Press Release
The 25-30 side chain of CTC Civil travel service chain is officially on the chain
On December 23, Daniel Smith, CEO of Singapore Done Fund Management Institution and CEO of CTC, reached a strategic consensus with the heads of the six new side chains after in-depth communication and discussion for many times, and announced that the six side chains of CTC Global Cultural Travel Chain (VEA, LMA, HVA, MCO, WAS and VNC) were officially linked up. Due to the impact of the global COVID-19 epidemic, the strategic press conference that was scheduled to be held in Singapore was not held as scheduled. This multi-party strategic cooperation was finally reached in the form of electronic agreement.
Singapore Done the fund management organ CEO, the chief executive of CTC, Daniel Smith, for six side chain fixed anchor (Vienna, Austria, Lima, Peru, Havana, Cuba, Mexico City, Warsaw, Poland, Venice, Italy), the characteristics of human geography environment and beautiful landscape, said after the outbreak must personally go to feel the unique local customs. It is reported that six new side chain operation centers are set up in the business centers of six cities, and reached strategic consensus with the famous local travel companies.
Vienna, on the Danube river in northeastern Austria, is known as the “capital of music” in the world. Stopping on this city street full of musical notes is always a romantic scene, which makes people easily fall in love unawares, just like the nature of romance in Vienna. Most of Vienna’s tourist attractions are open all year round, such as The Schonbrunn Palace, hofburg Palace, Belfort Palace and the Vienna Museum, of which the Schonbrunn Palace is a UNESCO World Heritage Site.
Lima is the capital of Peru and the largest economic and cultural center in the country. It is located on the coastal irrigation oasis. In Lima is always most of the colonial period, South America is the most important political and commercial centers of power, therefore retained a large number of colonial buildings, such as large monasteries catacombs Francis, the central plaza, SAN street plaza and the buildings also earned Lima, scientific and cultural organization UNESCO awarded the “world cultural heritage” of reputation.
Located on the northwest coast of The Island of Cuba, Havana is the capital of the Republic of Cuba. It is located in the tropics, with a mild climate and pleasant seasons. It is known as the “Pearl of the Caribbean”, with many ancient churches, castles, squares, museums, monuments, parks, libraries and so on. The port city of distinctive and lasting appeal, classical and modern, the new world and old world, white and black, high culture and the lowbrow, all elements full of collision, there are telltale signs here, all seemingly independent individuals, together in the sunshine and the vibrant tropical port harmonious unify.
Mexico City is not only the capital of Mexico, but also the largest city in Mexico. Architectural buildings, historical sites, museums, palaces, monuments, shopping malls, government buildings, everything in Mexico City. The water garden on the Hochmirco Canal is the city’s largest tourist attraction, as well as landmark buildings such as the El Angel Daily Independent newspaper and the Angel of Independence Victory Column. Mexico City is the headquarters of many large media companies and Spanish newspapers. About 20% of the Mexican population lives in Mexico City, so this city is also known as the city that never sleeps.
Warsaw is the capital of the Republic of Poland, and the famous Warsaw Convention was signed here. Today, Warsaw still maintains the layout of the old and new cities. Various historical monuments and places of interest are mostly concentrated in the old city, attracting a large number of tourists from abroad every year. The Old Town is located on the west bank of the Vistula River. It is a cluster of majestic and majestic red spire buildings in the Middle Ages. The famous ancient buildings include the former Royal Palace known as the “Polish National Cultural Monument” and the most beautiful and magnificent Baroque building in Warsaw. Base Palace, Lazienki Palace, an outstanding representative of Polish classical architecture, etc.
Venice is the capital of the Veneto region in northern Italy, a world-famous historical and cultural city, and the birthplace of the Venetian school of painting. Its architecture, paintings, sculptures, operas, etc. have an extremely important position and influence in the world. The water city of Venice is the essence of the Renaissance, and it is also the only city in the world without cars. God shed tears here, but made it more crystal clear and tender, just like a romantic dream floating on the blue waves, enjoying “because of water There is the reputation of life, beautiful because of water, and prosperity because of water, and the reputation of “water city”.
In the context of the global epidemic situation is not optimistic and the economy is complex and changeable, the tourism industry is still an industry with stable market demand and a good development momentum in recent years. It has exceeded the global economic average growth rate for 7 consecutive years and has become the fastest growing industry one. With the integration of the global tourism industry and digitalization, the future will gradually achieve leapfrog development, bringing new horizons to the holiday economy and new development opportunities for the digital cultural tourism industry.
The so-called hero sees the same. The heads of CTC and the six new side chains agreed that the future development trend of the cultural and tourism industry will be to integrate blockchain technology into it, which is the need for the in-depth development of the integration of culture and tourism in the new economic environment. By building a new industrial ecological application system through blockchain technology, the cultural tourism industry will accelerate the circulation of assets, empower the growth of the digital economy, and promote the sustainable development of the cultural tourism industry’s digitization, capitalization, and ecologicalization.
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Lithos Digital has been inducted into the Hall of Fame of the London & South East England Prestige Awards 2025-2026 after winning SEO Agency of the Year for multiple consecutive years. The agency says the recognition reflects sustained performance in the UK market as AI reshapes how brands earn search visibility, including through emerging approaches like Generative Engine Optimisation (GEO).
Athens, Greece, 2nd Jan 2026 – Lithos Digital has been inducted into the Hall of Fame of the London & South East England Prestige Awards 2025-2026, after receiving the SEO Agency of the Year distinction for multiple consecutive years, 2022, 2023, 2024, 2025 and 2026. This recognition reflects long-term performance in one of the most demanding digital markets, at a time when search visibility is being reshaped by Artificial Intelligence.
As AI-powered tools increasingly influence how users discover and evaluate brands, SEO has evolved beyond traditional organic rankings. Visibility today depends not only on search engine performance, but also on how effectively websites are structured, understood, and recommended by AI-driven systems, accelerating the rise of Generative Engine Optimisation (GEO).
About Lithos Digital
Lithos Digital is an international, performance-driven digital marketing agency with active operations in Greece, the United Kingdom, and Spain. The agency focuses on search-led growth strategies, combining technical SEO, content structure, and GEO to help brands maintain visibility across both traditional search results and emerging AI-powered discovery environments.
Operating for years in the highly competitive UK market, Lithos Digital has built its approach around long-term strategy rather than short-term tactics. The Hall of Fame distinction highlights a consistent track record of delivering measurable results through research-led execution, careful testing, and clearly defined methodologies designed to remain resilient as search technologies evolve.
“AΙ has changed how visibility is earned, but it hasn’t changed the fundamentals,” said Andreas Mexis, CEO of Lithos Digital. “Search engines and AI systems still reward clarity, structure, and credibility. Our focus has consistently been on building SEO strategies that adapt to how search works in practice and now perform across both traditional organic search and AI-driven discovery. This recognition confirms that strategy, consistency, and disciplined execution continue to win.”
For more information about Lithos Digital’s SEO and GEO capabilities, visit https://lithosdigital.com/
Media Contact
Organization: Lithos Digital
Contact Person: Andreas Mexis
Website: https://lithosdigital.com
Email:
hello@lithosdigital.com
Address:Vouliagmenis Avenue 501, 16341
City: Athens
Country:Greece
Release id:39780
The post SEO in the AI Era: Lithos Digital Earns Hall of Fame Status in the UK appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
SEO in the AI Era: Lithos Digital Earns Hall of Fame Status in the UK
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
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