Making Media Form Itself the Creativity: A New Narrative Logic for IP Globalization Content

According to 36Kr, MINISO's trendy toy IP YOYO has experienced rapid growth since its launch in June 2025. In its first month online, cross-channel sales exceeded 2 million units, ranking first on Tmall's Trendy Toy Blind Box Hot Selling List, with popular designs commanding up to a 3-fold price premium on Idle Fish (Xianyu). MINISO positions YOYO as a strategic product with world-class IP potential, actively pushing its overseas layout in 2026.

When a domestic hit trendy toy IP expands into the global market, the narrative core of its content undergoes a fundamental dimension shift.

In the domestic market, YOYO's viral path was relatively straightforward: inherent product topicality, organic social platform spread, and immediate in-store conversion. However, when target markets shift to Southeast Asian cities like Jakarta, Singapore, and Kuala Lumpur—where brand awareness starts from zero—content can no longer rely on people who already know YOYO to spread the word. Instead, it must capture the attention of people who have never seen YOYO before, making them feel at first glance that this IP is worth paying attention to.

This demands that the content's narrative logic be exceptionally powerful—strong enough to stop people in their tracks, make them look up, and immerse them in the IP's world without requiring any prior knowledge.

The Flying Screen project at Central Park Plaza in Jakarta was a practical exploration of YOYO's overseas content creation participated in by FansAI. This project solidified a key principle regarding global IP content: when the media format itself is sufficiently unique, the best content strategy is to merge the narrative logic seamlessly with the media format.

The Screen Falls from the Sky, and the Content Should Come from the Sky Too

The Flying Screen at Jakarta's Central Park Plaza uses drones to hoist a massive screen into the air above the plaza—this physical reality is itself the creative starting point.

The moment spectators look up at the screen in the plaza, their line of sight is defined by the media format: looking upward from the ground toward a screen suspended in midair.

The content's narrative logic follows this exact visual path downward: since the screen comes from the sky, everything inside the content should also come from the sky. Shipping containers plunge from above and open; YOYOs drop out sequentially, landing in a cloud world. The moment spectators look up, they witness a YOYO carnival descending from the heavens. The media deployment method and the narrative logic melt into one unified moment.

Behind this creative judgment lies a foundational logic: for an IP building awareness from scratch in a local market, the primary job of content generation is not to "explain what this IP is," but to "instill an urge to discover this IP." The physical spectacle of the Flying Screen accomplishes the goal of making people stop; the content needs to capture that attention—making the sky-bound world convincing and appealing enough that audiences remember it long after leaving the plaza.

Credibility Comes from Self-Consistent Details: Every Character Lands According to Its Personality

The core challenge at the execution level was ensuring that each YOYO's landing was not merely an animated character moving, but an event where characters brought their unique designs and props, landing in the cloud world in a manner consistent with their distinct personalities and interacting authentically with each other.

Each character possesses its own physical logic. This logic must find its basis in character design features and prop attributes rather than having every character fall in the exact same manner. Featuring dozens of YOYOs with distinct personalities on screen simultaneously while maintaining individual recognition and narrative rhythm was the central content challenge of this project.

Credibility does not stem from how flashy the visuals are, but from whether every single detail remains self-consistent within its own logical framework.

From Static Precision to Dynamic Consistency: A Three-Layer Technical Workflow

Layer 1: Nano Banana High-Precision Static Image Generation As a 3D trendy toy line, YOYO requires extreme precision in character representation—facial features, toy material luster, and signature styling. On a giant suspended outdoor screen, these details are magnified to the extreme, where any deviation becomes painfully obvious. By finely tuning localized details, Nano Banana accurately reproduced YOYO's facial traits, material gloss, and unique character styling, establishing stable visual anchors for subsequent motion generation.

Layer 2: Seedance 2.0 Temporal Consistency Video Generation Moving from high-precision static images to dynamic video presents the challenge of multi-character image stability and spatial perspective control. When dozens of YOYOs appear simultaneously on screen, each character's scale, lighting, and spatial relationship with others must maintain frame-to-frame consistency—any character deformation would break the believability of the entire scene. Seedance 2.0 managed this dynamic generation phase, focusing on multi-character image stability and the physical plausibility of motion trajectories.

Layer 3: Industrial-Grade Naked-Eye 3D Post-Production The delivery standard for the Flying Screen was industrial-grade. To meet the technical requirements of combining real drone footage with a naked-eye 3D display, post-production tackled high-precision keying in complex lighting environments and pixel-level frame restoration. It addressed the high-brightness display demands of outdoor screens, achieving a closed-loop commercial visual combining virtual and real elements.

Insights into IP Globalization Content

According to MINISO's strategic announcements, YOYO is positioned as a world-class IP. However, whether potential translates into true global recognition depends on whether content can consistently generate that "first-glance curiosity" across different markets and media environments.

This is FansAI's core insight from this project: the narrative logic for globalizing IP content is not about translating successful domestic materials into local languages, but about finding the most natural synergy between media format and narrative in every specific deployment scenario—making the media format itself part of the creativity, rather than a mere vessel for content.

For brands and IPs actively expanding overseas, this insight demands serious attention. The starting point for content creation is not "what content should we make?" but "in what media environment are we speaking to what kind of audience?"

Before content enters production, FansAI's Marketrack system pre-evaluates its communication logic in specific media and market contexts—determining what narrative structures achieve awareness within 3 seconds on outdoor screens and what character dynamics establish IP recall in unfamiliar markets. Bringing these evaluations to the forefront of content decision-making ensures potential issues are addressed long before delivery.