Movement priorities, debris consumption, instantaneous satisfaction, and social communication, which constitute the basic features of a new generation of content consumption behaviour. It is precisely because it is fully compatible with these core pillars that the mini-literacy has grown into billions of dollars in record time.
The CEO Yoyo, a company focusing on the release of the micro-short play, states: “The micro-short show has become a global phenomenon, with international market revenues projected to reach $2.5 billion, and a compound growth rate of 12-15 per cent per annum between 2025 and 2030.”
In response to a question as to whether the “microtography is a short-term trend for young people”, the Yangs asserted: “This is not a flaunt, but it is reshaping the media. We have witnessed a rapid increase in income by many partners and an alarming level of user access and retention.” It is worth noting that most of the current profits are made by new players, such as short play application developers, as opposed to non-traditional media giants.
According to her, the micro-short play was essentially a moving-end D2C (Face Consumer) content product, with the main business model being the application purchase (IAP) and the application advertising (IAA). New models requiring payment of solutions and technical support, either directly or through the purchase of a “currency” to unlock the collection of fees, attract new participants beyond the traditional TVOD (transactional on-demand) and SVOD (subscribe on-demand) systems. “Many traditional on-demand platforms are making every effort to integrate this technology into existing applications”, willow revealed.
Another trend that needs to be supported by a mature electrician system is the direct jump to online shopping through the scanning of microtrip videos – a field that is being actively explored by byte. “So this is not a short-time heat,” Yoyo stressed, “It is new players, such as application developers, who reap millions of benefits from the pioneers.”
According to the Asia Television Report, China’s daily average consumer market for micro-short dramas in 2024 was close to the long drama, with industry observers predicting a counter-surplus this year. Risingjoy has made a full bet on the track, and while the micro-short drama is more like a flow than a content product, rapid growth requires a large amount of output of these moving priority debris elements, the life cycle of quality works that meet their selection criteria can exceed one year.
To date, Risingjoy has released over 200 Chinese-English-Korean works in a Chinese-Korean studio in six months, creating a network of B2B content authorizations covering more than 20 countries/regions. “The number of our partners will double by the end of 2025”, Yoyo will say confidently, “It is very interesting to connect with new players in Japan, Korea, South-East Asia, India, Turkey, Russia, the United Arab Emirates and even Africa.”
The rise of micro-short dramas has not only changed the consumer habits of the audience, but also provided new opportunities for content creators and platforms. RisingJoy ‘ s strategy for globalization shows that the attraction of micro-short dramas has transcended cultural and geographical constraints and served as a bridge to connect global audiences. In the future, with advances in technology and the expansion of consumer scenes, micro-short dramas are likely to become more integrated into the fields of electrician, social and virtual reality, creating more diverse and interactive experiences.