Domestic IP is actually not real IP, China's IP can only be called Brand

The author of this article, Martin, argues that the current domestic IP industry appears to be active (such as the big movie where Dad goes), driven by popular entertainment. But in fact, this wave is only driven by the media industry, IP is limited to the "Media audio-visual content" level, commercial means relatively quick success, the impact on the great cultural industry is limited to the surface.

The article also cited the former man of the main painter, now Black Dragon founder, Walter McDaniel words-"real IP can survive forever." China's current IP can not be called IP, can only be called brand. ”

Text/Martin

IP really into the public view, mainly in 2014 years.

But to get to the root of the story, the IP industry in the Chinese market, the evolution of the real sense may be traced back to the 2012 "China good Voice" as the beginning. Since then, the domestic market has sprung up with a boom in content from television and spread throughout the content market over the next two or three years.

But, because the starting point of this wave of content prosperity, the nature is launched by the television, and the entire media industry is facing the new media environment under the revenue dilemma. So standing in the media position, the television industry is eager to maximize the content value to make up for the loss of the media end of profit.

Therefore, an almost by the whole market negligence of the bizarre situation is: Based on such a large background, the IP industry because of the nature of the diversified revenue attributes and good profit model, by the media industry as a content value expansion tool, officially introduced into the media industry.

So in a sense, the IP industry has also begun to become a methodology for restructuring the media industry.

In the early 2014, relying on "where the father went" effect, the big movie success, the nearly 0 cost of the film clip unprecedented harvest more than 700 million box office, to the media industry has brought great confidence. And the IP Revenue tool theory positioning, also in such a market carnival gradually landed in China.

Of course, a "dad where" is not enough to convince the whole market, played a key role in the 2013 and 2014, the two years, Hunan satellite TV and Zhejiang TV in the content of the achievements of proud people. In particular, Hunan satellite TV in 2014 through these scarce high-quality content, the content surrounding the industry carried out a more successful attempt.

At the same time, along with Zhejiang satellite TV, Oriental TV, Jiangsu TV and other front-line mainstream TV stations, but also to the operation of IP this way to follow up and docking-based on the content of the systematic commercial development-the formation of a certain market diffusion effect, so that this industry strategy by the whole market gradually recognized.

From this perspective, China's so-called IP industry, from the root of the media gene, rooted in the soil is mainly based on high-quality audio-visual content of the media. This recognition has also provided a greater impetus to the media industry's enthusiastic content production and contributed to the prosperity of the content market.

But ironically, this wave of IP industry on the ground, because the basic is in the revenue crisis in the media industry dominated (video industry due to the industry attribute, also determines its urgent desire for revenue), the content of the commercialization of a more impatient, quick success of the industry atmosphere, the market for IP definition, is limited in those short time of fire up the media audio-visual content level, namely, content namely IP market cognition.

For example, "good voice in China", "where Dad to go" and a series of hot programs, whether the film, do hardware, or do peripheral toys, are identified as IP industrialization. But strictly speaking, this method only uses the specific commercialization of IP industry, but it is not the core of IP industry. There are still big questions about the market's knowledge of IP.

At the same time, based on the media content prosperity brought about by the high level of market activity, but also make the Chinese cultural industry in such a market spree surging.

The reason is that the media industry-led high-quality content, the value continues to extend to the cultural industry, and the media industry through the IP commercialization system, successfully opened the original media industry and cultural barriers between the industry. This is why more and more media are more willing to see themselves as entertainment and cultural industrial institutions. And such a huge cultural industry market unexpectedly is by the media industry to pry move, almost is also unique era phenomenon.

Of course, over the past decade, China's cultural industry has been much more than a few things, but it has not. To talk about all the real results, may also be close to two or three years of time, big bat several giants, small to personal studio. From the traditional publishing industry, film and television production and distribution, to the technology industry intervention and capital influx, the whole industry seems to form a rapid consensus.

It is worth mentioning that the background of this consensus is similar to the formation of IP cognition in the media industry. And behind the surface boom, perhaps not the so-called opportunity.

In recent years, the quality of audio-visual content to the content of the value of the surrounding expansion. For this part of the extension of value, the domestic once suffered no matching business design. In order to retain the value spillover, the industry outside the need for a suitable "bucket" to cover them. In this case, IP as the "bucket" role, by the domestic market gradually accepted.

Therefore, the resumption of Chinese wave culture industry, the name can be traced back to the two years of IP business model introduced to China, but the brutal is that the current IP business has not really become the cornerstone of supporting the cultural industry.

At this stage, whether in China's media industry or in the field of cultural industry (two areas overlap of course), at best it is a tool, and the root cause of the restart of the entire cultural industry, from the roots, mainly from the media content of the value of the continuous outward extension, and ultimately with the cultural industry to achieve docking.

So, in essence, the underlying foundation of China's current wave of cultural industry is not IP but content. Moreover, the biggest problem is that the promotion of the entire cultural industry, "IP-engine" and "content-driven", is a completely different direction of the two industries.

The fact is that although IP has a powerful tool side, the function is not a tool. Because IP itself is a perfect business system and business ecology, the tool is only the most superficial part. And true IP is not limited to the content level, at this stage we think of content, is not the real meaning of IP.

Former diffuse wei master painter, now Black Dragon founder, Walter McDaniel sharply pointed out: "True IP can be permanent." China's current IP can not be called IP, can only be called brand. Brand has a life cycle, to a certain time will die, but IP will not. ”

"The real IP is invisible, and this kind of thing hides deep." Stories are just shallow things. Walter said: "The biggest difference between the brand and the IP is that the brand begins with a design aimed at some form of presentation, mainly to solve this form of how to make money." So it is not possible to convert between all media forms. ”

"Good voice" has been a great success, and its big film was defeated, it is because the early stage of the production of the film did not consider the form of the show. His original design, mainly for television viewers, all focus on the program itself, the ratings and animations. Therefore, the "good voice" reflects the strong, more performance in the TV end. In other areas, it is hard to say that success has been achieved.

Of course, "Where's Daddy?" Big movies have a good box office results, but this example is not universal, it is difficult to think "where Dad" big movies can be one after another film. Walter stresses that the natural death of brand life is an unavoidable cyclical phenomenon.

This congenital disadvantage, leading to the surrounding industry's value expansion will be very limited, while the expansion of the work will be relatively high degree of difficulty. Therefore, the start of the Chinese culture industry, if only based on the content (or brand) to promote, may be like a pile of no root fire, a vigorous burning after the lack of long-term vitality and no thought. This is the domestic market has to pay attention to a dangerous market expectations.

Walter Frankly, the reason why came to China to create Blackdragon, it is because see China's huge market there is no one to do real IP: "When we talk about the story and IP, not all stories and IP can live, the vast majority of people think the IP is just a trademark (brand), True IP has its own values and philosophies. ”