Costly: Women love playing e-games, but may end up forking out fortunes

boyfriends.

A player can certainly gain rewards on completing a mission, but paying real cash normally gets her there much faster.

Wang spent three days winning virtual cards to reach the next phase as the plot thickened. Shen ended up paying roughly 1,000 yuan in the first two weeks for a fast-forward.

“Based on rough calculations, I will need to fork out 10,000 yuan to advance through the levels and get to the end. It’s tempting but too costly,” Shen said.

The various add-ons helped game developer Paper Studio rake in more than 200 million yuan in January, as female gamers splurged to receive a digital hug here or an intimate kiss there from their virtual boyfriends, according to Chinese gaming specialist Gamelook.

Compared with their male counterparts, female gamers are more prone to in-game purchases for dedicated settings, compelling plots and heartwarming roles, Li said.

Agreed Wang of Frost & Sullivan: “Our research showed that women are on average 30 percent more likely than men in virtual-asset purchasing because they have this emotional attachment and the need for self-expression through the in-game avatar.

“Why don’t women play more games? Perhaps it’s because the games are not being sold to this demographic.”

Love and the Producer’s popularity shows female gamers are likely to drive an industry traditionally dominated by men. Their number is now more than male gamers who were obsessed with battle arena game King of Glory not very long ago, according to developer Tencent Holdings Ltd.

Women also account for half of the 310 million users among WeChat’s mini games, a popular in-app mobile gaming feature, the company said in January.

“Unlike console-based games that boast big development budgets and require hours of player participation, mobile games are notably appealing to women because they are light, fun, and, most importantly, address their emotional needs,” said Zhang Guowei, senior customer manager at mobile analytics firm App Annie in China.

Like Love and the Producer, another interactive game that has caught the fancy of Chinese women is Tabikaeru, or Travel Frog, a mobile-based animation drama featuring a wandering frog character.

It was downloaded 3.9 million times from Apple’s App Store in China since December, with players splurging $2 million on in-app purchases to experience parenting in digital medium.

“The game is highly relaxing, very simple to play, but as you progress through the levels, there’s always something new to discover,” said Zhang.

Now, Wang’s fellow girllong friends are busy taking care of their “frog babies” and dating virtual boyfriends at the same time. “It couldn’t feel better,” she said.

Yet, the stereotype that games are a pastime for adolescent boys endures, as evidenced by the aggressive marketing for many big-budget male-oriented games.

“The old stereotype will probably be cast aside sooner or later. Women are seen as more loyal users and have a higher propensity toward impulse spending,” said Wang.

Loyal and impulsive some female gamers are, to be sure. A group of avid fans spent big money to set up an LED-lit banner on a skyscraper in Shenzhen to convey birthday wishes to their common virtual boyfriend Li Zeyan, the CEO character in Love and the Producer.

The female gamers’ postscript on the banner read: “Don’t be surprised. We bought it with your black card.” (Black card refers to Li’s bank card in the game, which he often gives to the protagonist to show his generosity toward his lover.)

All this surreal indulgence makes Wang of Frost & Sullivan think that the gaming sector’s potential may be worth way more than its current 30 billion yuan valuation.

Women are seen as more loyal users and have a higher propensity toward impulse spending.” Wang Wenyan,

Ouyang Shijia contributed to this story.