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By:

Prateek Sethi

1 October 2024 at 3:15:42 am

Too Much Content, Too Little Craft

In the age of user-generated content, Indian automotive brands must rediscover the craft of storytelling amid a sea of visual noise. By 2026, India’s automotive brands are producing more visual content than at any point in their history. Scroll through social-media feeds and one encounters an endless stream of gleaming SUVs tackling Himalayan passes, hatchbacks threading through monsoon traffic, and owners proudly posing beside their new machines. Launch calendars are crowded. Marketing...

Too Much Content, Too Little Craft

In the age of user-generated content, Indian automotive brands must rediscover the craft of storytelling amid a sea of visual noise. By 2026, India’s automotive brands are producing more visual content than at any point in their history. Scroll through social-media feeds and one encounters an endless stream of gleaming SUVs tackling Himalayan passes, hatchbacks threading through monsoon traffic, and owners proudly posing beside their new machines. Launch calendars are crowded. Marketing pipelines rarely rest. User-generated content (UGC) pours in from every corner of the country.   On the surface this abundance looks like progress. Engagement numbers are strong. Real owners are visible. Brands appear present in everyday life rather than confined to glossy advertisements. In a market where purchase decisions are often shaped by peer opinion as much as by engineering specifications, the rise of UGC seems both natural and welcome.   But beneath the sheer volume lies a growing problem. While automotive brands have embraced participation, many have diluted coherence. The result is a visual ecosystem rich in quantity, but increasingly inconsistent in quality, tone and intent. Faked authenticity has been prioritized and often at the cost of craft, clarity, and brand memory. Visual storytelling, once shaped by deliberate craft, has become fragmented.   The next phase of automotive storytelling in India will not be about choosing between professional production and user-generated spontaneity. It will be about learning how to shape both.   The UGC paradox User-generated content has undeniably transformed automotive communication. After all, nothing conveys credibility quite like a real owner describing a long highway drive, or capturing a dusty trail from behind the wheel.   In India, this authenticity carries particular weight as buyers often rely heavily on community recommendations.   Yet, today, brands are encountering what might be called the ‘UGC paradox’ wherein engagement is high, but recall is weak. Content is abundant, yet visual identity is fragile and coherent storytelling becomes harder to sustain. Over time the brand ceases to speak and instead merely hosts.   Part of the problem lies in the relentless pressure to remain visible. Digital platforms reward frequency and algorithms favour those who post constantly. For marketing teams, the temptation to keep feeding the machine is strong.   But brands are not algorithms and visibility alone is not communication. In India’s fiercely competitive automotive market, where mechanical differences between vehicles are narrowing and emotional appeal increasingly shapes purchasing decisions, indiscriminate content production carries real strategic risks.   Endless Content The first is the erosion of premium perception. Even mass-market brands rely on a certain aura of aspiration. When a brand’s feed becomes a chaotic mix of uncurated images and videos, that aura can quietly fade.   The second is the loss of visual distinctiveness. When every manufacturer shares the same kinds of owner clips - cars against sunsets, SUVs splashing through puddles, interiors filmed from shaky phones - brands begin to resemble one another.   The third risk concerns the most important marketing moment of all: product launches. These are events where companies invest heavily in production, messaging and design. Yet when surrounded by a constant stream of casual content, even these carefully orchestrated narratives struggle to stand out.   This is where the older discipline of visual stewardship needs rediscovering.   Production houses and visual-communication specialists were once central to automotive storytelling. Their role was not simply to film cars attractively but to translate engineering, aspiration and lifestyle into coherent visual narratives.   In the era of UGC, their relevance is returning but in a different form. The real purpose of great production lies in knowing which moments to elevate and which to leave untouched; understanding how raw material can be refined without losing its authenticity.   In a content environment saturated with owner footage and community contributions, curation counts. Someone must decide which user stories genuinely reflect the brand’s character and which do not.  These decisions cannot be made solely through dashboards or engagement graphs.   The craft of visual storytelling which is shaped by taste, cultural awareness and production experience remains indispensable. There persists a common suspicion that professional production inevitably undermines authenticity. Many marketers fear that involving specialists will ‘over-script’ reality or sterilise spontaneous moments.   Hybrid Approach In practice the opposite is often true. Modern production is less about control than direction. Rather than replacing real voices, skilled production partners can function as narrative editors. Their role is to translate everyday experiences into stories that carry emotional clarity and visual coherence. A subtle change in framing or a more deliberate rhythm of editing can transform a simple owner clip into something memorable.   This matters particularly in India, where visual cues often carry layered cultural meanings. Aspirational imagery, landscape symbolism and everyday lifestyle markers shape how audiences interpret a brand. Finesse, in other words, is not artificial. It is intentional.   The most future-ready automotive brands in India will not abandon UGC. They will architect around it. This hybrid approach allows brands to scale authenticity without sacrificing identity.   Production houses and visual communication experts play a critical role here in ensuring those voices collectively sound like the brand. Today, the most progressive automotive brands in India will recognize a simple truth that authenticity does not mean absence of craft.   As visual noise increases, brands that invest in refinement, coherence and storytelling leadership will stand apart.   User voices will remain essential, but without expert stewardship, they risk becoming fleeting moments of noise rather than lasting brand equity. And the role of production houses and visual communication specialists, far from diminishing, is evolving into something far more strategic as guardians of quality in an age of excess.   (The writer is founder and creative director at Trip Creative Services, an award-winning communication design house. Views personal.)

The ‘Triumph’ of Panipat: Why Jitendra Awhad Gets It Wrong?

Updated: Mar 31, 2025

The Third Battle of Panipat was no lamentable defeat but a testament to Maratha courage that shaped India’s history.

It takes a spectacular degree of historical myopia to argue that the Third Battle of Panipat of 1761, in which the Marathas clashed with the forces of Afghan invader Ahmed Shah Durrani, was not a symbol of Maratha valour. Yet, in a season where historical distortions are running rampant, this is precisely the claim made by legislator Jitendra Awhad of the Nationalist Congress Party (Sharadchandra Pawar).


Awhad’s remarks made in the Assembly were a response to Chief Minister Devendra Fadnavis’s statement that land was being acquired in Haryana for a proposed Panipat memorial meant to commemorate the sacrifice of the Marathas. While the battle was undoubtedly a calamity for the Marathas in which a generation of statesmen and soldiers perished, Abdali’s victory turned out to be a pyrrhic one. Awhad’s assertion that Panipat was “neither a reminder of valour nor defeat but merely of loss” is an exercise in selective amnesia that betrays either monumental ignorance or political opportunism.


The 19th century British writer and soldier, Maj. Evans Bell described Panipat not as a defeat but as a “triumph and a glory” for the Marathas because even though they lost the battle, they ensured that Abdali, the foreign interloper, could never again interfere in India’s affairs.


“The battle of Panipat was a triumph and a glory for the Marathas. They fought in the cause of ‘India for the Indians’ while the great Muhammadan Princes of Delhi, of Oudh and the Deccan stood aside, intriguing and trimming. And though the Marathas were defeated, the victorious Afghans retired and never again interfered in the affairs of India,” says Maj. Bell.


In his foreword to Marathas and Panipat, edited by historian Hari Ram Gupta on the occasion of the bicentenary of the battle in 1961, stalwart Congressman KakasahebGadgil, the then Governor of Punjab, writes: “There is evidence to show that every call from imperial Delhi [the tottering Mughal empire] to come to its protection was helpfully responded by the Marathas from the south. It will be wrong to conclude that the Marathas came to north every time for the pleasure of loot or for the collection of Chauth.”


As historian G.S. Sardesai notes in his classic New History of the Marathas (1946-48), even after their devastating losses, the Marathas did not see themselves as vanquished. Sardesai writes that “[Sadashivrao] Bhau’s courage inspired every soul to supreme exertion, and even after the final rout, people wrote and spoke of the event as if they were heroes.”


It is a popular mistake of long standing to suppose that the third battle of Panipat destroyed the Maratha power in the north. The geopolitical aftermath of the battle speaks volumes. Abdali, despite his victory, did not consolidate his rule in India. Delhi remained vulnerable, and it was the Marathas, not Abdali, who would soon take charge of its destiny. Abdali’s attention was soon consumed by the growing power of the Sikhs in Punjab, who resisted his authority at every turn.


Equally, Awhad’s contention that “there is no memorial of defeat in the world” is not just historically inaccurate but philosophically hollow. The world is filled with monuments that commemorate battles lost but courage demonstrated - Thermopylae, the Alamo and Gallipoli to name but a few. A memorial at Panipat would not celebrate defeat but honour the unbreakable spirit of those who fought against overwhelming odds.


The battlefield itself tells a tale of extraordinary endurance. The Marathas - exhausted and mounted on half-starved horses - faced an army with the finest cavalry in Asia, equipped with superior artillery. Yet, they fought with such ferocity that Abdali himself, despite his victory, was compelled to send letters of reconciliation to the Peshwa, recognizing the Marathas’ strength and seeking peace.


Abdali himself thus wrote to the Peshwa, “There is no real reason why there should exist any ill-feeling between you and us. True, you have lost your son and brother in the unfortunate fight…However, we are deeply sorry for these losses. We readily leave to you the subject of the imperial management of Delhi, provided you allow us to hold the Punjab up to the river Sutlej... You must forget the regrettable events that have taken place and entertain a lasting friendship towards us, which we are anxiously soliciting.”


This is not the space to dissect the battle itself, but just read Sir Jadunath Sarkar’s admiring description of Sadashivrao’s bravery in the fatal hour after Vishwasrao’s death in vol. 2 of his classic Fall of the Mughal Empire (1932-50). Sarkar writes how, despite the battlefield collapsing around him, Bhau fought on, leading three counter-charges in face of lethal musket fire rained by Abdali’s ‘slave squadrons.’


“Bhau refused to acknowledge defeat He fought on for over an hour more, regardless of the tremendous odds now arrayed against him, and delivered three counter-charges with his rapidly thinning band of personal followers and himself headed the attack.”


This is not the behaviour of an army broken by defeat but of one that refused to accept it.


By dismissing the battle’s significance, Awhad’s statements are an affront to the remarkable courage displayed by the countless men of Panipat including Ibrahim Khan Gardi, the 18-year-old Vishwasrao, JankojiScindia, Shamsher Bahadur in one of the most consequential battles in Indian history. Nations do not build memorials to gloat over defeat but build them to honour sacrifice, to inspire future generations with stories of courage and to remind themselves of the price of freedom. Panipat is not a tragedy. It is a lesson. And that is why it deserves to be remembered, not dismissed by those who find history inconvenient.

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