Taiwan's Book-to-Business Pipeline Generates Fragrances and Stage Hits

Three consecutive sold-out performances marked the initial commercial test for "Marital Lost Love," a stage adaptation of a novel by psychiatrist Deng Hui-wen. This specific metric served as the primary data point for IPis Innovation to justify further spending. Mimi Wang, the company's chief operating officer, stated that theater ticket sales allow businesses to gauge demand before committing capital to screen versions or related merchandise. This approach treats books as a low-cost method for identifying stories that already possess a dedicated readership.

The strategy relies on a model similar to the one established in South Korea three decades ago. There, government policies encouraged industries ranging from fashion to electronics to collaborate on cultural products. IPis has applied this cross-sector framework to local content. Following the success of the "Marital Lost Love" stage run, the company expanded the property into a podcast and two fragrances. A separate project, the series "Do You Still Love Me?", originated from a novel written specifically to supply its narrative. That project received five awards at the 2025 Taiwan Creative Content Fest Pitching, the highest total for that year, including the udnFunLife IP Potential Award.

Wang attributed the pitching success to the clear presentation of the story and its commercial potential. Upcoming plans for that property include brand collaborations, product placement, and a feature film titled "99 Days to Countdown." The film will also feature a honeymoon journey designed to serve as the basis for a travel itinerary developed with tourism partners. Another key property is "Siwei Street No. 1," a novel by Yang Shuang-zi about five women living together in Taichung. IPis is preparing a stage adaptation for this title, along with food events inspired by a Japanese colonial-era cookbook featured in the book. Japanese partners have expressed interest in licensing or collaborating on these extensions.

Erica Wang, chief executive of the Taiwan Creative Content Agency, noted that investment in intellectual property requires profitability, stability, and growth. Developing multiple uses from a single source offers a path to that financial stability. Owen Lee, chair of udnFunLife, agreed that extending a property into theater, exhibitions, and merchandise helps projects reach paying audiences. His company handles the commercial extensions while creators focus on the original work. Lee emphasized that rights checks are central to these decisions. His team seeks priority rights for extensions and ensures that adaptation and sequel rights are clearly defined. They also assess whether new uses require fresh permissions involving performers, characters, or music.

Lee cited an exhibition using franchise material to promote the Taiwanese horror film "The Rope Curse 3" before its release as a successful example. A mobile virtual reality experience linked to the fourth installment is currently in planning. Both executives identified strong potential in Taiwan's live-action film, television, and theater properties. They also see scope for further development in animation and character-based intellectual property. Understanding audiences and connecting personal stories to a wider public remains the central challenge for these ventures.