Taiwan Audiences Move Between Screens, Books, Games and Music
Nine in ten people surveyed in Taiwan engage with both screen content and music, according to research the agency TAICCA presented at the Taiwan Creative Content Fest in Taipei. Variety reported the session, titled "Exclusive Insights Report: Taiwan Cross-Platform Audience Data × AI Application Evaluation."
Research analyst Joy Lin presented findings from TAICCA's annual cultural consumption survey and a 2026 study of cross-platform genres. "Cross-platform" means a story that travels across formats, such as a TV drama, a comic or a mobile game. The genre study surveyed 2,018 people aged 15 to 69 and combined Nielsen television ratings with online questionnaires. The annual survey collects about 2,000 valid responses a year.
The headline numbers are broad. In 2025, 96% of respondents watched audiovisual content, meaning film and television. Seventy-five per cent read published works and 75% played video games. Among the 1,242 respondents who had watched Taiwanese productions in the previous year, 40% had also watched Taiwanese screen adaptations, which are films or series based on existing stories.
The study linked romance, school-life stories, comics, popular music and mobile games as natural partners for cross-platform projects. It also found a clear split in taste. Taiwanese productions were more closely tied to everyday life, family relationships and romance. Foreign productions were stronger in action, fantasy and suspense.
Viewers of Taiwanese romantic dramas were far from a one-country audience. Among them, 84% also watched foreign series, 63% watched foreign films and 58% watched foreign animation.
The second half of the presentation turned to artificial intelligence. Research analyst Chhoa Hiok-chong presented on how AI is used in making audiovisual work. Industry estimates cited in the session put AI adoption at 70% to 85% in post-production, the editing and finishing stage, and visual effects. The figures were 60% to 75% in pre-production, the planning stage, and 15% to 25% during on-set filming. The presentation cited Netflix's Argentine series The Eternaut and CJ ENM's AI-assisted productions as international examples.
Legal disputes are growing too. The presentation cited 489 AI-related legal cases through August 2026 from the Database of AI Litigation, 153 of them in cultural and creative industries. It also reviewed AI protections negotiated by SAG-AFTRA, the WGA, the DGA and IATSE, the main US unions and guilds for performers, writers, directors and crew. Those protections cover digital replicas, which are AI copies of a performer's face or voice, along with consent, pay and creative control.
Audience attitudes were also cited. A Luminate survey from November 2025 found 51% of US respondents rejected fully synthetic virtual performers. A Japanese consumer survey published in September 2026 by English Hub and GRAS Group found 44.7% would be less willing to buy content once they knew it was AI-generated. A South Korean survey from Embrain Trend Monitor, published in January 2026, found 81.6% supported advance disclosure of AI-generated content and 80.3% favoured mandatory AI labelling.
The Taiwan Creative Content Fest runs from 6 to 9 November 2026 and is organised by TAICCA, according to Deadline. The full programme for TCCF Forum 2026 has also been published.
