专访贾毅：“好故事”出海如何破“壁”

Core Insights - The article discusses the global success of the short drama platform ReelShort, founded by Jia Yi, highlighting its achievements and the potential for Chinese stories to resonate with international audiences [1][3]. Group 1: Market Performance - The overseas micro-drama market generated a total revenue of $15.25 billion from January to August this year, marking a year-on-year growth of 194.9% [3]. - The platform has achieved over 400 million global views for its short drama "The Double Life of My Billionaire Husband," with more than 250 million downloads across 100 countries and regions [1][3]. Group 2: Content Strategy - Jia Yi emphasizes that successful storytelling transcends cultural barriers, focusing on emotional connections rather than just genre-specific narratives [5][6]. - The platform is exploring diverse genres, particularly youth and family themes, which are seen as universally relatable [4][6]. Group 3: Localization and Adaptation - To effectively localize content, ReelShort collaborates with local partners in countries like Mexico, Colombia, France, Germany, the UK, and Brazil, adapting stories to fit local cultural contexts [6][7]. - Jia Yi notes that merely changing the script is insufficient for localization; a deeper understanding of local audiences is necessary [6]. Group 4: Industry Challenges and Opportunities - The rising production costs in the short drama market are seen as a challenge but also an opportunity to optimize production processes and improve the success rate of content [6][7]. - The Chinese micro-drama user base is projected to reach 662 million by the end of 2024, with the market size exceeding 50 billion RMB, surpassing box office revenues [7]. Group 5: Future Outlook - Jia Yi stresses the importance of intellectual property protection to foster innovation within the industry, advocating for regulatory support to ensure fair competition [7]. - The potential integration of AI in micro-drama production is approached with caution, emphasizing that quality storytelling cannot be solely driven by data and algorithms [7].