One of the great mysteries of the growing relationship between brands and social environments is finding the formula that allows us to create notorious, credible and, above all, viral content. For some time now, when a client requested in a brief that the campaign ‘be viral’ and that the money ‘was not inconvenient’, the answer was always the same: ‘luck’.
But like everything in life, luck can be worked if you use the right tools at your fingertips. At present, we have almost without looking for it with an unexpected ally with an enormous virtualizing force: memes.
Time killed excellence
Until we get tired, the Ibai Llanos phenomenon is unstoppable. With him, there is no middle ground: either you love him, or you envy him. After the last agreements reached with different agitators of the audiovisual market, among other adventures, Ibai is the face of French football in our country. A little competition at the audience level if not for an insignificant detail: Neymar, Messi and Mbappé play (for the moment) in the same team. Well, days after the broadcast of any game on her Twitch channel, the journalist Mònica Planas dared to publish a critical opinion column in a traditional media where she stated that ‘Ibai does not invent anything. Leaving aside philias, phobias and interesting fashions, poor Monica is not without reason.
Let’s dive into the highly applauded Ballon World Cup. Those curious who saw the event from start to finish shared a fairly widespread but unpopular stream: nice packaging, boring event. So if Ibai’s raw content is boring, why are we talking and sharing content generated by him all day? The answer is simple; Ibai used the wild card of the meme-like no one else. He feels like a fish in water in out of context environments.
And it is that the meme and the out of context have disrupted our patience when consuming content. The enjoyment of a good series or a good sports broadcast is no longer worth it to comment on it later with our close circle. Now what the body asks of us are short and retouched content that we can share on any device. Commenting and sharing are two terms that are currently separated by an insurmountable wall called immediacy.
Let’s talk about ‘The Squid Game.’
Since we get to saying uncomfortable truths, is ‘The Squid Game’ really a good series? If we stick to volumes of views, we cannot deny that the Korean phenomenon has been a resounding success. But after a full viewing of the first season, there is a growing current of opinion that affirms that the series at the script level is bad, predictable, and still a bad copy of existing products (Battle Royale, for example).
We can agree that although the script is bad, the key to the success of the Korean phenomenon is in the scriptwriters. Contradictory? Every test that the numbered characters pass on Seungbongri Island is meant to be transformed into a meme. From the famous ‘Red Light, Green Light’ doll to the ‘Dalgona Candy’ cookies. The entire series is designed to be shared on social networks because if we start to comment on it, we realize that a bad product has deceived us (yes, very well thought out and gimmicky).
It is significant as a poor base product. It has managed to reach 82 million views in the first 28 days (the absolute record for the platform), and how the Korean government has been forced to sue Netflix for excess Internet traffic. Contradictory? Don’t worry. The joker of the meme and the out of context explains everything in a very simple way.
How do we measure success?
Suppose the narrative language has changed forever, inevitably, the way of measuring the success of any audiovisual product’s success. We have to go from inaccurate measurement standards based on logic to secondary ratios supported by analytics.
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