Making 'Yuz' Is Not Enough: A Plan Is Needed for It to Last

Director of Sooreh Omid Cultural Industries: Before Unveiling an Animated Film, a Clear Strategy Is Needed for Its Continued Presence in the Market to Ensure Its Characters Live On

Ambassador of Arjan Culture and Literature Group, Maedeh Sadat Maroyan Hosseini: Foreign animated characters have been present in the form of images on notebooks, bags, clothes and toys of Iranian children for years, from Batman and Spiderman to Chrome and Lebobo. These characters gradually became a part of children's interests and everyday world and can affect their cultural patterns.

In such a situation, the production of Iranian characters alone is not enough; These characters are so that they can have a more and bolder effect in the daily life of children. They should become diverse products and find their place in the market, such as characters such as "Dolphin Boy", "Youz", "Babai Kahaman" and "Ba Babam", which have entered the market of children's products in recent years. However, in addition to producing by-products, these characters depend on the continued production of their own animations for survival.

In turning an animated character into a set of cultural products, the point is that the marketing of these characters requires a series of activities, including communication between intellectual property owners and producers, to financing, advertising, distribution and sales. Therefore, Omid Cultural Industries Center has started its serious activity in this field since 1403 and is trying to establish a coherent network for the marketing of Iranian personalities by establishing a relationship between intellectual property owners, producers and distribution and sales activists. In order to review the experience of this collection and understand the opportunities and challenges facing this market, we talked to three people who are active in this field.

In the first part, Saber Nourimohab, director of the Omid Cultural Industries Center, talks about the actions of this group and the obstacles to the development of the merchandise market in Iran. In the next sections, Ali Dardan, the manager of Omid Marketing Agency, will explain about the licensing mechanism for the exploitation of characters and the market situation in this field, and Mohammad Mehdi Hafiyan, a children's clothing manufacturer, will discuss his experience of producing products based on Iranian characters and the challenges faced by producers.

* Since when did you start working in the field of marketing Iranian characters and what were the gaps and challenges in this field that led you to create a mechanism for marketing?

The journey we took in the subject of marketing or merchandising of Iranian personalities began in 1403. In that year, the topic of merchandise became important for us at Omid Cultural Industries Center. Before this, there were experiences in the field of merchandise in the field of art. As far as I remember, one of these experiences was related to the "Shakrestan" merchandise collection. But in 1403, this issue became more serious for us and we started the work. At first, what we did was look at previous merchandising experience. What had happened until then was that animation and character merchandise was defined as a project at the heart of the animation production process. This means that the producer, as well as providing the cost of the animation production, also allocated an amount to produce a showcase of products related to that animation.

Considering experiences like "Shakrestan", we came to the conclusion that if we want to do something in the field of merchandise and hope that this activity will really become an issue in the industry after traveling a path and the passage of time, we should not only think about the formation of a showcase or the implementation of a project; Rather, this activity should become a path and procedure and fit in the industry.

Since 1403, the focus of our work has been cooperation with producers. One of the experiences we tried to change was to move from creating a project with a producer to creating a partnership with a producer. For this reason, we entered into partnerships with manufacturers of games, clothing, office and other products to shape this activity in the industry and create a network system. We added two points to this grid system. First, it was an institution with the function of licensing or issuing a license to exploit intellectual property in the Omid collection. This entity interacts with producers on the one hand, intellectual property owners on the other hand, and sales networks on the other hand.

In recent years, we had experiences where an animation was produced, but the radio and television did not act to promote it, and as a result, that animation failed. Sedavsima can create a mechanism based on which the products that are produced for the purpose of merchandising will have advertising opportunities.

Another point is an institution called "Trapezeh" which is in charge of distributing and selling the products of this network. The experience we achieved during the years 1403 and 1404 showed that basically the active distribution networks in the market do not have much motivation to enter this field, because the market for products produced based on Iranian characters has not yet been formed and there is not enough knowledge about them. Therefore, in this market, we need an institution in the field of distribution and sales that is ready to invest, pay for the introduction and promotion of a product, and help to form this network.

In Surah Omid, we specifically followed three characters, one of which was "with my father", which was almost our main activity and centered. The next character was "Youz" and also activities have been done on "Babai Kahaman" and "Dolphin Boy". In this process, the IP or licensing agency communicated with the producers and the producers produced different products. A part of the products produced by these manufacturers has entered the basket of trapeze products. Zanqah has also offered these products through its virtual sales portals, store distribution network and exhibition stands and promoted their sales process.

* So you have the role of facilitator in the marketing agency and your focus is on the partnership between producers. Explain a little about how this facilitation works. As a facilitator, how exactly do you play this role?

In the cycle we are forming, we try to put the different components together and strengthen one part at a time. For example, the trapezoidal institution that has been formed, in our opinion, can really help facilitate in this area. This is one of the points where facilitation takes place through investment and building sales capacity. In the field of investment, we also entered into sectors such as providing working capital, assisting in research and development, and product design, and we tried to play a facilitating role in these areas. Also, in the field of facilitation, in interaction with producers, the basis of our work was to reach partnership and facilitate the cooperation process. Of course, this cooperation with each producer went in a different way.

For example, we cooperated with Mohammad Mehdi Hafiyan, a manufacturer of children's clothing, who said that their production circulation is usually around 40 pieces; That is, they produce 40 pieces so that the risk of work does not increase. This created obstacles for sales. For example, when you only produce 40 pieces of clothing, you will likely have to produce them all in one color, and as a result, product variety will decrease. In the interactions we formed, we tried to facilitate this process. For this reason, for example, last year, I think we went towards the production of 1200 pieces of clothes at once. This increased the variety of products that were produced. For example, in "Ba Babam" products, we had five or six different colors and two or three stitching designs. This diversity in turn has an impact on the issue of sales.

In the field of stationery production, we facilitated in another way. There, the manufacturer needed a low-cost facility to procure the raw materials he needed and bring them to the production stage. We did it. In cooperation with game producers, we also acted in a different way and tried to involve these people themselves in this matter.

* You mentioned the experience of some Iranian personalities, based on which various products were produced, but their marketing did not continue. How much does the coordination between animation production, advertising and product production have an effect on the continuity of a character's life?

When we start merchandising a character, we shouldn't necessarily assume that the character is going to stick around forever. Each character has a useful life according to its conditions and characteristics. A character's useful life may be six months or six years or even longer. The second point is the issue of coordination and strategy that is formed around a character.

We had many examples where an animation was a good work, but proper products were not produced from it; As a result, its products also failed to succeed. On the other hand, we may produce good products of a character, but its animation is not continuous. For example, we can refer to "smart kid", "dolphin boy" and even "Yuz". The animation "Youz" was released last year and a number of products were created based on it, but during the last year nothing special happened regarding the continuation of "Youz" animation. Naturally, this issue affects the life of the character.

Therefore, one of the duties of the Surah Omid Center marketing agency is to regulate this relationship; That is, before the animation is unveiled, it can adjust the communication between different departments and determine what the necessary strategy is after the animation is released. If these departments are coordinated with each other, that is, the content production body, the industrial production body, and the promotion and advertising body are aligned with each other, a better path will be created for the continuation of the life of the characters.

* In the experience you had with the animation "Youz Irani", did you plan for the production and supply of products related to the character before the release?

The experience we had with "Youz" was that we started the production process of related products about three to four months before the release. The animation was released in early October, but its campaign had started in September and children had seen its teasers. We were somewhat worried whether the audience would know the related products and connect with the character before watching the animation. But at the same stage of the campaign, the children felt good about the animation and its character and got to know it.

"Ba Babam" has been aired on the network for about three years. We have been producing its products since the spring of 1403. That is, the creation of the character had happened, the animation had been produced, and after that, we started producing related products.

* You mentioned the importance of IP testing to measure character development capacity. How does Omid Group evaluate new characters and on what basis does it decide that a character can be developed and become a successful IP?

One of the things we did in Omid Collection was that we started designing a program last year and this year we brought it to the launch stage. This TV show is called "Story Time". "Waqt Qaseh" had a total of 35 episodes, which were also broadcast on Poya network. Now it has started playing again. "Story Time" is a platform for us to test and evaluate characters. This program is a story-telling program in which a presenter with several characters appears in each episode and narrates a story.

In Omid series, "story time" is a platform for testing characters. For example, when a new character is to be created, it can first be introduced in such a platform; A platform whose production cost is not high. The character is introduced in this program, his story is narrated and we receive feedback from the audience. Then, based on these feedbacks, we decide whether this character has the capacity to continue working and developing.

Out of a total of 35 parts, nearly 33 parts were our own products. These episodes included five story worlds that the children had produced, and each had its own world and its own characters. In this way, "story time" can become a platform for introducing and introducing new characters; A platform that allows us to measure the reaction of the audience and, based on that, decide on the continuation of the activity and development of each character.

* As you mentioned, each character has a useful life and also needs various factors to continue its life. With this in mind, what characteristics should be present in an Iranian character so that domestic producers trust it, accept the risk of investing in it and pay for the use of its intellectual property?

The reality in the market is that a character that suddenly becomes popular is more popular with producers. On the other hand, the current attitude of some content producers also makes it more difficult. For example, if a manufacturer produces clothes with a chrome design, it will probably sell many times better; In addition, they are not going to pay a fee for using this image and similar items. But in our market, one of the red lines for content producers is that a percentage of the revenue must be paid to the IP owner and the fee for using the intellectual property must be paid. Therefore, this issue makes it more difficult.

We may produce good products from a character, but its animation is not continuous. The animation "Youz" was released last year and a number of products were created based on it, but during the last year nothing special happened regarding the continuation of "Youz" animation. Naturally, this issue affects the life of the character.

If we really want to make a serious move in the field of merchandising Iranian characters, this issue should be raised as an issue at the national level and we should think about it. For example, if the TV doesn't seriously promote the animation "Youz" and "Babai Hero", we can't expect this work to attract a large audience on its own.

In recent years, we had experiences where an animation was produced, but the radio and television did not act to promote it, and as a result, that animation failed. The same view should be formed in the field of merchandise. For example, the broadcaster can create a mechanism based on which the products that are produced for the purpose of merchandising will have advertising opportunities.

Also, institutions that can provide financial resources to producers should be involved. If a producer decides to invest in an Iranian character and produce a product based on it, we must be able to provide him with the necessary facilities. It means to use the existing capacities and provide resources so that we can hope that after a period of investment, this issue will be formed in our industry.

* In your opinion, how much is the merchandise market established in different institutions. If we look at this issue from a policy perspective, is this area taken seriously enough and related institutions allocate financial resources, advertising capacities and necessary facilities to support it?

In the last year or two, things have happened. For example, there have been facilitations in the field of broadcasting. But to say that something serious has happened so far that can create a fundamental movement, in my opinion, nothing like that has happened yet. Compared to two years ago, Sedavsima currently has better standards in the field of characters.

But in the field of financial resources, there is almost no specific mechanism. For example, a manufacturer decides to use an Iranian character instead of Chrome, because he is concerned about this issue. But there is no mechanism for an institution to step in and support him to help introduce the product, increase sales, or provide him with the resources and facilities he needs. Because of this, I think we need a clear architecture and structure if we really want to move towards this. Broadcasting should be on one side of this issue, the art field on the other side, the apex organization should operate in another section, and the center for intellectual development of children and teenagers should also have its own role. In this area, we also bring in financial resources, advertising capacities and store facilities so that we can compete with the character that is trending in western countries. This is one of the basic issues that we should pay attention to.

Another issue is that if we want to consider this industry as a mature industry, we must be able to communicate with the international market. In my opinion, one of the reasons why some characters suddenly enter the market, find a serious market in Iran, and we cannot compete with them, is that they deal with an international audience. The international market makes the circulation of production and the volume of their activities to be formed on a much larger scale; That is, they produce products that are addressed to millions of people. Naturally, when we have an animation that can compete internationally, we can expect its merchandise to penetrate these markets as well.

In my opinion, this area needs a multilateral action. On the one hand, there must be an institution that can facilitate the work process in terms of providing financial resources. On the other hand, Sedavsima should seriously intervene and help in the field of advertising and sales. As it works in the field of animation, if it also works in the field of animation-related products, it will definitely be very influential. Another part of this process is related to the producers who will enter the field if these capacities are provided.

The reality of the market is that our manufacturers are taking a big risk in the current situation just by producing the product. In the economic conditions that we are facing with strange inflation, the fact that the manufacturer produces a product, especially a product that is based on a character and a story, means accepting a big risk. Therefore, naturally, the manufacturer cannot be expected to go all this way alone. In my opinion, it is the duty of the governing institutions to intervene and help; Of course, from their own right path.

I don't mean that the governing body will enter the creation of the project again; Because if he does such a thing, in my opinion, he is still wrong. Incidentally, this can poison the market and cause the market to grow in a caricature manner; It means that at some point it has an apparent and unrealistic growth and then, suddenly, this cycle falls apart. Instead, the governing body should step in and create the conditions for this system to actually take shape. Its role should not be to undertake, but to focus on facilitation.

* How can we bring Iranian animations and characters to a level where they have the capacity to be present in international markets and distribute products related to them in these markets?