AIGC Reshapes Content Production: China as the Global Story Factory

On April 16, the forum “AI Empowerment - Building a Global Story Factory” and the micro-short drama industry ecological development forum, organized by Dianzhong Technology, successfully concluded at the 13th China Network Audio-Visual Conference in Chengdu, Sichuan. The event attracted hundreds of industry professionals from various sectors including platforms, media, copyright, and production.

Yang Zheng, Deputy Director of the Network Audio-Visual Department of the National Radio and Television Administration, emphasized three requirements for the development of the micro-short drama industry: first, to adhere to the principle of content being king, focusing on quality creation; second, to embrace technological innovation, standardize AI applications, and activate new momentum for industry development; and third, to strengthen copyright protection and improve the industry ecosystem for sustainable development.

AIGC not only reconstructs the content production process but also accelerates the realization of the “global story factory” blueprint. At the event, Dianzhong Technology, in collaboration with DramaBox, launched the “Double Billion” AIGC Global Co-Creation Plan, which allocates $150 million and 1 billion RMB to support AIGC content creation both domestically and internationally.

AI as the Engine for New Narratives in the Global Story Factory

“In five years, China’s micro-short drama market will exceed 400 billion, with the overseas market being at least 2.5 to 3 times larger than China’s,” predicted Chen Ruiqing, Chairman of Dianzhong Technology. He pointed out that just as China became the world’s factory 40 years ago, it now stands at the starting point of becoming the global story factory, with micro-short dramas being a product of “Made in China” from the outset.

Chen believes that AI acts as an amplifier and mirror, enhancing the strengths of creators while highlighting weaknesses. He urged young creators to shift their mindset, stating, “We are not going overseas; we are ‘born global.’” Dianzhong plans to launch a content globalization system by the end of this year.

Seedance 2.0, launched in February, has rapidly ignited the film and television market. Liu Lei, head of the short and comic drama industry solution at Volcano Engine, explained the advantages of China becoming a global story factory: “Seedance 2.0 achieves unified four-modal generation and video reference generation, enhancing quality and efficiency while preserving the creative evidence chain, aiding compliance and copyright protection.”

In the realm of AI video content creation, Cao Rui, head of Tencent Video’s Galaxy Studio, noted that “AI is a co-pilot, not the driver.” He advised creators to firmly grasp their own steering wheel, diligently refine their scripts, and return to the essence of content creation.

In live-action filming, high-quality content often means high costs and long cycles, making it scarce and hard to replicate. However, can high-quality dramas be mass-produced in the AI era? The only AI comic drama to surpass 1 billion views last year, “Under the Immortal Platform, I Shocked the Gods,” produced by LikeAI, shared insights from co-founder Meng Xiangyun: “AI short dramas must focus on rhythm and scheduling, with narrative taking precedence.”

Yang Yang, General Manager of Sichuan Shike Interactive, who produced the hit AI comic drama “Feng Shui Master,” emphasized the importance of staying true to creative origins, exploring the roots of Chinese culture, and crafting emotionally resonant stories.

These creators, dedicated to telling great stories, are the core driving force behind China’s emergence as a global story factory.

Lin Qiwen, Vice President of DataEye, presented data insights showcasing the prospects of AI comic dramas: AI-generated short dramas account for over 50% of the market, with a significant increase in supply but a mere 0.1% success rate for hits, indicating that quality will be the only path forward.

“Double Billion” Incentives for Global AIGC Creators

At the event, Xu Liang, Vice President and Editor-in-Chief of Dianzhong Technology, announced the “Hippopotamus & DramaBox Double Billion” AIGC Global Co-Creation Plan. This initiative combines “open IP + AI creator support + global top-tier distribution resources” to accelerate the large-scale production and global distribution of high-quality short dramas.

To address the “script shortage” in AIGC creation, Dianzhong announced the opening of its library of 80,000 quality novel IPs, providing rich story templates and adaptation foundations to expand the creative space for AI content generation.

The plan is expected to invest a total of $150 million and 1 billion RMB to support AIGC content creation in both overseas and domestic markets. This funding will employ a “high guarantee + tiered sharing” incentive model, directly injecting resources into the upstream creative processes, covering scripts, introductions, and various production forms.

Specifically, for domestic scripts, a maximum guarantee of 200,000 RMB and a 20% share will be provided, with quality partners eligible for permanent shares; overseas scripts will receive guarantees ranging from $2,000 to $20,000 based on S+ to B-level ratings, with a 10%-20% share.

For introduced finished products, guarantees will vary based on content categories (AI-generated dramas/dynamic comics) and ratings, with domestic projects receiving a maximum guarantee of 150,000 RMB and overseas projects between $2,000 and $50,000, with a 50/50 sharing ratio. Additionally, outstanding overseas partners may receive bonuses of up to $50,000, ensuring quality creators and content receive higher and more stable returns.

For production parties, the plan offers a guarantee fee of 100,000 to 200,000 RMB, covering 100% of production costs, along with a maximum 20% share or an option for up to 80% pure share cooperation, reducing financial risks for production agencies and allowing them to focus on creativity.

Furthermore, the second “Hippopotamus Cup” university micro-short drama competition continues to nurture young talent for the industry, injecting fresh blood.

AI Empowerment: Solving Production Capacity and Globalization Challenges

During the conference, Wang Yan, Executive Editor of Dianzhong Technology, hosted a forum themed “AI-Driven: Building a Global Story Factory,” discussing how to accelerate production capacity expansion and cultural output through AI empowerment, providing high-quality Chinese stories for the global market while addressing copyright issues.

Guo Dawei, Director of Business for Meta Greater China, noted that overseas short drama users are beginning to break out of their previous demographics, which were primarily women over 30, with a recent increase in male and younger audiences over the past three months.

Ye Zhenchuan, head of overseas social media operations at DramaBox, stated that under AIGC empowerment, DramaBox’s content selection and deployment strategies are now more accurate, and operational efficiency has improved. “Currently, AI can monitor and analyze data continuously, 24/7.”

Yang Xinlong, Vice President of short dramas at iReader Technology, shared practical experiences from the overseas distribution of “Shroud of Heaven,” highlighting that user preferences vary based on regional legal and cultural differences, but content rooted in core human emotions will always find a market.

Li Zili, head of business at Mansen Culture, argued that “AI can shorten production cycles and generate more high-quality content in a short time, aiding the diversification of Chinese content output.”

Regarding potential legal disputes arising from AI short drama creation, Yang Yang, a partner at Beijing Guantao Law Firm, reminded that AIGC works are protected under copyright law. In cases of plagiarism or infringement, evidence should be secured early, utilizing AI technology to empower rights protection and form a complete evidence chain to firmly resist infringement and piracy.