• International journal of advanced smart convergence
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• v.10 no.4
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• pp.172-182
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• 2021

We look at the business model development of a fan community platform 'Weverse' from two-sided platform (TSP) to multi-sided platform (MSP) and investigate its platform business model. From the Rocket Model's theoretical perspective, the results reveal that Weverse firstly focuses on inviting artists as many as possible starting from BTS, then attracts new artists' fans naturally. For success of this TSP, it forms MSP, 'Weverse Shop' to meet two sides' relevant needs timely and filtered. In third stage of connection, various partnerships are attempted in terms of open platform strategies. For instance, by combining 'VLive' and Weverse, Naver's fan platform business is transferred to Weverse. For core transaction through direct and indirect monetization, several cobranding activities are tried. Lastly, regarding optimization, newly born Weverse being launched in the first half of 2022 is supposed to create further synergies with Naver's R&D capabilities in data, AI, and other technologies like metaverse platform 'ZEPETO' which already sells clothing items of Weverse artists.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.99-109
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• 2021

The purpose of this paper is to look at web entertainment in terms of marketing and analyze how consumers in Korea and abroad feel about it. To this end, methods such as literature research, case studies, and consumer interviews were used. The main conclusions of this paper are as follows. First of all, through the case of "Run BTS," the web entertainment program actively reflects the needs of viewers on entertainment content by utilizing the unique interactions of web entertainment in terms of products. In terms of price, web entertainment operated a paid service that contained more diverse contents. However, the degree of satisfaction with paid services was different for each age group or income of viewers. In terms of distribution, web entertainment can position viewers much more clearly than conventional TV entertainment, has strong communication with viewers, and is relatively free from political conflict or censorship in overseas exports. Finally, in terms of public relations, web entertainment is promoted in various ways to fans who are the mainstay of existing viewers, but public relations for various viewers other than fans are relatively weak. Based on the above analysis, this paper proposed ways to improve consumers of web entertainment by region, customized marketing by age, professional window for consumers to directly express their opinions on content, and wide promotion through various media.