It's reasonable for me, a stuntman, to live a crazy life, right?

Chapter 1412 Marketing Strategies in the Internet Age!

"The film 'Missing Her' has successfully surpassed 2 billion RMB at the box office... Shanghai Film Group officially announced an extension of the key, which will be extended to August 22nd."

"The movie 'The Longest Day in Chang'an' is still showing in theaters. After 13 days of release, its box office has exceeded 13 billion yuan!"

"The first installment of the annual mythological, action, and epic trilogy, 'Fengshen Trilogy,' premiered today in Beijing."

Director Wu Ershan led a group of main cast members, including Fei Xiang, Li Xuejian, Huang Bo, Yu Shi, Chen Muchi, Ci Sha, Wu Yafan, Xia Yu, Yuan Quan, Wang Luoyong, Hou Wenyuan, Huang Xiyan, Li Yunrui, Yang Le, and Chen Kun, to appear on the red carpet at the premiere.

Ten years of meticulous craftsmanship and dedication have resulted in a groundbreaking reimagining of a three-thousand-year-old myth. Stay tuned for the "Unveiling of the Gods" this summer of 2023!

……

Looking back, the very creation of the "Fengshen Trilogy" was an industry legend full of twists and turns.

During the post-production stage, it experienced numerous crises, including the collapse of Jingxi Culture's funding chain and the withdrawal of Edko Films from the production team, leading outsiders to believe that this ambitious project would be stillborn.

But the film's resilience far exceeded expectations!

It adopted a bold three-part shooting mode, with the filming process divided into two groups, A and B, proceeding simultaneously. The total shooting time of 438 days set a record for the shooting cycle of domestic films.

From building the 800-acre "Fengshen City" set to handcrafting thousands of props and costumes, every detail in the marketing reflects the dedication and craftsmanship of "ten years of honing a sword."

After these news spread, even though the project went through several twists and turns, it still became one of the most anticipated works in the Chinese film industry.

Ultimately, with the joint efforts of five companies—China Film Group, Tencent Penguin Pictures, Alibaba Pictures, Huaying Pictures, and Polybona Film Group—this massively expensive epic production was finally able to see the light of day again.

In the early stages of promotion, the five production companies made a bold statement: they would turn "Fengshen" into a billion-dollar IP and build a mythological universe belonging to China!

Today's premiere has pushed this anticipation to its peak, making it a grand event in the Chinese film industry.

Outside the Yanjing International Hotel Conference Center, a red carpet stretched from the entrance all the way into the depths of the venue, with media and spectators crowding both sides.

Fei Xiang, who plays King Zhou, is dressed in a black dragon-patterned court robe. His posture is as upright as ever, and his appearance has caused many screams.

Li Xuejian exudes a profound sense of experience accumulated over the years, and every gesture she makes carries the aura of a seasoned actor.

Huang Bo, Xia Yu, and other talented actors are naturally funny, but they instantly switch to serious mode when talking about their roles.

New actors like Yu Shi and Chen Muchi are youthful and eye-catching, and have been dubbed the "Fengshen Hostage Group" by netizens, with their good looks and hormones flying together.

Na Ran's portrayal of Su Daji has even been praised as surpassing Fan Bingbing's performance!

Online, the production company specially released ten minutes of highlights:
The ethereal beauty of Kunlun Mountain, the grandeur of Chaoge City, the clash of swords and the thunder of war, the iron-willed tenderness of the "Hostage Brigade," and the alluring mystery of Daji—every frame is breathtaking!

Positive reviews from netizens are already flooding the screen:

"Ten years of preparation, the Investiture of the Gods was worth it!"

"Holy crap! This is what Chinese mythology should be like, with both the weight of history and the soaring imagination."

"I'm really looking forward to it. It's been a long time since I've seen such a magnificent epic blockbuster since movies like The Promise, The Banquet, and Curse of the Golden Flower flopped."

Facing the media, the heads of the five production companies sat in the front row, their faces radiating confidence.

Because they knew that the "Fengshen Trilogy" carried not only box office ambitions, but also an important attempt at the industrialization of Chinese-language films.

From script polishing to post-production special effects, from actor training to IP development, every step is exploring a mature model for Chinese films.

If the trilogy can sell well and the IP can be supported by billions, then it will become a money-making machine!
……

Invitations to the premiere of "The First Part of Fengshen" were sent out to almost the entire entertainment industry, and Feiyue Films was no exception.

However, Chen Fei did not go; instead, he arranged for Su Guohai to make an appearance.

He doesn't have a good relationship with any of the film's production companies, and he has no interest in sucking up to them.

Su Guohai returned to the company around 2 p.m.

Upon seeing him, Chen Fei asked curiously, "So? What did you think of the film?"

Su Guohai's expression was strange, his brows furrowed, and his tone was clearly disappointed: "I don't think it will work. The plot has been altered too drastically."

Aside from the characters' names being related to the Investiture of the Gods, the rest of the story has little to do with what I remember of the Investiture of the Gods. It wouldn't be an exaggeration to say that it uses the framework of the Investiture of the Gods to tell a completely new story.

Chen Fei raised an eyebrow slightly, signaling him to continue.

"And then there are the visual effects and special effects," Su Guohai continued, "The publicity claims that it represents the industrialization level of Chinese-language films, but I think it's more like the style of Western aesthetics."

Especially the designs of some mythical beasts and the scene construction, which are full of Hollywood fantasy film influences, don't deserve to be called true industrial-grade Chinese mythology style at all.

He took a sip of water, calmed down, and then complained, "In addition, the Mandarin of some actors is also distracting. It is said that a lot of time was spent on training them in the early stage. I really don't know what they trained them on."

Moreover, although the promotion was carried out under the guise of patriotism and spreading traditional culture, some of the content presented felt completely contrary to the original intention.

At this point, he suddenly changed the subject: "However, the publicity is quite enthusiastic, especially the 'Investiture of the Gods' progeny group. There were many young female fans screaming non-stop at the scene. I estimate that this part of the marketing will attract a lot of young female viewers."

But films that rely solely on celebrity personas and good looks to attract viewers, rather than on the quality of the work itself, are unlikely to maintain a good reputation in the long run!

After listening, Chen Fei didn't say much. He tapped his fingers lightly on the table, his gaze falling on the three characters "Chang Sheng Tian" in the list of producers of the relevant materials, and he fell into deep thought.

Wuershan himself is not upright, and judging from his past works and some of his remarks, the things he produces are probably not very upright either.

When Jingxi Culture's funding chain broke down, Chen Fei once thought that the "Fengshen" project was completely doomed.

After all, with such a huge hole, the post-production and marketing alone would require an astronomical investment. Who would be willing to take on such a hot potato?
Unexpectedly, it was China Film Group that took the lead, joining forces with capital giants like Tencent and Alibaba, to "revive" it.

"Ultimately, it's because capital is optimistic about the potential of this IP," Chen Fei murmured.

The story of Investiture of the Gods is widely known and has a high level of national recognition. As long as the marketing is effective, even if the quality is mediocre, there is no worry about box office success.

His current concern is whether such adaptations that deviate from the core message will set a bad example once the market accepts them.
Future adaptations of myths tend to be sensational and Westernized, so where should the true core of traditional culture be placed?
Su Guohai listened from the side without saying a word.

He knew Chen Fei's temperament and had always despised this kind of "bait and switch" adaptation.

Chen Fei pondered for a moment, then sighed: "It's too late to say anything now. We can only wait and see the feedback after the film's release."

Whether it's a mule or a horse, we'll find out by taking it out for a spin.

Audiences may be temporarily blinded by marketing, but he believes that in the end, those works that truly respect culture and tell stories with heart will remain!
With that in mind, he picked up the unfinished storyboard for "The Three-Body Problem" on the table and continued working on it, no longer thinking about "Investiture of the Gods".

Instead of worrying about other people's projects, it's better to do your own thing well.

The construction of the Red Coast Base is nearing completion. Once the storyboard drawings are finished, casting should also be on the agenda. This is what he should be focusing on right now.

……

Before we knew it, it was July 20th.

The first part of "Investiture of the Gods" has officially hit theaters nationwide!
As the most anticipated blockbuster of the summer season, its release immediately stirred up the market landscape.

Previously top-rated films such as "The Vanished," "The Longest Day in Chang'an," "Tea at No. 2 Middle School," and even Hollywood blockbusters like "Mission: Impossible 7" all saw their screening share drop in response, making way for it.

Cinema managers clearly had high hopes for "The Investiture of the Gods," dominating prime-time screenings, displaying posters prominently in the ticket halls, and playing the stunning trailer on electronic screens. However, what's even more noteworthy is the contrast between the fates of domestic films and Hollywood blockbusters.

In recent years, with the rise of works such as "The Wandering Earth" and "Ne Zha", the filter that domestic audiences have for Hollywood has long been shattered, and "fear of the allure" has become the norm.

Take "Mission: Impossible 7," starring Tom Cruise, for example. It didn't even gross 2 million yuan in its first week of release. This achievement would have been unimaginable a few years ago!
It's worth noting that the previous film, Mission: Impossible 6, easily grossed 12 billion yuan in the Chinese market, but this one can't even reach a fraction of that, which has truly surprised many industry insiders.

Some experts have analyzed that "it's not that Tom Cruise is no longer good, it's that the audience's tastes have changed."

I used to find Hollywood's special effects and action scenes novel, but now, watching the space battles in *The Wandering Earth* and the underwater visual effects in *Ghost Blows Out the Light*, the quality is just as good, and the latter even better understands the aesthetics of Chinese audiences. Coupled with the cultural gap in the plot, it's becoming increasingly difficult for Hollywood to rely on its existing intellectual property.

For a time, the lukewarm reception of "Mission: Impossible 7" stood in stark contrast to the continued box office success of "The Longest Day in Chang'an" and the surge in screenings of "The First Part of Fengshen".

This seems to confirm a trend: the power of discourse in the Chinese film market is quietly returning to the hands of domestic productions!
...

Getting back to the main point, on the afternoon of the 20th, the opening scores for "The First Part of Fengshen" were freshly released on major film review websites.

It received a 7.7 rating on Douban and a 9.2 rating on Maoyan.

However, behind these seemingly good results, the public opinion is clearly polarized, with the comments section almost rife with both support and criticism.

Positive reviews focused on the visual effects and the performances of the newcomers.

One viewer excitedly commented: "The fight scenes of the Proton Group were so exciting! The scene where Yu Shi was riding a horse was full of tension, and the hormones were practically overflowing from the screen."

"Fei Xiang's portrayal of King Zhou is absolutely amazing. He can make people feel the pressure with just one look. Veteran actors are truly reliable!"

"The set design of Chaoge City is amazing. You can tell that the money was spent wisely, and it's not some cheap special effects after all."

Many young female viewers were also captivated by the good looks and physiques of the "Proton Group," saying that "it's worth the ticket price just for the handsome guys." Others felt that "the adaptation is very bold, turning a mythological story into a political struggle, which is very refreshing."

But the voices of doubt are equally sharp.

Some viewers were quite blunt in pointing out various shortcomings:
"Compared to the special effects of 'The Wandering Earth,' the difference is too obvious, isn't it?"

"The ethereal atmosphere of Kunlun Mountain is like an online game, and the mythical beast designs are completely Western fantasy style. Where is the liveliness of Chinese mythology? Even the ancient tombs in the 'Ghost Blows Out the Light' series have a more delicate texture."

"They turned the Investiture of the Gods into a father-son feud between King Zhou and his hostage? Jiang Ziya became just a comedic tool? This kind of drastic adaptation is too outrageous!"

"Good heavens, there are so many plot holes. The sudden rebellion of Ji Chang against the Shang Dynasty and the handling of the death of Boyi Kao were both rushed. They completely disregarded rationality in order to advance the plot."

"Na Ran's Daji is all about glaring and twisting her waist. She's alluring but lacks spirit, and she's far inferior to the classic versions from before."

"Some young actors' delivery of lines is so poor that they can't even speak standard Mandarin. Compared with Li Xuejian, it's like a public execution."

To be fair, without the Ghost Blows Out the Light series' precise grasp of Eastern fantasy aesthetics and without the benchmark for domestic science fiction industry established by The Wandering Earth, the visual effects of The Investiture of the Gods Part 1 could definitely have reached above average.

But once these gems have set an example, the audience's standards naturally rise accordingly.

Both are big-budget productions, but "The Wandering Earth" allows audiences to experience the "hardcore romance of Chinese science fiction" with its space elevator, while the "Ghost Blows Out the Light" series immerses viewers in an atmosphere of Eastern mysticism.

In contrast, the special effects of "The First Part of Fengshen" always make people feel like they are watching a remake of Western mythology, lacking a sense of cultural identity.

Supporters believe that "industrialization attempts are worth encouraging," while opponents argue that "it puts the cart before the horse and loses the core of culture."

As time goes on, the debate over "adaptation standards," "visual effects," and "cultural expression" continues to intensify with the screenings, and no one can say for sure which side this tug-of-war of reputation will ultimately favor.

……

At 3 PM, the interface for the encrypted video conference popped up.

The figures of Fu Ruoqing, Chairman of China Film Group, Sun Zhonghuai of Tencent Penguin Pictures, Fan Luyuan of Alibaba Pictures, Yu Dong of Bona Film Group, and Zhou Jie, President of Huaying Group, appeared on the screen.

"Let's start with the data," Sun Zhonghuai began, his tone carrying the crispness of an internet company. "This is the report that Tencent Video just released."

Within 12 hours of its release, 62% of ticket buyers were women aged 18-30, whose main focus was on three tags: 'the good looks of the Proton Group', 'Fei Xiang's King Zhou', and 'visual effects'.

Among users who left negative reviews, 70% were men over 35 years old, and their complaints focused on 'drastic plot changes,' 'incongruous dialogue,' and 'cultural incompatibility.'

Fan Luyuan opened the shared document and added: "Alibaba Pictures' public opinion monitoring is similar. On Weibo, the topic #FengshenProgenyGroupIsSoHandsome# has over 800 million views and three times the discussion volume of #FengshenPlotModification#."

On Douban, the number of five-star reviews and one-star reviews is roughly equal, but the number of four-star and two-star reviews is significantly higher than five-star reviews. This indicates that average users approve of the product, but aren't overly enthusiastic.

Upon hearing this, Fu Ruoqing frowned slightly and said, "So, in other words, the controversy does exist, but the core audience is very clear?"

“It’s very clear.” Sun Zhonghuai said with certainty, “Women aged 18-30, especially young viewers in second- and third-tier cities, are not so obsessed with the original novel of Fengshen, and they care more about the ‘emotional value’ of watching the movie.”

Handsome guys, exciting scenes, and photos to share on social media – that's enough.

As for those who criticize the adaptation for "disrespecting the original work" and "not being Eastern enough," most of them are men over 35 or film buffs with a strong attachment to traditional culture. We simply cannot please this group of viewers.

Fan Luyuan nodded in agreement: "Alibaba's user behavior analysis shows that 80% of the people who gave negative reviews had watched more than three mythological adaptations before buying tickets and had preconceived expectations for 'Investiture of the Gods'. Asking them to accept the 'Proton Group's political intrigue storyline' is like asking an old tea drinker to drink instant coffee—it's impossible."

Fu Ruoqing pondered for a moment: "You mean... abandon this group of people?"

“Not only should we give up, but we should also actively cut ties.” Sun Zhonghuai’s voice was resolute and unquestionable. “In the Internet age, precise positioning is more important than pleasing everyone. Our publicity resources are limited. Instead of getting bogged down in negative reviews, we should spend our money on those who support us.”

"How exactly do we do it?" Yu Dong asked curiously.

“Control the comments.” Fan Luyuan said directly, “On Douban, Weibo, and Maoyan, focus on maintaining four- and five-star comments, and push up positive clips such as ‘the proton group’s action scenes,’ ‘the panoramic view of Chaoge City,’ and ‘Fei Xiang’s acting skills.’”

When faced with negative reviews, don't bother arguing; just let them sink or dilute them with online trolls. Since the reviewers already dislike it, arguing about who's right or wrong is pointless and will only drown out positive voices.

Sun Zhonghuai added: "The Tencent Video and Alibaba Entertainment matrix accounts will only push content such as 'viewers watching it two or three times,' 'the proton group's behind-the-scenes training,' and 'Fei Xiang's interview with King Zhou,' precisely targeting female users aged 18-30."

When short video platforms buy traffic, they target users who follow tags like "handsome men in period dramas" and "fantasy blockbusters," converting them into organic users.

"What about the film critics?" Zhou Jie still had some concerns. "Many industry insiders are also complaining about the adaptation."

“Industry opinions can’t affect the lower-tier market.” Sun Zhonghuai smiled. “What we want is box office revenue, not the Cannes Palme d’Or.”

Data shows that among viewers who approve of a film, 65% will recommend it to friends, which is the key to viral growth. As for the film critics, let them criticize; they're not the main ticket buyers anyway.

Fan Luyuan tapped the table: "Let me summarize: publicity resources are tilted towards women aged 18-30, and content focuses on appearance, visual effects, and the charm of the actors."
The comment section abandons negative reviews, using technical means to ensure positive voices dominate public opinion, avoiding any attempts to 'win back critics,' saving costs and targeting precisely.

Fu Ruoqing was silent for a few seconds, then finally nodded: "Okay, let's go with this approach. China Film Group will coordinate with cinemas to schedule more prime-time screenings and cooperate with your online promotion."

"It's a pleasure to cooperate." Sun Zhonghuai and Fan Luyuan smiled and nodded simultaneously, their tone quick and decisive.

As soon as the video conference ended and the screen went dark, Sun Zhonghuai instructed his assistant: "Have the public opinion department immediately implement the comment control plan. Remember, be quick, don't give the negative comments time to ferment."

On the other hand, Fan Luyuan's email had already been sent out, with a simple and direct title: "Adjustments to the Promotion of Fengshen: Focus on Core Users, Abandon Controversial Groups".

The internet age's battle for traffic has never been about "inclusivity and tolerance".

They don't want everyone's applause, they just want the box office revenue from their target audience's pockets.

As for those who dislike it, let them rage alone in the comment section filtered out by the algorithm...

(End of this chapter)