Windy Shao windysjf@hotmail.com IN a remarkable development last November, Chinese mobile entertainment app ReelShort surged into the top 20 on the U.S. App Store, temporarily overtaking the popular TikTok app. In just three months, more than 11 million Americans downloaded this soap opera-style video app. Additionally, apps like Mega Matrix’s FlexTV and SnackShort are actively involved in promoting Chinese short dramas to international audiences. These applications frequently dominate the download charts of app stores and deliver blockbuster shows. Attendees of the Global Traffic Conference (GTC), which was held in Shenzhen last month, said that Chinese companies see substantial potential in this industry. Enormous potential Data from iiMedia Research, a China-based business analysis firm, shows that the market size of China’s online short dramas reached 37.39 billion yuan (US$5.26 billion) last year, an increase of 268% from the previous year. The market is projected to exceed 100 billion yuan by 2027. One notable success story is the online miniseries “Unparalleled,” produced by Fung Culture in Xi’an, Shaanxi Province. The series set a domestic market record by generating more than 100 million yuan in revenue within eight days of being released, according to China Global Television Network (CGTN). Fung Culture is eyeing overseas markets, and one of its products has already turned a profit in Saudi Arabia, a company staffer told Shenzhen Daily. The popularity of short dramas has surged in China in recent years, prompting many companies to explore replicating this success abroad. Eighteen companies attended a seminar at the GTC to discuss the industry’s promising future and collaborative strategies for taking Chinese short dramas abroad. Steven Gao, COO of Mega Matrix, highlighted the rapid growth of the short drama market. Factors contributing to this growth include short production cycles, low capital investment, and a growing demand for fast-paced, bite-sized viewing experiences. Gao said that the global content payment market is currently valued at around US$140 billion. China currently holds a modest 10% share of that market, suggesting substantial potential for expansion into international markets. The penetration rate of short drama viewers in China stands at 33% but only 3% internationally, indicating ample room for growth in foreign markets. The rise of overseas short drama platforms began in August 2022 with the introduction of ReelShort, which was soon followed by other platforms such as FlexTV and SnackShort. The FlexTV platform is available in over 100 countries, according to Gao. According to TikTok for Business, the dominant demographic on overseas short video platforms is women between the ages of 25 and 45. Localization strategies During the seminar, attendees stressed the significance of adapting short dramas to suit local audiences. Gao showcased successful works from FlexTV, such as “Mr. Williams, Madam is Dying,” at the event. He detailed the key elements for crafting effective short dramas, including leveraging emotional fluctuations, stellar performances from actors, meticulously chosen scripts, production protocols, precise audience targeting, and strategic operations. According to Ding Shuyin, business manager of SnackShort, the company has customized content to meet the diverse preferences of audiences in different regions. He underscored that the fundamental themes of short dramas — love, wealth, betrayal, and revenge – hold universal appeal worldwide. Liang Honglan, director of investments and overseas business at Fanku Culture, discussed establishing Mini Magic in Hong Kong and SUNBRO in Romania to support global expansion efforts. The company recruited bilingual directors to bolster English and Korean productions. Fanku Culture’s diverse portfolio spans genres ranging from science fiction, action, and disaster scenarios to emotionally riveting genres like sweet romance, tragic love, and historical light comedies. Challenges faced Liang detailed the challenges that Fanku Culture has faced during its international ventures, highlighting cultural differences and divergent work rhythms. She proposed strategies like aligning work rhythms and respecting local cultures and work ethics to navigate these obstacles. Wang Shuhan, the head of ShortMax’s Studio 61, stressed the vast potential of the nascent overseas short drama market and called for a departure from rigid models and frameworks to unleash this enormous potential. Using ShortMax as an example, Wang outlined the three stages of development in overseas short drama production. The initial phase involves adapting stories from domestic sources and web novels while grappling with cultural disparities. Subsequent stages focus on successfully localizing popular overseas novels. Finally, original scripts take center stage, with ShortMax nurturing original content and collaborating with professional film and TV companies in North America to raise quality benchmarks. In terms of content, Wang emphasized love as a recurring theme in short dramas due to its capacity to emotionally resonate with audiences. Underlining fundamental similarities in the preferences of Chinese and American audiences, Mega Matrix’s Gao said, “We don’t think Chinese and American audiences have fundamental differences in taste. Chinese web novels have studied human nature profoundly, and they do a great job of evoking emotions. Scriptwriters and directors who have excelled in China can tap into universal desires that resonate with everyone.” | 