The future of entertainment is vertical, and it’s coming faster than you think. By 2030, the microdrama industry is projected to hit a staggering $26 billion globally, but here’s where it gets controversial: is this bite-sized storytelling revolution truly a global phenomenon, or is it a cultural export dominated by Asia? That’s the question at the heart of Future Is Vertical: The Global Rise of Short Form Media, a groundbreaking conference hosted by Crisp in Seoul. This isn’t just another industry gathering—it’s a strategic summit where the titans of short-form media will map out the next phase of an industry that’s reshaping how we consume content.
Led by Adrian Cheng, the visionary chair of Crisp and founder of the Almad Group, this event brings together a diverse array of players: operators, platforms, creators, and tech innovators. Cheng, a Harvard alum who revolutionized the ‘cultural commerce’ model through K11, sees short-form content as more than a trend—it’s a paradigm shift. ‘This isn’t Hollywood redefining the moving image,’ he tells Variety. ‘It’s Asia.’ But this is the part most people miss: the microdrama boom isn’t just about shorter videos; it’s about a new business model rooted in gaming and web novels, not traditional subscriptions. How these models converge will determine the industry’s future.
The conference kicks off with Cheng’s keynote, where he’ll tackle the burning question: Why short form? Why two-minute episodes? And why is Gen Z so hooked? Panels will dissect everything from the origins of microdrama—spoiler: it’s not what you think—to its global expansion. For instance, can China’s platform-integrated distribution model work in the U.S. or Europe? And what about localization? Cheng insists it’s key: ‘We need local scriptwriters, social listeners—people who understand what Gen Z and Generation Alpha are thinking.’
But here’s the real controversy: Can microdramas break free from their current mold of romance, CEO-tyrant dramas, and revenge narratives? A content diversification panel will explore this, while another session, featuring Emmy-winning animation experts from Shibuya, will debate whether AI can maintain quality while slashing costs. ‘AI content generation is part of the puzzle,’ Cheng notes. ‘But how?’
As the global microdrama market outside China surges toward $9.5 billion by 2030, with Japan leading the Asia-Pacific charge, the stakes are higher than ever. Crisp, Cheng says, is uniquely positioned to navigate this landscape: ‘We’re a platform for all platforms, not just microdrama. We’re a metamorphosis.’
But here’s the question we’re leaving you with: Is the microdrama industry truly a global movement, or is it still an Asian export? And as AI and localization reshape the field, who will dominate—the innovators or the adapters? Let us know your thoughts in the comments—this conversation is just getting started.