In the Internet era, the popular "travel and excellent film", this group of new players who have newly squeezed into the film and television circle are trying to reconstruct the business rules of the film industry in terms of IP incubation and technological innovation through the excellent capital in their hands. The transformation between film and television works and games has a new synonym at present - film-game linkage, and this way of creation is also quietly changing the market pattern.
The heat of the second dimension has not retreated for several years, but it is still in the stage of the market to be developed, even if some people pursue someone to shell, but it is indisputable that in this laughter and anger, trying to break the barrier between the second and third dimensions has formed a new trend, the film-game linkage may be a good output, some production teams have also begun to move closer to the two-dimensional and film-game linkage direction, successfully produced "Ship Ji" Xiang Zhibo and Wang Haijie, the producers of this film-game linkage project, also expressed their views on the two-dimensional element and the film-game linkage.
Behind the explosion of the second dimension is the narrowness and fixation of the monetization channel
With the continuous outbreak of the second dimension, the number of people in the second dimension continues to increase, and the works adapted through the two-dimensional IP are very popular, so that the second dimension has gradually become somewhat popular from the original small minority culture.
Relevant data say that the domestic animation users reached 60 million, radiating 220 million secondary people, covering 62.9% of the post-90s and post-00s, that is to say, every 3 young people have 2 are secondary users, the coverage rate of domestic animation exceeds 40%, for the first time beyond the Japanese comic, acg per capita consumption of more than 1700 yuan, the future quadratic market size increased to at least 15 billion.
The enthusiasm of these data and capital has pushed the second dimension to the outlet, but the two producers said that the more the outlet, the more do not be confused by the superficial beauty, but also look at the problem calmly and rationally.
The user group of the second dimension is relatively special, there are core two-dimensional and pan-quadratic groups, the so-called core users, that is, they are focused, extremely enthusiastic, and have a certain degree of exclusivity, such as whether the "bloodline" of the work is pure and very concerned. Therefore, the number of works that can form a consumption intention for them is not much, but the investment in a single work tends to be greater. The hobbies of pan-quadratic users are relatively more extensive, and there is a set of consumption patterns and habits that are closer to three-dimensional users. However, even for pan-quadratic users, there is also a strong pertinence for the choice of consumption objects, which also causes the monetization channels of quadratic elements to be relatively fixed and narrow.
In the tide of pan-entertainment, the second-dimensional culture in such an industrial inflection point or outlet, the development of the constraint, the first is the lack of profit model. Secondary users are different from ordinary general users, this group has higher requirements for products and services, and traditional guided payment methods, such as video embedded advertising, are often subjectively excluded. In addition to the game and its surroundings are a relatively fixed consumption mode for secondary users, other consumption methods such as film and television, social networking, etc. have not yet become mainstream and high-frequency consumption methods.
Even if the game is paid, the two-dimensional user still has high standards of "requirements", the quality of the game, the design of the gameplay, etc., are the key to attracting the second-dimensional users, compared with the traditional game users, the two-dimensional user also pays attention to the character reduction, the vertical painting style, the plot, the voice actor and other elements. It is not easy to lay the "Jiangshan" of the second dimension.
In the practice of the work, we constantly try to break the wall
The second dimension to the three-dimensional direction, foreign countries than China to try earlier, from the "Detective Conan", "Attack on titan", "Ranger Sword Heart", "Gintama" and other works of the market response, breaking the dimensional wall in foreign countries is still in the exploration stage, the country in recent years is also constantly trying, such as "Bad Man", "Town Soul Street", "full-time master" and other works have also been promoted to the public, and achieved better and better results.
In the face of such a huge group of two-dimensional audiences, Xiang Zhibo and Wang Haijie, like many practitioners, are constantly trying and pioneering in order to break the dimensional wall of the second and third dimensions, and create works with sincerity and ingenuity.
The network movie "Ship Ji" is jointly produced by Shenzhen Taizhi Fund and Sichuan Small Step Fast Running Culture, and the mobile game of the same name is developed by Chengdu Golden Horn Network Technology, launched in Taiwan and South Korea, and released by Shanghai GreenBank Network Technology in China.
As film and television producers, producers Xiang Zhibo and Wang Haijie also tried to cover more fields in the linkage of the "Ship Ji" project. In terms of literature, "The Iron Sky of Ship Ji" won the "Best Film and Tourism Literary Linkage" award in the first Palm Reading Literary Creation Competition, and launched a radio drama at the same time.
With the launch of the "Ship Ji" mobile game, the network movie "Ship Ji" as a rare light science fiction theme, was released in iQiyi. Subsequently, the comic exhibition Magic Doujin Festival CP20 and 2017Chinajoy participated in the joint publicity campaign.
To use the market to witness the real "breaking the wall", only with a loving heart and the unremitting efforts of all practitioners. Xiang Zhibo and Wang Haijie said that they spent a lot of thought on the main creative lineup to make the "Ship Ji" network movie. He used the director Tanhua and his royal team, who had directed "Xianjian Inn" and "Instrument Spirit", and was always keen on cross-dimensional and film-game linkage. In terms of special effects, the mature special effects team and the young special effects team who participated in the production of Hollywood's "2012" and "Spartan Three Hundred Warriors" collided, creating a sincere all-cg naval battle clip in the network movie for the first time. "100,000 Cold Jokes", "Dota2", "Ancient Sword Qitan 2" and other animation games dubbing team, Beidou Penguin, as one of the most professional two-dimensional voice actor teams in China, helped "Ship Ji" to bring the two-dimensional sound into the three-dimensional. From the Black Sky Visual Studio, Li Mengxi (Xiao Mengxi), one of the top ten cosers in China, also joined "Ship Ji", showing the unique high value of the second dimension in the three-dimensional works.
All of this is to make the "wall-breaking" attempt belonging to the "Ship Ji" team more serious.
Focus on the linkage of film and game, and be a sharp soldier who breaks the dimensional wall
According to the statistics of the report of Gamma Data, the market share of mobile games linked by movies and games this year reached 8.92 billion yuan, accounting for 10.9% of the total sales of the mobile game market. There are a number of film and television adaptations of mobile games with a maximum monthly turnover of more than 100 million. Different from ordinary games, in addition to game fans, film and game interactive products will also have film and television fans, and film and television fans can differentiate the audience and star fans. The degree of overlap between these three groups is not high, but the potential for mutual penetration is considerable.
It is precisely because of such market potential and public demand that Xiang Zhibo and Wang Haijie will still adhere to and focus on the linkage of film and game in the future, which may be the sharp soldiers who can break the dimensional wall.
For the linkage of movies and games, only the joint efforts, commonality and cooperation between industries can achieve the effect of one plus one is greater than two for user experience. If the game hopes that the film and television is as hot as possible, the film and television hope that the more game users are better, and ignore their own works, it will only run counter to the vision of both sides, only by giving full play to their original advantages and blessing each other on this basis can we truly achieve a long-term win-win situation.
At this stage, it may be that the game and the film and television sides still need a period of running-in, after all, the film and television company does not necessarily understand the game, and the game company's understanding of the film and television IP is also limited. Truly successful film-game linkage products must take into account the different characteristics of the two ip forms of film and television and games, and promote their mutual achievements.
It can be seen that under the tide of pan-entertainment, whether it is the domestic market or the international market, the degree of integration of film and game relying on high-quality IP is gradually increasing. Some experts even predict that with more and more people paying attention to the field of film-game linkage, the fields involved in the future will certainly be more extensive and diversified, and the cross-border cooperation model of film-game linkage is expected to become a magic weapon for major enterprises to seize the pan-entertainment market in the future.
In fact, whether it is a second dimension or a third dimension, Xiang Zhibo and Wang Haijie hope that through the efforts of their team, different groups of people can discover more things they can love, which is why they strive to break the wall, and they will continue to create works with sincerity in the future. Just saying that there is no point in not practicing, not only to try, not afraid of falling, in the process of continuous trial and error, the experience gained in the process of exploration will help more practitioners to go better and better on this road.
Wen | leaves
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