Journalist | Lu Keyan
Source: Interface News
Of all the topics about Twitter, when to enter China is no longer the most concerned one.
Recently, the managing director of Twitter Greater China, Violent Blue, accepted an interview with the interface journalists. Compared with the repeatedly denied plan to enter China, his vocabulary is more frequent: going to sea, marketing, brand.
According to Twitter’s latest earnings report, its revenue in the second quarter of 2019 was $841 million, up 18% year-on-year, with monetizable daily users reaching 139 million. In addition, international market revenue is US$386 million, 90% of which is advertising revenue.
In Twitter’s international business, the Chinese market has become an important battlefield.
In 2014, Twitter set up a Greater China business team, mainly for Chinese enterprises with overseas demand, to help them enhance their influence in overseas markets through Twitter. Over the past five years, Greater China has become one of the fastest growing regions in Twitter’s global business. Over the past year, Twitter’s global cross-sectoral team supporting the Chinese market has tripled.
Blue Villan has witnessed the growth of China’s offshore enterprises for five years: in the past long period of time, the biggest challenge faced by these Chinese enterprises is that overseas users label “Made in China cheap and low-quality”, while Chinese enterprises are not localized enough to understand the culture and living habits of target countries. 。
According to Lan Weilun, Twitter is similar to microblogging, and its core value is that it is a real-time platform. Twitter focuses more on communication than Facebook users do on sharing everyday life. Recently, Twitter set up Art House to integrate the three major resources of global high-quality Internet Red originators, digital content production capabilities and brand live broadcasting services. Blue Villan explained that the move is to help brand advertisers win consumers with content creativity.
He believes that the current situation of domestic brands making sea is that they prefer digital marketing to transform and download, because in the early stage, enterprises should ensure positive investment. So when it is launched in overseas markets, it also pays more attention to the data results, such as how much money can be paid back for 100 yuan and how many fans have risen. “It’s more like sales than marketing. As far as creativity is concerned, Chinese enterprises are still lagging behind, and Twitter’s advantages have not yet been brought into full play. Blue Villan said.
Therefore, what Chinese technology brands should do next is to increase the brand premium, which is a very long front.
In the tide of mobile Internet enterprises going to sea, hand-swimming is the earliest batch and the most advanced batch of ideas. As early as 2015, China’s hand-tour began to erupt into a sea frenzy, and some explosive products in overseas markets such as Kings’Dispute, Fishermen and Kingdom Era were born. However, the success of a single product does not mean the overall success of the game company. Compared with fans’enthusiasm for Sega, Nintendo and other game companies, overseas users still know nothing about the issuing companies behind these Chinese blockbuster games.
A case in point is Netease, China’s second-largest revenue gaming company, which took the most critical step in its strategy of going out to sea in December 2016: to launch its successful “Yin and Yang Master” in Japan against the background of Japanese culture. Since then, “Wilderness Action” and “Blue Line of the Blue Sea” and other games have won a large number of users in Japan, ranking firmly at the top of the daily service list. “Now when Japanese gamers mention Netease, they say it’s the Netease of Operation Wilderness, which is not easy for Chinese manufacturers.”
Japan’s game market has always been closed and barriers to entry are high, but Netease eventually gnawed the market by means of localization promotion and operation strategy. For example, find Japanese voice-over, cooperate with Japanese pop group AKB48 artists to broadcast Wilderness Action live, promote it through Japanese high school students’vacation days and social habits, and link up popular animation “Striking Giant” and so on. Last year, Wilderness Operations ranked fourth in Top 10 of Japan’s annual Tour Income List.
Over the past year, restrictions on the number of editions have allowed more domestic issuers to move overseas. Lan Weilun believes that the domestic ecosystem is more complex, there are various distribution channels, so overseas is relatively simple, in Google, Facebook, Twitter these platforms can find the vast majority of users.
According to Twitter’s report on the influence of Chinese brands going to sea in May, the overseas revenue of mobile games in China increased by nearly 15% between 2017 and 2018. As the promotion model used by Chinese game companies to increase downloads and ROI in overseas markets is very effective and more transparent, it has become a model for manufacturers around the world to imitate.
Blue Weilun believes that Twitter’s role is to provide insight into local culture and the grounding atmosphere, which is supported by the social platform Twitter and the number of new 500 million tweets per day. Twitter, for example, found that more than 7,000 tweets a day on the platform were about users’complaints about dropping an AirPods. Feedback this to one plus, one plus adds a magnet design to its Bluetooth headset to prevent loss, and makes a marketing campaign as a selling point.
IDC reports show that Yijia ranked among the top five in the US high-end mobile phone market in the fourth quarter of 2018, which is related to its active creative communication on social networks.
In addition to hand-travel, technology brands such as mobile phones and mobile applications in the fields of e-commerce, social networking and entertainment are also actively going to sea.
In the tide of the sea, Blue Violent has put forward its own suggestions for these enterprises: to analyze the target audience and the channels of influencing the audience in each market, and to keep sensitive to cultural differences at all times.
Journalist | Lu Keyan