Huayang Lianzhong's transformation is a model of "scraping bones to remove poison" in the Chinese advertising industry. The stark contrast between 966 million yuan in revenue and 267 million yuan in losses in the Q3 2025 financial report highlights the survival dilemma of traditional 4A companies in the digital age. However, its "AI + state-owned assets" dual-drive strategy is carving out a bloody path:

1. The violent iteration of AI toolchains

Reconstructing production processes

The MediaMuse system transforms advertising production from "artistic creation" to an "industrial assembly line," reducing costs by 60% for the 3D vehicle video produced for GAC Aion. The hidden danger is that the rework rate for AI-generated content requested by clients is as high as 45%, exposing bottlenecks in technology implementation.

Restructuring talent

Cutting 40% of traditional creative positions and hiring AI trainers with annual salaries of one million. This "blood transfusion surgery" has triggered a mass exodus of old employees, but unexpectedly attracted the participation of Generation Z tech teams.

2. The dark and light lines of state-owned assets' involvement

Resource replacement

The Changsha State-owned Assets Supervision and Administration Commission brings not only funds but also crucially secures the annual budgets of local enterprises such as Hunan Broadcasting and Sany Heavy Industry.

Systematic arbitrage

Winning the bid for the "Rural Revitalization Communication Project" with a state-owned background, increasing the share of government projects from 8% to 23%. However, the risk is that the creative freedom of government communication is severely compressed.

3. Industry revelations

Technology is not a savior

Huayang Lianzhong's investment in AI has exceeded 120 million yuan, but clients still pay an additional 30% for "humanized creativity," proving that the emotional value of the industry cannot be replaced by algorithms.

A double-edged sword of state-owned assets

While securing stable orders, one of its cultural tourism projects has been ridiculed by young audiences for "overemphasizing political correctness," revealing the aesthetic gap between the system and the market.

The most profound revelation of this transformation is that traditional advertising companies must either become technology companies or degenerate into outsourcing factories. Huayang Lianzhong's struggles are a microcosm of the entire industry seeking "creative dignity" in the torrent of algorithms. #算法 $ETH