micro-short dramas? The online audio-visual conference being held in Chengdu may be able to give the most intuitive answer.
During the three-day conference, there were at least four activities related to micro-short dramas. Leading companies and platforms for micro-short dramas or long-form dramas such as Dianzhong Technology, Jiuzhou Culture, Malt Media, Douyin, Kuaishou, and Tencent Video were all present. Relevant forums were held, and directors such as Gao Yalin and Wang Jing also came to the scene to share their feelings about entering micro-short dramas. Every forum related to micro-short dramas is packed with seats. If there is no place, just sit on the ground.
Not long ago, dataeye, a micro-short drama research platform, mentioned in the "2024 Micro-Short Drama Purchase and Inflow Data Report" that the market size of micro-short dramas in 2024 will surge from 37.39 billion yuan in 2023 to 50 billion yuan. It is expected to exceed 100 billion yuan in 2027. "The overseas market size was about 170 million U.S. dollars last year. It will exceed 1 billion U.S. dollars this year. It will exceed 3 billion U.S. dollars next year and will exceed 5 billion U.S. dollars the year after that." Chen Ruiqing, chairman of Dianzhong Technology, said in his sharing that the industry is advancing by leaps and bounds. It provides more opportunities for enterprises and platforms engaged in this industry.
But the micro-short drama industry will definitely face a big reshuffle this year. Chen Ruiqing said that the market will retain companies with creativity and high-quality content.
Chen Ruiqing
In Chen Ruiqing's view, there is still a lot of room for innovation in micro-short dramas. Because micro-short dramas were once an important manifestation of the videoization of online literature, and there were more than 80 categories of online literature, but now only more than ten categories of micro-short dramas have been developed, so there are still about 60 categories that have not been developed.
However, if the industry wants to develop, the thickness and density of talent must be good. Chen Ruiqing believes that if we can recruit some students who graduated from 985 to come in and create content, and let people with strong drama skills participate in the performances, we will definitely create real masterpieces.
Chen Ruiqing mentioned that they are still making many attempts, such as exploring micro-short dramas in cultural tourism, branding, education and other directions. He gave an example of a short drama "The Year of the Dragon" produced by Dianzhong during the Spring Festival. This drama tells some stories about the Chinese Spring Festival. It was translated and released abroad and sold very well. Chen Ruiqing said that micro-short dramas should tell good stories about China and spread good voices about China, which is a promising choice. "Some attempts may not meet expectations for the time being, but this must be the direction of future development."
Chairman of Malt Media He Yunchang mentioned in his sharing that behind the content is the character of the creator, and the creator should be in awe of every click and send, because the work will not only affect the user's thinking and behavioral habits, but even rewrite a person's life trajectory. "The underlying logic of the content is still true, good and beautiful. For example, popular items such as sending warmth to sanitation workers or humility to the delivery boy in the elevator can resonate with users' emotions and emotions. Only with resonance can truly form sharing and forwarding , get a lot of traffic."
"High-quality content has more vitality." In his view, the emotional value of timeliness can satisfy the spiritual needs of the audience. But the industry needs more in-depth content that can arouse users' thinking. Only in this way can the industry go further and last longer.
He Yunchang
At the same time, He Yunchang believes that micro-short dramas will definitely be high-quality in the future, which is consistent with the idea of Wang Jiacheng, chairman of Jiuzhou Culture. In Wang Jiacheng's view, the current story themes are so homogeneous that everyone can't get out of the traffic algorithm. "A fixed routine is that the first ten episodes must raise the mood in order to have sufficient payment rates and click-through rates. Otherwise, users will not read it at all, and eventually all the stories will go back and forth within those fixed frames." Wang Jiacheng believes that it is necessary to eliminate the audience's aesthetic fatigue, otherwise you will know all the stories you see now in the first minute. What will happen in the future? This kind of content will definitely be eliminated in the future.
Wang Jiacheng, chairman of Jiuzhou Culture
Wang Jiacheng, said that the team has also made many attempts, such as extending the number of paid episodes to allow users to watch the story completely before paying. "In fact, as long as the story captures the user, he will also read it," he said. And the stories must have a sense of social responsibility. Every story you tell today will give people who read the stories their own insights into life."
Wang Jiacheng also shared his own story. When he was in school, Wang Jiacheng would get upset when he was upset. When I go to the cinema, I feel like I have experienced other people's lives after watching it. In just 120 minutes, I feel the ups and downs of other people's lives. "Is it possible for our industry to truly create positive content that is socially responsible and can influence the next generation? I think it is the core focus of future industry development."
Red Star News reporter Qiu Junfeng and editor Zeng Qi
