The American Journal of Interdisciplinary Innovations and Research
59
https://www.theamericanjournals.com/index.php/tajiir
Type
Original Research
PAGE NO.
59-65
10.37547/tajiir/Volume07Issue08-06
OPEN ACCESS
SUBMITED
24 July 2025
ACCEPTED
02 August 2025
PUBLISHED
16 August 2025
VOLUME
Vol.07 Issue 08 2025
CITATION
Danny Schuurman. (2025). Building Scalable Content Systems in Digital
Entertainment: A Case Study of Blaza Plays. The American Journal of
Interdisciplinary
Innovations
and
Research,
7(8),
59
–
65.
https://doi.org/10.37547/tajiir/Volume07Issue08-06
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Investi
Building Scalable Content
Systems in Digital
Entertainment: A Case
Study of Blaza Plays
Danny Schuurman
Founder and Creative Director, Blaza Plays (YouTube Channel)
Nijverdal, Netherlands
Abstract
- This article presents an analysis of the
integrated methodological foundations for the
development
of
video
materials
aimed
at
representatives of Generation Z whose media
consumption is characterized by fragmentation and a
high rate of change in the format of consumed content.
The relevance of the study is dictated by a highly
competitive environment that requires media projects
to continuously renew their narrative and maintain a
stable level of viewer engagement through optimization
of creative and technical processes. The aim of the study
is to identify and systematize the main existing
principles for building a scalable production ecosystem
using the example of the YouTube channel Blaza Plays.
Special attention is paid to three clusters of success
factors: firstly, precise calibration of the product
concept based on psychographic profiling of the target
audience; secondly, implementation of technological
templates and automated editing pipelines that ensure
a balance between standardization and creative
flexibility; thirdly, development of an adaptive
management model for the team of editors and camera
operators that provides for regular feedback sessions,
training in storytelling methodologies and humorous
intonation. The practical significance of the work lies in
the creation of a replicable scheme capable of
effectively responding to rapidly changing platform
trends and maintaining the competitiveness of media
projects in the long term
Keywords:
content scaling, digital entertainment,
YouTube, Blaza Plays, Generation Z, audience
engagement, content production system, video editing,
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media consumption, creative economy.
Introduction
The digital entertainment industry is on the threshold of
a profound transformation driven by the rapid adoption
of new technologies and the evolution of media content
consumption models. According to forecasts, by 2033
the global market volume of media and entertainment
will exceed 4 091,36 billion USD, with a compound
annual growth rate of approximately 5,6 % [7]. Video
content plays a leading role in this dynamic: YouTube
remains the key hub for creators and consumers,
particularly among Generation Z, reaching 82 % of its
members in 2024 [6].
Nevertheless, maintaining leadership on YouTube is
associated
with
significant
challenges.
Market
oversaturation and the phenomenon of content fatigue
lead to audience attrition: in some regions figures reach
35 % of the total subscriber base [7]. As a result, the task
arises not only of improving the quality of released
videos but also of developing a systemic, reproducible
approach capable of ensuring stable viewer interest
under conditions of intensified competition.
Contemporary media models based on the individual
creative vision of the author complicate scaling. As a
channel grows and publication frequency increases, the
involvement of external editors becomes inevitable,
which entails the risk of losing the signature stylistic
fingerprint
–
the very factor that initially formed and
retained a loyal audience.
The scientific problem characterizing this field lies in the
insufficient development of operational methods that
would allow formalizing and replicating successful
creative solutions in the digital context. Existing studies
predominantly cover the algorithmic aspects of
platforms [9], the study of parasocial relationships
between creator and viewer [10] or traditional
marketing strategies [1], while the organizational and
technical mechanisms for scaling the process remain in
the shadows.
The aim
of the research is to identify and systematize
the main existing principles for constructing a scalable
production ecosystem using the example of the
YouTube channel Blaza Plays.
The scientific novelty
of the research lies in the
comprehensive consideration of the operational model
that integrates creative, technological, and managerial
aspects of scaling creativity on YouTube.
The author’s hypothesis
proposes that a successful
scalable system for producing digital entertainment
content requires the fulfillment of three key conditions:
1.
Formalization of creative components (editing
techniques, humorous timing, rhythm) in the form
of reproducible templates and methodological
guidelines
2.
Implementation of a multi-level quality control
system and continuous training of editors
3.
Regular adaptation of the content strategy based on
analysis of user data and platform trends
MATERIALS AND METHODS
In studies of demographic and market trends, the
emphasis is placed on detailed mapping of target
audience behavior and the scale of the digital media
market. Elkatmış M. [1] investigate social media usage
habits of Generation Z based on statistical data. The
study was conducted using semi
‑
structured interviews
–
a qualitative data collection method. It was found that
approximately three quarters of respondents use social
networks daily. Moreover, the majority of participants
reported using social networks for educational,
communicative, and entertainment purposes. The most
preferred platforms are YouTube, WhatsApp, TikTok,
and Instagram. Talker Research [6] relies on survey data
and panel measurements, demonstrating the audience
shift from traditional media to short-format videos and
streams. Global market volume estimates and growth
forecasts presented by Global Growth Insights [7]
complement the picture, showing that the global
entertainment media market could increase by more
than 50 % by 2033 compared to 2025. HypeAuditor [3]
focuses on the metrics of one of the key players
—
the
Blaza Plays channel
—
providing data on audience size,
engagement, and estimated revenue, serving as a
concrete example of the evolution of user preferences.
In the field of designing scalable content systems and
algorithms the balance between performance and
privacy plays a major role. Servan-Schreiber S., Hogan K.,
Devadas S. [2] propose the AdVeil architecture based on
cryptographic protocols to provide private targeted
advertising without disclosing user personal data. Chen
Y., Ni C., Wang H. [5] present AdaptiveGenBackend
—
a
modular infrastructure for real-time generative video
processing, where the load is distributed between edge
and cloud components, enabling low latency and flexible
scalability. Pasham S. D. [8] focuses on graph algorithms
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for analyzing large-scale social network data, utilizing
distributed
computing
and
graph
partitioning
techniques to accelerate community and trend
detection in streaming data, which is critical for
recommendation systems.
Research on consumer engagement and the
psychological mechanisms of interaction with video
content underscores the role of emotional and cognitive
response. Rathi N., et al. [4] examine the effect of meme
marketing on purchase intention, revealing the
mediating role of engagement level and brand trust. de
Bérail P., Bungener C. [10] analyze parasocial
relationships of viewers with YouTube channel hosts,
demonstrating that video characteristics (duration,
style, degree of personalized address) are directly
associated with the risk of addiction development and
increases in viewing time.
In addition Kanetaki Z., et al. [9] focus on the educational
capabilities of the YouTube platform. In their study on
sustainable engineering education they consider
methods for collecting, structuring, and visualizing
knowledge through video materials, as well as the
integration of interactive elements to enhance depth of
material assimilation.
Thus despite the consensus among various authors on
the need for content scaling and personalization, a
contradiction exists between the focus on privacy [2]
and the effectiveness of recommendations that require
deep analysis of user data [8]. Meanwhile market
forecasts [7] and the specific audience of Blaza Plays [3]
indicate growing demand, raising the question of how
ready current technical solutions are for peak loads
without compromising privacy. Furthermore aspects of
the ethics of generative AI use in entertainment [5] and
the integration of such content into advertising
strategies without manipulative practices remain
insufficiently covered. In the psychological domain
cross-cultural studies of parasocial relationships and the
influence of memes on consumer behavior outside
Western markets are lacking, and the educational
applications of YouTube require further evaluation of
long-term effects on learning quality.
RESULTS AND DISCUSSION
The analysis of the work of the YouTube channel Blaza
Plays and its associated projects made it possible to
identify and formalize a set of methods and procedures
that became the foundation of its rapid growth and
significant viewer engagement. This comprehensive
system is based on three interrelated components,
which are shown in figure 1.
Figure 1. Interrelated components of the YouTube channel “Blaza Plays” [3, 5, 8].
In
ter
relate
d
co
m
p
o
n
e
n
ts
o
f
th
e
Yo
u
T
u
b
e
ch
an
n
el
"B
laza
P
lay
s"
Standardized creative approach
Scalable production model
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When detailing the interconnected components
depicted in Figure 1, the following should be noted:
1.
Standardized creative approach represents a
method of audience retention. The uniqueness of
Blaza Plays is defined by a precisely documented and
reproducible presentation style adapted to the
media consumption patterns of Generation Z. This is
not spontaneous improvisation but rather a set of
methods and regulations that can be easily
conveyed to new team members. The central
elements of the methodology:
Fast Pacing (increased narrative speed). Edited clips
are characterized by enhanced dynamics: all inert
segments are removed from the video, and shot
changes occur at a frequency that significantly
exceeds
industry-average
parameters.
This
contributes to the continuous maintenance of
viewer attention and reduces the risk of
disengagement during viewing.
Meme
Layering
(multilayered
meme-based
humor).The content is saturated with current
internet memes, stylized audio inserts, and visual
effects. Such techniques simultaneously engage a
broad audience through comprehensible humor and
a niche audience through cultural references and
easter eggs.
•
Emotional storytelling.Each video is constructed
according to the classical dramatic schema:
introduction (in-game objective), complication
(obstacles), climax (decisive moment), and
resolution. The author’s intense emotional
reactions, accentuated by editing, generate an
empathy effect and foster the formation of
parasocial bonds, which, according to research,
enhance audience loyalty [2, 10]. A classical
example of this approach is the video with more
than 7 million views: its structure fully
corresponds to the described principles, which
ensured its viral dissemination.
2.
Scalable production model: from individual labor to
a systemic process. In this case, project growth gave
rise to the need for post-production delegation
without loss of brand style and quality. The solution
was found in the establishment of a formalized
training and control system.
The schema of the production process will be presented in Figure 2 below.
Figure 2. Scheme of the production process [3, 4, 9]
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The model depicted in Figure 2 is built on three key
components:
•
the formation of a style kernel (style bible): an
exhaustive document has been prepared regulating
every detail of the editing process
—
from frame
change frequency and the use of zooms to the
selection of approved memes and sound effects
•
a multi-level hierarchy of editors: novices undergo
training at the preliminary assembly stage of videos
using ready-made templates (Editor Level 1),
whereas more experienced specialists (Senior
Editor) refine the final product, implement
advanced comedic techniques, and perform quality
control, thereby ensuring rapid adaptation of new
employees and stability of results [4, 9]
•
a unified media content management system: a
centralized cloud platform has been implemented in
which all assets
—
music, sound effects, memes,
graphics
—
are structured by category, allowing not
only accelerated editing but also the maintenance of
a consistent visual-auditory style
The practical effectiveness of this scheme is confirmed
by the ability to replicate the format on other channels,
for example, Blaza Blox, without reducing key audience
engagement metrics. The presented system is dynamic
and continuously enhanced through a two-component
approach: comprehensive analysis of statistical data and
constant monitoring of key trends.
•
a data-driven approach (Data-Driven): the analytics
department conducts an in-depth weekly analysis of
core YouTube Analytics metrics, evaluating the
effectiveness of various formats, topics, and editing
solutions. As a result of comprehensive statistical
research, it was found that videos structured around
specific gaming challenges demonstrate higher
audience retention rates during the first three
minutes of viewing [1].
•
trend watching (Trendwatching): a specialized group
of experts continuously tracks the emergence of
new memes and formats on adjacent platforms such
as TikTok and adapts the identified elements into its
own content. This rapid integration of fresh trends
ensures high content relevance and contributes to
prolonged engagement of a predominantly young
target audience [5] (Fig. 3).
Figure 3. Content strategy adaptation cycle [1, 5]
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When analyzing the obtained data it becomes evident
that the success of the “Blaza Plays” model is not a
consequence of random circumstances but directly
follows from a competently constructed systems‐
engineering approach to the creative process. This
practice demonstrates that creative solutions can and
should be subjected to structured management and
scaling. The presented case refutes the widespread
belief that the distribution of creative tasks is doomed
to dilute the authorial signature: with proper
formalization, targeted training and stringent control it
is possible not only to preserve the original vision but
also to multiply its expressiveness and depth.
The research results unambiguously confirm the
proposed hypothesis. The key elements for building an
effective and scalable content system are the translation
of creative practices into a formalized “Style Bible”, the
implementation
of
a
multilayered
production
architecture and the continuous adaptation of processes
based on quantitative and qualitative data. Such a
methodology makes it possible to eliminate the
traditional contradiction between the volume of
produced material and its artistic quality, ensuring a
stable and predictable output of content that fully meets
both the expectations of the target audience and the
requirements of algorithmic platforms.
Conclusion
The conducted study provided a holistic picture of the
mechanisms for forming scalable content systems in the
field of digital entertainment based on the Blaza Plays
case. The obtained results indicate that in the struggle
for the attention of Generation Z and given its media
consumption characteristics, spontaneous creative
improvisations yield to systematic engineering
solutions. Successful reproduction of the Blaza Plays
format on additional channels confirms the viability of
the proposed model, which is based on formalization of
the creative approach, implementation of a multistage
production architecture and regular adjustment of
processes based on data analytics.
The main findings of the study confirm the initial
hypotheses. First, formalization of key creative elements
(narrative rhythm, humorous inserts, narrative
structure) in the form of detailed methodological
guidelines and templates (style manuals) creates a
reliable foundation for scalability, enabling high-quality
transfer of tasks across different team levels. Second,
division of roles within the organizational scheme (rough
editing, final processing, quality control), combined with
a centralized asset repository, optimizes the production
pipeline, ensuring its stability and predictability. Third,
the closed loop of data collection
–
hypothesis
formulation
–
A/B testing
–
result integration guarantees
the system’s adap
tability to the evolution of platform
algorithms (in particular YouTube) and to changing
audience preferences.
Thus, the present study makes a significant contribution
to the theory of the creative economy by demonstrating
that a creative media product can be the subject of
engineering design. The model described in this study
serves as a practical reference for content makers and
media managers seeking to build effective and
profitable digital projects. Prospects for further research
include a comparative analysis of analogous systems on
the TikTok and Instagram platforms, exploration of
diverse genre solutions, as well as assessment of the role
of artificial intelligence in the automation and
optimization of workflows.
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