A white Gulfstream private jet soars among the clouds 10,000 meters above the South China Sea.
Inside the plane, Zhang Yida sat on the sofa and boasted to Chen Rui, who was sitting next to him, about Ruixiang's various layouts in Southeast Asia and the growth potential of long-form video streaming in Southeast Asia.
Chen Rui nodded repeatedly after hearing this. He was now completely on Zhang Yida's pirate ship.
Station B is also completely tied up with Ruixiang, and both prosper and lose.
Just after the Chinese New Year this year, Penguin sent a letter asking Station B to stop live broadcasting games produced by Penguin, and editing and uploading long and short videos related to Penguin games was not allowed.
Penguin did not directly take Bilibili to court. Perhaps Chen Rui’s drunken scolding of Liu Zhiping had a certain effect.
Even Xu Yi and Li Ni, who started their business together with Chen Rui, did not expect that Rui Di, who had always been gentle and elegant, had such a domineering side.
Although the videos related to the Ghost Animal Zone have been removed from the shelves, Chen Rui still left a very deep impression on the hundreds of millions of active users of Bilibili.
In short, Penguin didn't know whether he was afraid that Chen Rui would curse again, or that the young man at Station B would spit out sweet things, so his method was relatively mild.
Chen Rui didn't cheat, and asked Station B to send an announcement to users: We have not obtained Penguin's authorization, please do not broadcast Penguin games live, edit Penguin game short videos, and so on.
In addition to issuing announcements, Station B also established a compliance content review team to review whether the content has anything to do with Penguin.
It is impossible to say that there is no impact at all. After all, "League of Legends" and "Honor of Kings" are very popular. Users cannot see the live broadcast on Station B and can only go to Huya and Douyu.
On the contrary, fans of "PlayerUnknown's Battlegrounds" can only go to Station B to watch the relevant live broadcast.
The content ecology of Penguin and Ruixiang is currently like this, and they are completely opposite.
Zhihu, Weibo, and public accounts have all been discussing related topics during this period: whether Ruixiang can withstand the blow of Penguin, or even surpass Penguin's content ecology.
As for Ahri, Qiandu has been robbed of a lot of limelight and is rarely mentioned.
Penguin’s content ecosystem is so powerful that currently only Ruixiang can compete with one or two, and no other company can.
Chen Rui heard Zhang Yida boast a few years ago that he wanted Station B to go overseas.
At the time, I thought it was just bragging, but I didn’t expect that this awesomeness was about to be realized.
"Southeast Asia seems to be deeply influenced by Korean culture. Japanese comics are also more popular here. We don't seem to have any advantage?"
Chen Rui listened to Zhang Yida's words and asked after taking a drink of water.
This is also the thing that worries him the most, as Chinese content is still a little less powerful.
Even Bilibili purchases a lot of Japanese comics every year. Although Chinese comics have achieved certain results, overseas, there is still a big gap compared with Japanese comics that have been developed for decades.
"You're right, but that's why we have to do this work.
If you don’t take this step, you will always be stuck in the country.”
Zhang Yida still wants to do something for the rise of the cultural industry and the export of Chinese culture to the outside world.
He continued: "Think about it, why can't China Comics get started? The development time is short, there are fewer employees, and the scale of the industry is not enough...
To put it bluntly, this is all about money.
If it could make money like mutual money, it is estimated that there would be more people working in the industry, and it would develop in a more professional and high-quality direction.
This is true for any industry. Only when input and output are directly proportional can more funds and talents be attracted.
If Chinese comics go abroad and are slowly accepted by foreigners, this will undoubtedly expand the market.
Only when they earn more can practitioners be able to persevere in their creations, right?
Using love to generate electricity is not a long-term solution."
Chen Rui felt that what Zhang Yida said was very good, and it also gave him a sense of accomplishment.
We are working diligently to open up the market. In the future, Chinese comics entrepreneurs will also be able to gain more market income, which will undoubtedly promote the development of the entire industry in a better direction.
It’s not like Chinese cartoons have never made great achievements. Decades ago, the Magic City Art Film Studio produced classic cartoons such as "Havoc in Heaven", "Tadpole Looking for Mom", "Black Cat Sheriff", "Calabash Brothers" and so on.
, winning awards at home and abroad is easy.
Even the predecessor of Modu Art Factory produced an 80-minute animated feature film "Princess with the Iron Fan" in 1941. Osamu Tezuka, the "God of Manga" in Japan, only watched this animation and determined to become a cartoonist.
Cartoonist's.
Japan, on the other hand, did not produce its first animated feature film until sixteen years later.
Hayao Miyazaki and Isao Takahata admired and admired ink animations such as "Princess Iron Fan" and "Tadpole Looking for Mom".
I believe that only under the system of Red China could such high-art animation works be produced.
Later, Chinese animation stepped down from the altar, and Japanese comics and animation began to become gods.
When Chen Rui and Zhang Yida talked about the past glory of Chinese animation, they were also very sad.
Zhang Yida also misses "Calabash" and "Black Cat Sheriff" he watched as a child. There are no such classic Chinese cartoons anymore.
"Korean pop culture has begun to invade Europe and the United States. EXO and BTS are somewhat famous in Europe and the United States."
Chen Rui said quite angrily, "Our country is dominated by popular celebrities, who act out the Arabic alphabet in a show."
Zhang Yida nodded. It was so easy to earn money from horse racing that he didn’t want to make progress. He was even worse than the movies and TV series produced in the 1980s and 1990s.
"However, costume dramas are still possible. Dramas such as "Jingxin", "The Legend of Zhen Huan", "Story of Yanxi Palace" and so on are very popular in Southeast Asia.
Vietnam also released an adapted version..."
Zhang Yida simply doesn’t want to complain about the Vietnamese, the remake of the thunder drama can shock people to death.
"This should be related to the early cultural exports "The Romance of the Three Kingdoms" and "Journey to the West"."
Chen Rui said in a positive tone, "I heard that Vietnamese and Indonesian users may even be more familiar with Westward Journey and Three Kingdoms than domestic users.
This can be regarded as the predecessors planting trees, and the descendants can enjoy the shade."
Zhang Yida nodded, "I have read the market research report sent by McKinsey. Chinese costume dramas such as palace, cultivation, fantasy, and martial arts are popular in Southeast Asia.
Because the costumes are so sophisticated, the production price of Empress Fucha's phoenix robe in "Story of Yanxi Palace" was as high as 300,000 yuan, while the total investment of "Nirvana in Fire" was 110 million yuan to almost completely restore the ancient costumes, conveying to the people of Southeast Asia a different story from Japan and South Korea.
European and American style Chinese aesthetic.
In other words, it is the big investment that convinces people, not the storyline or anything else.
Korean idol dramas such as Sweet Love and delicate Japanese emotional dramas are very popular in Southeast Asia, but the response to Chinese idol dramas has been mediocre."
Zhang Yida never fights an unprepared battle, so as early as last year, he asked McKinsey to start collecting and investigating the long-form video streaming market in Southeast Asia.
Although it is possible to cooperate with local content production companies, Zhang Yida would rather use Chinese dramas to spread across the Southeast Asian market and expand China's influence.
But this can only be done gradually, and you must understand where your own strengths and weaknesses are.
"By the way, Mr. Zhang, how many platforms should we build?"
Chen Rui knows Ruixiang's habits, and the products in the system often give you two.
DouShi and Kuaishou are a pair of CPs, Xiaohongshu and Pinduoduo, Rocket Video and Bilibili.
"Let's focus on cultivating one first. Once the market is clear, if there are groups of people who need to be segmented, it won't be too late to split it up."
Chen Rui nodded, that's fine, let's focus on doing big things first.