This is the best of times.

For film and television drama IPs, they are praised by capital, "loved" by people, and have a unique reputation for a while. In particular, various brands, large, medium and small, are vying to try to establish relationships with them.

Celebrity halo, hot traffic, super entrance.

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Film and television drama IPs are given great room for imagination.

Film and television drama IPs are toxic, and marketing needs to be cautious. Sorry, when film and television drama IPs are in full swing, Ringing Bell acts as the little boy who tells the truth after seeing "The Emperor's New Clothes". Those who are or are preparing to bundle film and television dramas

For drama marketers, the IP of film and television dramas is not “one trick that can be used everywhere”.

If you don’t believe me, let me tell you three aspects.

1. Meteor-style IPs may not be adapted to the local environment, so don’t expect to be able to cure all diseases. Recently, the TV series "Midnight Diner" adapted from Japanese comics starring Huang Lei suffered a disaster when it premiered. Some media reported that its ratings on Beijing Satellite TV were only

0.5, Zhejiang Satellite TV's ratings were only 0.48, and the video website views were only more than 28 million; on the 2nd day of the broadcast, the rating on Douban was only 2.3 points, and 90.5% of the viewers gave a one-star negative rating.

However, there are countless film and television dramas that have encountered similar embarrassments. For example, Huang Lei's previous Japanese IP movie "Troublesome Family" only received a Douban score of 4.7 points and a box office of only 32.27 million.

"The Proposal", which was also adapted from a Japanese IP, received only 0.5 first-run ratings despite the support of popular celebrity Zhang Yixing.

Therefore, IP is not a magic medicine, and there are often "weird" phenomena such as "acclimatization" and "acclimatization". Brands need to be extra careful when taking advantage of the opportunity.

However, after analysis, the reasons why such situations occur frequently are simply: 1. There are too many film and television dramas and IPs nowadays, but there are still very few truly good film and television drama IPs. The differences in most film and television dramas are not obvious, and the probability of success is originally

Just low.

2. Most film and television drama IPs have strong subcultural attributes or are successful in specific scenes. Applying them mechanically will only cause "acclimatization".

For example, "Midnight Cafeteria" grafts the Chinese version of Japanese cafeteria culture, but it has almost no "localized" features.

The reason why "Proposal Battle" became popular in Japan 10 years ago was due to the Japanese subculture at the time, but now in China, things have changed.

In other words, the viewing habits of Chinese audiences have changed greatly. In the current cultural consumption environment, if the Chinese version of overseas IP does not maintain standards or innovative adaptations, the originally powerful overseas IP will also lose its IP effect.

This is true even for domestic IPs. Thinking about the super IP of Journey to the West, only a handful of successful adaptations have been made.

3. The proliferation of advertising placements and marketing transitions have changed the taste of IP.

Indiscriminate advertising has always been one of the original sins that ruined the color of TV series. After the audience directly called "Ode to Joy 2" an "Ode to Advertising", "Late Night Diner" came to make up for it, intensively "inserting TV series in advertisements",

"The Proposal" is not much better. In it, the DR diamond ring, kawaii, etc. are exposed, which is normal, but when kawaii is everywhere, it is not normal for "The Proposal" to become an ice cream commercial.

Moreover, these celebrity IPs seem to have a lot of traffic, but in fact they have become meteors.

These original versions have many fans and are extremely popular. The stars who star in the remakes bring their own traffic and topics. I thought that this successful combination of original versions and traffic stars would be the safest way to play, but it is this waterfall-type traffic that attracts the audience.

Great expectations were placed on it, but in the end, the greater the expectations, the greater the disappointment. Advertisers who placed the remake drama also suffered, and received a lot of criticism.

2. IP "openly builds the plank road", but the brand is "secretly building the warehouse". To put it bluntly, when it comes to taking advantage of the IP marketing of film and television dramas, the IP itself and the brand owner have different purposes and meanings. If not handled well, it is easy to go in the opposite direction.

As former Marvel chief animator Walter McDaniel pointed out: "Brands have a life cycle and will die after a certain period of time, but IP will not." Most companies or brand owners who take advantage of film and television drama IPs focus on their own brands.

The initial design was aimed at a certain presentation form, and the main solution was how to make money in this form.

Therefore, it is easy to understand film and television drama IP as some character images and stories (content), and then put these on your own brand for marketing.

However, this is only a superficial thing, not the essence of IP.

A large number of facts have proven that this type of strategy disguised as IP is increasingly unworkable. Even popular IPs such as the "Voice" program have been extremely bleak after being made into big movies, let alone kidnapping the brands based on it.

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