The term ‘new media’ refers to media that are computational and rely on computers for redistribution. As the technology of mobile devices and telecommunication advances, video content is being optimized for the mobile environment. This led to a fall of legacy media such as TV, and the emergence of various platforms that can broadcast creative content. Among them, in Korea, a lot of entertainment show programs have been successful on YouTube and other mobile platforms. The MZ generation, those who are born after 1980, is especially an active consumer of this new type of video content.

YouTube-based entertainment shows have a shorter video length than TV shows. This is related to the change in the place where content is consumed. Viewers now watch videos on the move or before bed rather than spending a separate time watching content. So it should not be too long. This type of video develops in a fast flow so that viewers can quickly immerse themselves.

The pandemic made people stay home, and it led to an upsurge in entertainment video content. So, now there are more YouTube shows produced in small indie studios or YouTubers. “Nego King” which means the king of negotiation, was a much loved YouTube show in 2020. Most episodes have more than 1 million views, and even some of them are close to 10 million. The companies that appeared on the show often hit the top of real-time search terms, and their websites were flooded with visitors.

The reasons that this content has succeeded come from the characteristics of the MZ generation. The MZ generation shows different characteristics from the older generation. They are more familiar with self-expression, value honesty, and consensus, and prioritize their tastes. As they tend to choose which content they will enjoy according to their values, these contents satisfy their various preferences. As for “Nego King”, the whole content is a paid ad, but the viewers never mind this. Rather, if the CEO seems to care about consumers, they actively buy the company’s products. Therefore, targeting the MZ generation can lead to increased sales and increased brand preference.

In 2019, McKinsey & Co. conducted detailed research of Generation X, Millennials, and Generation Z in six Asia-Pacific countries including Korea. According to the survey, 58 percent of millennials and 70 percent of Gen Zers said that they learned about new brands via video-based social media at least once a month while 46 percent of Gen Xers said they do so. Video influences the MZ generation not only in brand awareness but also in purchase decisions. In Korea, about 30 percent of millennials and 45 percent of Gen Zers responded that video sources are among top 3 influences for brand and product selection while only 15% of Gen Xers did.

For this reason, companies are making great efforts to fascinate the cohort. More and more companies targeting the MZ generation are expected to carry out marketing using this trend. Even the e-commerce industry and the distribution industry are also focusing on producing online shows using their products. They not only improve brand affinity by providing information and fun at the same time but also encourage the purchase of the MZ generation.

The viewers who are the cohort of the MZ generation directly communicate with other viewers or producers using the comment function. In the process of sharing their reactions, new memes or buzzwords are often created. This interactive communication makes the content more enjoyable, and viewers of Generation MZ naturally participate in the process.

Legacy media is trying to follow this new trend, too. MBC, Korea’s major broadcasting station, recently aired a survival show named “Game of Blood”. What’s special about the show is that a famous YouTuber participated in the production. Furthermore, the show was aired not only on TV (MBC) but also on YouTube and OTT platforms. This special collaboration with a YouTube celebrity fascinated those who are bored with typical TV shows.

The success of these various types of entertainment shows encourages the emergence of more creative narratives that break away from the existing narrative structure. Unlike TV shows, YouTube-based shows are less regulated by law. Also, viewers can spread the content further through sharing and reproduction. So, this change not only provides viewers with a variety of options but also guarantees content creators more opportunities to create. A ton of online-originated video shows are being released even at this moment, so Korea’s online entertainment content market is expected to expand further.

K-UNIV Reporter

Hansaem Lee

The sensation in social media, such as Tik Tok and its variants, Instagram’s Reels and YouTube’s Shorts, have captured the minds of the young generation. These short videos are extremely addicting, often captivating the viewers to scroll on the app for hours and hours. Although seemingly harmless, the short form contents have more detrimental effects than most perceive.

The Methodology

The concept of random reinforcement in behavioral psychology explains the addictive nature of short-form content.

Reinforcement works when consequence (also known as response, and stimulus) is followed by a behavior. When a behavior is rewarded with the right consequence, then the frequency of that behavior will increase. In other words, desired consequence reinforces behavior.

Of the reinforcement schedules that determine the rate of response, random reinforcement holds the highest rate. In random reinforcement, behavior is reinforced after an unpredictable number of consequences, creating high and steady rates of response. The unpredictability creates stronger anticipation for the desired consequence, enhancing the frequency of the behavior.

Substituting the short videos into random reinforcement works like this: (1) We scroll through our media platform (behavior) until (2) we encounter a funny video and laugh (consequence) and (3) continue to scroll through 5, 10 more videos to reach more desired result (enhanced behavior).

But why exactly do we want to reach that desired result? There are two factors. First is dopamine, the brain’s pleasure chemical. When we encounter a funny video, our reward system is hit, creating instant dopamine release. We feel a euphoric sensation spreading throughout the brain. Now, motivated to reach more dopamine release, we continue to scroll.

There’s also another factor, anticipation. Take drug use for instance. Addicts say it’s not necessarily the dopamine hit that is pleasurable, but the anticipation for the hit that propels the craving. Gambling works the same way. The more you pull the slot and win, the faster and eager you are to pull the slot again in anticipation of a potential reward.

Implication 

Aside from the hours of precious time spent on a 6-inch screen, short-form contents carry other grave implications.

The biggest ramification is shortened attention span. According to Microsoft Canada, our average attention span has already decreased from 12 seconds in 2000 to 8 seconds in 2020, making it shorter than the goldfish’s 9 seconds. Social media has been criticized as the biggest culprit of this decline. The constant notification and influx of information divide our attention, and on top of that, these new 15 to 30 second short videos go further to exacerbate the phenomenon.

Decreased attention span means that we need more cognitive effort for sustained concentration. Because we gravitate towards immediate rewards, activities that require deep and prolonged engagement easily elude us. As a result, shortened attention span leads to reduced executive function (the cognitive ability to think and remember), erosion of persistence, poor performance in school, and inability to complete daily tasks.

This is particularly alarming given that the main user base of short-form content is adolescents. Exposure to addictive content at a young age may hamper cognitive development and induce long-term consequences. Specifically, the impairment of adolescent executive functions erodes cognitive skills such as working memory, adaptive thinking, self-control, and time management.

As a 21-year-old who spends an excessive amount of time on Instagram, I have first-hand experience with this phenomenon. The months of scrolling through Reels for an easy laugh led to an apparent diminishing of my attention span. I now find sustained concentration extremely difficult to achieve, and hence, reading books and writing essays have become a draconian task compared to the past.

Wrapping Up

Digital media have undoubtedly altered the cognitive processes of people today. Apps like Tik Tok and Instagram dominate Gen Z culture with their 15-second videos and raise concerns for developmental consequences they may cause. Future research needs to be done to determine the exact effects of short-form media content on cognitive development in youth. Yet for the time being, it surely would be wise to put a restriction on screen time.

Zieeun Ka

K-UNIV Reporter

Covid 19 outbreak has brought changes in our daily lives. Many things that were natural in the past became unusual. It has been almost hard to travel between countries and to socialize in dense spaces over the past year. Even for students, there is little chance to associate with others. As they have classes online without going to school, it is hard to meet and make new friends. Against this backdrop, the word ‘metaverse’ has drawn attention since early 2021. It is a three-dimensional virtual world without a boundary between reality and virtuality. In the metaverse, all users share their experiences using it in real-time. Even consumption activities such as purchasing their avatars costumes or paying for concerts are carried out just like in the real world. It is not just one type of game.

The metaverse craze is led by Generation MZ, the combination of Millennial Generation and Z Generation. They are familiar with new technology and believe they have a deep understanding of using it. Their desire for sharing their owns with friends led to the metaverse. They recognized it as another kind of space for socialization, not as just the virtual world. They think that the relationships between people in the virtual world are not different from those in the real world.

Zepeto operated by Naver Z is one example of a metaverse service in Korea. In Zepeto, users can create an avatar that looks just like a user, synthesizing it naturally on a picture or virtual background with AR technology. One interesting point is its way of communicating with avatars. Users can change all elements of their character like facial expressions, gestures, and fashion styles as they want. Generation Z gets vicarious pleasure from reflecting the way they want on avatars like idol makeup and luxury clothes. There are also many activities like taking photos, recording videos, dancing and playing games. By interacting with text, voice, and emotions, avatars with individuality can communicate in a virtual world, playing a role as SNS.

There are interesting events going on in the metaverse. Many metaverse services had some partnerships with famous brands and entertainment agencies like SM, YG, JYP, and HYBE. One was a virtual fan meeting of Blackpink in Zepeto. More than 50 million people around the world got signatures and took pictures with Blackpink avatars. People can also wear clothes and accessories of BT21, the BTS character, and visit the BT21 world. It could maximize the immersion and participation of Generation Z based on their characteristics that value bonding. The metaverse acts as a new type of fan platform. There was also a metaverse matriculation ceremony at Soonchunhyang University. The freshmen could participate with their avatars in this ceremony. They listened to speeches and introduced themselves to others like the real ceremony. It is like the continuity across reality and the virtual world.

The plays of Generation MZ in the metaverse doesn’t end here. Now Generation MZ creates and shares new things freely using the metaverse, not just getting the contents. They made new games, fashions, and even drama in the metaverse. The concept of metaverse doesn’t remain as games. For Generation MZ, it became one way of playing and culture.

Nahyun Lee

K-UNIV Reporter