How to make good use of the “window period” on the eve of the explosion of the Metaverse when pan-entertainment goes overseas?

In 2022, is there still a chance for audio and video to go overseas?

Zhu Xiaohu said in a speech three months ago, “The era of pursuing traffic dividends is over.”

This statement is not entirely true.

Talking about traffic dividends at this point in time has the meaning of “Arsenic for A, honey for B”. It is like Facebook, which is troubled by the problem of user loss internally, but watch TikTok run wildly externally.

In fact, it’s not just TikTok. In the past two years, there have been countless cases of pan-entertainment’s new forces going overseas to overtake cars. For example, Oasis, a Metaverse social platform that has been “dominating the list” in Brazil within two years of its launch, and lamour, a video social platform that has continued to lead in India and Pakistan since its establishment three years ago.

One view is that pan-entertainment products are “similar in function”, and products with first-mover advantages are easier to accumulate users quickly. But the rise of the Oasis just proves that young people who pursue individual expression and are willing to try new things have another set of behaviors, and they are willing to try innovative products with ideas and attitudes.

Similarly, in emerging markets where Generation Z is the main force, developers who follow the principle of “innovation is king” are more likely to share traffic dividends. In fact, innovative pan-entertainment players such as Oasis, Yalla, and Starmaker all have similar winning strategies.

How to incubate killer applications when pan-entertainment goes overseas?

In March this year, Facebook launched Facebook Reels, a short video service, for users around the world. The service has been dubbed by some media as a “copycat version of TikTok” because the music library and video material of Facebook Reels are highly similar to TikTok.

There is an old saying in Chinese internet circles, “It’s never another Weibo that beats Weibo.”

Facebook wants to beat TikTok with “another TikTok”, which is definitely not a clever strategy. On the contrary, this decision further revealed the reason why Facebook “fallen out of favor” in the young circle: the pan-entertainment model of going overseas that relies on capital + empiricism can no longer keep up with the times.

Although this methodology has been popular in the past few years, there are more and more signs that emerging market users are turning their attention to products that have innovative performances in “localization” and “refinement”. In layman’s terms, the pan-entertainment in the 1.0 stage relies on “reproducing” the top products in the mature market, while the 2.0 stage requires developers to deeply understand user needs and complete scene innovation based on a lot of thinking and innovation.

Take StarMaker, a subsidiary of Kunlun Wanwei, for example, the platform has covered more than 100 countries. In Indonesia, the Philippines, Vietnam, Malaysia, Saudi Arabia, Egypt and other places, it maintains the top 1 in the music download list and the top 3 in the best-selling list. An important reason for its outstanding performance is that StarMaker has established local teams in many countries to accurately match user preferences in different countries and regions with product recommendation algorithms and music libraries. At the same time, the platform facilitates users to establish a private domain space through functions such as live broadcast, K song, and chat room. It not only allows users with similar interests to quickly find “organizations”, but also allows users with different music aesthetics to not disturb each other.

The innovation of the social Metaverse application Oasis is also worth learning from. The platform fully mobilizes users’ “creative desire” on the basis of traditional social gameplay. In Oasis, users can start a “Second Life” in a parallel space through their digital avatars. Up to now, the average daily time of Oasis users has exceeded 90 minutes, and young people from more than 60 countries are enjoying themselves in Oasis.

In the incubation process of every killer app, there is an “innovation assistant” that turns good ideas into “good business”.The above-mentioned enterprises realized the “last mile” of the scene through a real-time interactive solution service provider called Instant Technology.

Taking StarMaker mentioned above as an example, in the process of transnational operations, it needs to deal with complex international network conditions. A little carelessness will make users angry with the platform because of network delays, which will affect the reputation of the product. Coupled with the unevenness of smartphones in emerging markets, how to make the platform maintain ideal sound quality performance on mid-to-low-end mobile phones is also a major issue related to product experience. To this end, StarMaker has joined hands with Instant Technology to adapt and optimize the 30,000+ models around the world in terms of encoder, bit rate, and external data transmission based on Instant Technology, so as to have a more stable real-time communication experience.

Oasis also encountered a thorny problem when building a Metaverse ecosystem: immersive social scenes require a sense of space in the voice of the players when they communicate. Through hand-in-hand technology, Oasis has 3D stereo voice in sound effects, making the Metaverse community more realistic and immersive.

It can be seen that in the second half of the pan-entertainment market with larger “brain holes”, excellent technical service providers are needed to promote innovative scenarios, so that “creative ideas on PPT” can become mature applications to the market.

Using “Metaverse thinking” to reshape the pan-entertainment scene

It is not difficult to find that the popular pan-entertainment products mentioned in the previous article have more or less joined the concept of “Metaverse”. Through the integration of a single pan-entertainment scene, the “doll” style, supplemented by new interactive communities and interactive modules on top of the basic scene, to achieve product innovation and revenue generation. The essence of Metaverse is to avoid excessive intervention, disturbance and guide user behavior, and to create a more flexible and interactive world for users.

As long as the “Metaverse thinking” is used reasonably in pan-entertainment applications, users can move from a simple human-computer interaction and human-human interaction scene to interacting with a more open space. For example, users can achieve “expansion” on the original game voice platform with a single scene, and then deepen the connection with game friends through the platform’s “K song room” function, and complete the precipitation of the relationship chain step by step. These scenarios that originally needed to be completed across platforms were left in the closed loop of the product, which indirectly raised the development ceiling of the application. However, for pan-entertainment companies going overseas, there are still many difficulties in quickly establishing such an open space. As the name suggests, “open space” products require more functional modules to attract users, and the realization of each new scenario requires a lot of manpower and material costs. Taking the karaoke scene as an example, there is a high threshold in the research and development of copyright and real-time chorus technology, which will discourage many market participants. It can be seen that when embracing the “open space” trend, companies need to find the right rocker to save manpower and improve efficiency.

Lanxi has observed from the media that relying on the experience of providing services for a large number of leading companies going overseas, the “Pan-entertainment Social Play 2.0 Solution” launched by Goutech provides a solution for pan-entertainment companies going overseas. The “social + avatar”, “social + mini-games”, “social + K-song” and other solutions covered by the plan can be freely chosen by market participants to integrate solutions, thereby improving the product’s user acquisition, retention, and revenue generation. of expressiveness.

For example, at this stage, various immersive social applications are sought after by the market. However, it takes a lot of time and human resources for overseas players to develop corresponding functional modules. Pan-entertainment social gameplay 2.0 solution, developers can quickly have social + avatar function, realize accurate face recognition through camera to generate user avatar, and combine this image with common 1V1 microphone, chat room, K song, live broadcast and other gameplay Getting through is equivalent to quickly giving the product the prototype of the “Metaverse”.

For another example, real-time chorus and mini-game scenes with great advantages in attracting new people and promoting activities can be “one-click empowerment” through the pan-entertainment social gameplay 2.0 scheme.

This means that the developer team can integrate social games such as who is undercover and werewolf killing in the original product to create a good social atmosphere; The K-song scene is opened up… This “Lego”-style free combination allows products to get rid of homogeneous competition and leave a more vivid product memory in the user’s mind.

The most crucial point is that, in the face of a rapidly changing market, the Pan-entertainment Social Game Play 2.0 of Instant Technology enables partners to quickly embrace changes and enrich the connotation of products in line with the times. On the eve of the eruption of the Metaverse, pan-entertainment developers also need such “technical brains” to meet new opportunities and challenges together.

Written at the end: under empiricism, scene fusion

For a long time, small and medium-sized players in the pan-entertainment industry could only accept a cruel reality: because of limited resources, the upper limit of the team was to create a “small and beautiful” application, and then wait for the giant to throw an olive branch. Even if it is as strong as Instagram, it cannot escape the fate of being acquired.

Indeed, under the traditional pan-entertainment entrepreneurship framework, it is difficult for developers to achieve cross-border products after they devote themselves to a certain segment. Not to mention the high cost of research and development, the weak position of entrepreneurs in the industrial chain is also not conducive to the integration of resources with strategic value. These constraints determine that small and medium-sized developers can only choose small scenarios that giants do not like to start with, and finally sell themselves and cash out as a “subset” of giants.

But now things have undergone subtle changes. Relying on the real-time interactive solution provided by Instant Technology, many problems that once plagued developers have begun to be solved. As long as the chemical reaction generated by the integration of scenarios is flexibly used, companies going overseas can find a sustainable business model, from small and beautiful to “big and beautiful”.

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