not have a big impact in Korea... And thus, it was Girls' Frontline that filled the void left by KanColle... Especially for students with limited financial resources, Girls' Frontline was a more attractive option than character gacha games that demanded excessive payment, as they could enjoy most of the content and obtain desired characters through continuous play.]
在指挥官同意的情况下，您可以在新版本中继承《少女前线》国服版的进度。[With the Commander's consent, you can carry over the progress of the Chinese version of Girls' Frontline to the new version.]
时至今日，散爆CEO羽中和当时的阵面网络负责人姚蒙的恩怨仍然经常被提起。双方解除合作后，姚蒙创立了悠星网络，主做二游发行业务，目前在国内和日本市场都有不错的表现。2016年，《少女前线》前主美海猫络合物离开散爆网络，和黄一峰等人共同成立鹰角网络，并担任《明日方舟》的制作人。[To this day, the feud between Sunborn CEO Yuzhong and then-director of Array Network Technology Yao Meng is still often mentioned. After the two parties ceased cooperation, Yao Meng founded Yostar, which mainly engaged in the distribution of animesque games and currently performs well in the Chinese and Japanese markets. In 2016, Haimao, the former art director of Girls' Frontline, left Sunborn and founded Hypergryph alongside Huang Yifeng and others, serving as the producer for Arknights.]
기존 <함대 컬렉션>류 게임 대부분은 스테이지를 깨는 재미보단 부대 육성이나 보급 등에 무게를 줬습니다. 부대를 어떻게 조합하고 자원을 어떻게 관리하는 등 운영 딴에서는 생각할 것이 많았어도, 스테이지 클리어 자체는 대부분 확률에 기반한 자동전투였죠. (...) <소녀전선>은 스테이지 클리어에도 힘을 줬습니다. 게임은 스테이지를 여러 말판과 갈래 길로 구성했습니다. 투입되는 부대는 저마다 제한된 탄약과 식량을 가지고 있어 거점에서 제때 보급해줘야 합니다. (...) 여기에 추가로 스테이지 내에서 벌어지는 전투도 컨트롤 요소를 넣었습니다. 유저가 스킬 발동 시기를 조절할 수 있는 것은 기본이고... 일부러 캐릭터를 엉뚱한 곳으로 이동시켜 돌격 시간을 늦춰 쿨타임 돌아갈 시간을 벌어야 하기도 합니다. (...) 이런 게임성은 <함대 컬렉션>류 게임의 단조로운 스테이지가 아쉬운 유저들에게 큰 호응을 이끌어 냈습니다.[Most existing Kantai Collection-type games focus more on unit development and supply than on clearing stages. There were a lot of things to consider operationally, such as how to assemble unit formations and how to manage resources, but most of the stage clearing itself was an automated battle based on probability. (...) Girls' Frontline additionally puts emphasis on clearing stages. The game consists of stages with multiple nodes and branching paths. Each unit deployed has limited ammunition and rations, so they must be supplied at bases in a timely manner. (...) In addition, the battles that take place within the stage also have control elements. The user is required to control the timing of skill activation... and sometimes a character must be moved to another position to delay the charge time and buy time for the cooldown to return. (...) This kind of gameplay has been very popular with users who are dissatisfied with the monotonous stages of games like Kantai Collection.]
2010년 이전까지 국내에서는 '서브컬처 마니아' 혹은 이른바 '오타쿠' 층을 대상으로 한 게임이 거의 없었으며, 이러한 게임들이 의미 있는 성과를 거둔 사례도 드물었다... <칸코레>는 일반적인 가챠 게임과 달리, 지속적인 게임 플레이를 통해 원하는 캐릭터를 '제조' 시스템으로 획득할 수 있었다. 이는 실질적으로 무과금으로도 캐릭터 수집이 가능하다는 것을 의미했다... 그러나 <칸코레>는 국내에서는 큰 반향을 일으키지 못했다... 이러한 상황에서 <칸코레>의 공백을 메운 것이 바로 <소녀전선>이었다... 특히 경제적 여건이 제한적인 학생들에게는 과도한 과금을 요구하는 캐릭터 뽑기 게임보다, 꾸준한 플레이를 통해 대부분의 콘텐츠를 즐기고 원하는 캐릭터를 획득할 수 있는 <소녀전선>이 더욱 매력적인 선택지였다.[Before 2010, there were almost no games targeting "subculture enthusiasts" or so-called "otaku" in Korea, and there were few cases where these games achieved meaningful results... Unlike typical gacha games, KanColle allowed players to acquire desired characters through a "manufacturing" system through continuous gameplay. This meant that character collection was possible without actually paying... However, KanColle did not have a big impact in Korea... And thus, it was Girls' Frontline that filled the void left by KanColle... Especially for students with limited financial resources, Girls' Frontline was a more attractive option than character gacha games that demanded excessive payment, as they could enjoy most of the content and obtain desired characters through continuous play.]
时至今日，散爆CEO羽中和当时的阵面网络负责人姚蒙的恩怨仍然经常被提起。双方解除合作后，姚蒙创立了悠星网络，主做二游发行业务，目前在国内和日本市场都有不错的表现。2016年，《少女前线》前主美海猫络合物离开散爆网络，和黄一峰等人共同成立鹰角网络，并担任《明日方舟》的制作人。[To this day, the feud between Sunborn CEO Yuzhong and then-director of Array Network Technology Yao Meng is still often mentioned. After the two parties ceased cooperation, Yao Meng founded Yostar, which mainly engaged in the distribution of animesque games and currently performs well in the Chinese and Japanese markets. In 2016, Haimao, the former art director of Girls' Frontline, left Sunborn and founded Hypergryph alongside Huang Yifeng and others, serving as the producer for Arknights.]
2010년 이전까지 국내에서는 '서브컬처 마니아' 혹은 이른바 '오타쿠' 층을 대상으로 한 게임이 거의 없었으며, 이러한 게임들이 의미 있는 성과를 거둔 사례도 드물었다... <칸코레>는 일반적인 가챠 게임과 달리, 지속적인 게임 플레이를 통해 원하는 캐릭터를 '제조' 시스템으로 획득할 수 있었다. 이는 실질적으로 무과금으로도 캐릭터 수집이 가능하다는 것을 의미했다... 그러나 <칸코레>는 국내에서는 큰 반향을 일으키지 못했다... 이러한 상황에서 <칸코레>의 공백을 메운 것이 바로 <소녀전선>이었다... 특히 경제적 여건이 제한적인 학생들에게는 과도한 과금을 요구하는 캐릭터 뽑기 게임보다, 꾸준한 플레이를 통해 대부분의 콘텐츠를 즐기고 원하는 캐릭터를 획득할 수 있는 <소녀전선>이 더욱 매력적인 선택지였다.[Before 2010, there were almost no games targeting "subculture enthusiasts" or so-called "otaku" in Korea, and there were few cases where these games achieved meaningful results... Unlike typical gacha games, KanColle allowed players to acquire desired characters through a "manufacturing" system through continuous gameplay. This meant that character collection was possible without actually paying... However, KanColle did not have a big impact in Korea... And thus, it was Girls' Frontline that filled the void left by KanColle... Especially for students with limited financial resources, Girls' Frontline was a more attractive option than character gacha games that demanded excessive payment, as they could enjoy most of the content and obtain desired characters through continuous play.]
事后再复盘时，羽中察觉到...如果真的可以将一个题材做到自己满意，全球范围内必然不会缺少用户。比如对枪类题材尤为喜爱的美国玩家，以及全民服兵役，对武器更为熟知的韩国。尤其是后期，当海外收入与国内形成1:1时，他们就更加相信只要自己做到极致，喜欢此类型的玩家自然也会喜欢这款游戏。[Looking back, Yuzhong realised that... as long as he worked on a subject matter to his satisfaction, there would always be an audience somewhere in the world. For example, American players are particularly fond of gun-related topics, and South Koreans have mandatory service and are more familiar with firearms. Especially in the later period when overseas revenue reached a 1:1 ratio with domestic revenue, they believe that as long as they keep putting their heart into the game, players who enjoy this genre will continue to love the game.]
