An Exploratory Research on the Decision Making Process in Palmar Drama Fans and Non-fans： Case Study of Thunderbolt Fantasy

• Main Authors: Wu, Cheng-En, 吳承恩
• Other Authors: 張瑜倩
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/226fh2

碩士 === 國立政治大學 === 科技管理與智慧財產研究所 === 106 === 　　In 2016, Pili and one Japanese animation company produced ‘Thunderbolt Fantasy,’ which combines animation and traditional puppet arts. In this coolaboration project, the Japan company was responsible for scriptwriting and characters design while the Pili was in charge of puppet making, shooting, and post-production. Japan's largest anime video website, niconico, ranked ‘Thunderbolt Fantasy’ the 1st place among all anime series produced in the summer of 2016. Although this project was a great success for the Pili and has attracted many non-audiences to watch the puppet show; however, in Pili’s own series, it is difficult to attract new audiences due to the huge and complex story structure. In addition, younger generation are often not willing to watch puppet arts because traditional art forms are recognized as old-fashioned and because they cannot fully understand the Taiwanese which is widely used in puppet arts. 　　This research aims to understand the decision making process and the customer journey between fans and non-fans, by using ‘Thunderbolt Fantasy’ as a case. Ten qualitative interviews with both ‘Thunderbolt Fantasy’ fans and non-fans were conducted in order to better understand the decision-making process and their customer journey. 　　This research finds out that different types of fans develop their unique decision-making process and customer journey respectively based on their viewing experience. Comparing with traditional Pili’s own series, ‘Thunderbolt Fantasy’ was much accepted by both types of audiences. The compact story and plot tempos arrangement made the work acceptable and exciting. Additionally, non-fans were more interested in puppet art after watching the ‘Thunderbolt Fantasy’. However, because of viewing habits and the huge story structure, non-fans were not willing to watch Pili’s traditional series. This collaboration project did bring praises and intrigue non-fans to be interested in the puppet art. This study suggest that it may be difficult for Pili to change the production form of its own series; nevertheless, Pili could follow the way of the ‘Thunderbolt Fantasy’ and engage in cross-industrial collaboration to attract both fans and new audiences.