The Taiwan Creative Content Fest (TCCF) served as a pivotal platform for industry leaders to discuss the evolving landscape of intellectual property (IP) adaptation, investment, and global content circulation, particularly focusing on the dynamic Asian market. Discussions at the 'Stories in Motion: From IP to Investment to Global' forum, alongside other panels, underscored critical trends and challenges shaping the entertainment industry worldwide.

A significant highlight was Mediawan Kids & Family's strategic foray into the microdrama space, with plans to launch its first vertical animation short-form content next year. Julien Borde, president of Mediawan, expressed confidence that the animation industry is 'really ready' for the burgeoning short-form trend, which has already established a strong presence in Asian markets. He noted the proficiency of writers in crafting concise narratives for this format.

However, the adoption of microdramas in Western markets faces challenges, particularly concerning monetization and existing subsidy systems. Laurent Duvault, vice president of business development at Media Participations-Mediatoon, pointed out that European subsidy models often misinterpret short-form content as merely 'recycling' rather than original creations. Both executives emphasized the need for healthy business and subsidy models, with Borde suggesting that Asian-prevalent micro-payment systems, combined with subscription models, could offer a viable solution, which some European platforms are already exploring.

Both French companies reiterated a strong commitment to Asian partnerships, with Mediawan specifically targeting Taiwan, where it currently has three co-productions. Media Participations-Mediatoon, representing France’s third-largest publishing group, is developing nearly 200 projects globally, including a Taiwan-specific animation project 'Bob & Marley,' featuring a local bear character.

The panel delved into strategies for identifying suitable IP for adaptation, balancing the allure of 'evergreen' characters with the necessity of fostering new ideas. Media Participations favors IPs with a 30- to 50-year legacy, citing examples like 'The Little Prince' and 'Astro Boy,' and is relaunching 'The Marsupilamis' for Nickelodeon. Yet, Duvault cautioned about the risks of new iterations failing to meet nostalgic audience expectations. Mediawan, while having a history of reinventing classics like 'The Little Prince,' is increasingly focusing on properties with existing fan engagement, acknowledging the difficulty of establishing new brands in a fragmented consumption landscape. Examples include the successful 'Ki and Hi' and 'Mr. Crocodile' series.

Working with major streamers presents evolving challenges, including increased difficulty in securing slots and navigating complex contractual discussions. Borde noted that 'pay TV is not as important as it was, and you have less slots available at all the streaming companies.' Duvault added that while animation is often centralized, live-action content is approached locally by streamers. Despite these complexities, both executives acknowledged the value added by partners like Disney, Warner, and Nickelodeon and stressed the importance of investing in both established IPs and original concepts. Borde cited 'Miraculous Ladybug' as an example of an original idea that became an evergreen IP, highlighting the market's continued need for fresh voices and authentic storytelling.

Further insights from the 'Stories in Motion' forum, featuring Mr. Romance CEO Sean Saeyoon Shim and A+E Global Media's Yungsun Soh, highlighted Korea’s webtoon ecosystem as a prolific source of globally adaptable IP. Shim noted that webtoons come 'pre-tested by audiences,' providing a solid foundation, but stressed the importance of 'original and sincere' themes with 'emotional reach beyond borders' for international viability.

The journey from IP to screen has become more complex due to rising production costs and intense streaming competition. Soh underscored the critical need for 'aligning with partners who share the same creative and strategic vision.' Packaging remains a decisive factor for investment, and breaking through the 'noise' on global streamers requires strong storytelling paired with effective marketing. Shim cited Disney+'s 'Moving,' a hit that took seven years to develop, as an example of successful long-arc IP development.

Looking to the future, critical pathways for markets with shrinking domestic demand include international co-production to share risk and expand reach, and a shift from B2B to B2C development. This latter approach involves innovative mechanisms like blockchain, allowing audiences to participate as micro-investors or even influence casting, thereby creating new communication channels between producers and viewers.

The TCCF also spotlighted specific cross-continental collaborations, such as 'Ready Player Mum,' a new drama series exploring family bonds through online gaming. This project brings together veteran U.K. producer David Abraham (former CEO of Channel 4) and Singaporean showrunner Karl Gan. The series follows Allie, a woman who, after her fiancé's sudden death, uses an online battle royale game they once played to track her grieving teenage stepson, establishing an emotional connection they struggle to find in real life. Abraham highlighted the series' exploration of family connection, technology, and the cultural backdrop of the U.K. and Taiwan.

Gan's inspiration for 'Ready Player Mum' stemmed from personal experiences during the COVID-19 lockdown, reflecting on the irony of connecting with his mother through gaming. The creative team includes producer Holly Chan and creative producer Goh Ming Siu. The series aims to complete scripts and secure financing by 2026, with production slated for 2027. TCCF is seen as the ideal environment for the project to build creative and financial partnerships, leveraging its unique position at the intersection of gaming, literature, comics, film, and television to help the series travel globally.