It’s getting colder, but it’s still hot in 2025.
At the beginning of the year, ” Good Boy ” , a week on the line, with 600 million on the main topic of tremors, and a month later, the total number of red nuts fell by 1 billion and the number of men ‘ s number 1 Quan platform rose by more than a million; last month ‘ s hotly broadcast, ” Shafengdra ” , broken by 3 billion, not only built a love utopia, but also generated great psychological consolation and emotional release in the course of the theatre with film-class audio-visual and subtle comedy.
At the same time, the short play one brother’s red fruit moon was rising again. According to QuestMobile data, in September the number of free red fruit short operas increased by 93.9 per cent to 236 million per month, and officially moved beyond site B to join the online video industry Top4, only after televised videos, achieves and mango TV.
At a time when the short play is on fire, a “new, but not so” form of content is also emerging — comics.
The red fruit shorts became the same month of the industry Top4, and the red fruit free comics became online, as can be seen from the name of the former, with the main play of comics. The following month, at the 2025 Creative Assembly, the paper announced that it was about integrating efforts around “IP+AI+ consumption” to construct the second growth curve of IP values, and that the comics were the main thrust.
The head of the red fruit, reading, etc., will the opera be the next windfall after the short play?
When the head of the industry is in a comic,
As a narrative between comics and animations, comics have developed for many years, and if they are of good quality, it is easy to fire a Z-generation platform like B, like “I,() Pay Money!”, created by the 100-U.U.U.U.S. Suture., which is 30 million+.
But in the context of the content industry as a whole, comics, long video platforms and short video platforms can only survive. After all, just a few years ago, even short plays were ignored by content practitioners, not to mention comics?
But when content homogenizes, business logic shifts to looking for new amounts, IP+ everything becomes the mainstream, and AI emerges rapidly as a perceived comic with a huge increase, and it becomes a fragrance.
In terms of expression, comics can be divided into three main categories: AIG micro-short dramas (e.g., a series of short dramas created by fast-hand Clin AI), dynamic comics (the dynamic presentation of comics, most of which are simple static cartoons, and a few of which are minor animations), and sand sculptors (a picture of a panda head per capita, with one face changing and the lowest creation threshold).
In recent months, comics have been a frequent attraction to industry. The free-of-charge red fruit comic in September, which was upgraded by the free-of-charge shorts of salted lemon, was the first independent opera in the country to be created by the head of the industry, and the first step in the direction of AIG and cartoonization, after the live shorts.
According to the data examined, the AP developer is Hainan Happiness Technology, the holding firm of which is a fully-funded subsidiary of Beijing Whispering, and the legal representative is the chief editor-in-chief of the red fruit free play.
This can be seen from the fact that there is a great deal of attention to comics in terms of tremors, from the APP, to the name that goes with the free red fruit shorts, to the fact that the editor-in-chief sits in town.
Two months after it went online, the AP was not warm, but there were frequent movements in the recent past, such as a small fall in the version from 6.7 to 6.9, and the installation of the app store on 30 and 31 October at millet, vivo and OPPO. Tens of millions of monthly life may soon be achieved, once the sonic boom begins to be recommended HF in their home-based flow pool.
As in the case of the red fruit, the comics also feature a free, open-reading, high-frequency update and strong sense of pleasure, but, unlike the shorts, the comics have lighter narratives, larger AIs and lower creative costs. If the short play is a tremor-based content factory, the comic is probably becoming its AI factory.
In terms of interface design, a red fruit-free comic is more suitable for viewing on-screen, rich in content and variety, and for debris time. Four of the works at the top of the hot list, all of which are more than 40 million hot, the top 10 are based on panda-head sculptor, combined with the work on the recommended list. It is not hard to see that comics tend to be younger than short shows.
No one. The book announced the upgrading of the Creative Partner Scheme at a creative conference held last month, which added to the deep-cultivated short play to the new comic strip and launched four major initiatives to map the opera ecology.
First, on IP resources, 100,000 prefecture IPs will be opened, including first works such as the National Forensic Medicine, and a variety of topics; second, in creative support, a multi-million-dollar creative fund will be set up to support writers in cross-border and high-quality team development; third, in technological empowerment, AIG tools such as the “Faceplay Assistant” will be launched to increase the efficiency of comic programming; and fourth, in industrial chain collaboration, a full-chain support, from production, distribution to IP industry chaining, will be built to build an open, efficient, win-win comics that will create an ecological community.
This means that the reading is not just a simple view of comics, but rather a desire to make the Internet IP another visualization after movies, television dramas, animations and an extension of the IP statement cycle through comics, a form of content that travels in the wind.
In Hu Xiaonan’s own words, “Shows and comics are becoming an important engine for IP visualization, which not only greatly enhances the efficiency of text-to-visual transformations, offers development opportunities for a large number of IPs, but also opens a whole new path of transformation for writers.”
Almost at the same time as the tremors, the quick-hands also took initiatives in response to the comics, although they were not as high as the tremors. Its United Clin AI launched the AIGC Initiative and used joint production, joint operation and so on to stimulate the creation of the AI comic. Platforms such as Achilles and B, also have initiatives for comics.
As the industry giants move forward, this means that they are on the verge of a battle in the comic book market.
The A.I.D., 20 billion is not the end.
Ecologically, red fruit free comics, like short operas, are free of charge for all dramas and are accessible free of charge to tomato novels, free of charge for reading all novels, and incentivize users by signing in, watching the drama for gold coins.
In terms of business models, comics, like the short dramas of recent years, are recommended, distributed and consumed on short video platforms, such as tremors, fast hands and so forth, and there is nothing to say if they are free of charge, but if they are paid for, they depend to a large extent on the drops, as in previous shorts. It can be said that whoever controls the flow of traffic has the fate of comics.
From a user image, comics are younger than shorts, as there are not many middle-aged audiences who can accept mainstream panda comics. In addition to the viewers of the four-and-five-line cities, many viewers in the first and second-line cities are faithful users of comics.
For example, soya petals and little red books have many posts saying that friends went to Kamu and Shigeshima were masters of literature, but on their way to and from work, it was “the day when I was born again, and I was born back in the city of the true ones”, the simplest narrative and the purest relief. It’s like before Wang Jia Wai’s filter broke, who knew he was so full of mouths and gossip behind his sunglasses?
According to data published jointly by the mega-engineers and the volcanic engines, in the first half of 2025, the combined monthly growth rate of the cartoon supply was 83 per cent, the combined monthly growth rate of the broadcast trend was 92 per cent, the number of top-line works exceeded 3,000 in six months, the size of the market flow grew 12 times, and the size of the commercial + natural double-combust growth was expected to exceed 20 billion yuan.
But in the current state of affairs, once the giants, such as the tremors, the quick-hands, add their strength to the 20 billion market, they are far from the end of the comic.
As far as narrative logic is concerned, the short play is mainly about making scenes, feeling good, and the comics are more about role growth and the construction of a world view, and the audience is not looking at a reverse, but can immerse in the role ‘ s path to escalation and shake the size and novelty of the AI world. This explains why opera users do not exactly overlap with the short play audience.
Comics viewers tend to be young, binary and highly receptive to fantasies, preferring to find spiritual satisfaction in the AI-generated brainhole universe. The role of AI here is not only to reduce efficiency but also to visualize imagination. After all, it’s very difficult to have a great specialty, an epic scene, no matter what the reality short play is. If so, it’s no different than a billion-dollar movie.
From this point of view, comics are actually a mixture of narrative pleasures and the visual extension of the short play, which does not replace short play, nor can they replace short dramas, but, to some extent, fills with illusions that cannot be achieved for various reasons (production costs, cycles, etc.).
In the future, an IP, if it does not allow for visualization, can first be used as a reality shortshow validation market, or as a visual extension of the Ai comic, to see if the audience accepts it and, if it works well, then continues to go up to the horse-to-mart video, and to diversify and plough the IP world, thus creating a full closed-ring chain of content for the “Web-Speak-Speak-Calms-Video-Treat-Move.”
Of course, as was the case with the short drama of brutal development, the current comic book market is also in a wild, chaotic state. The co-emergence of AI technology, production companies, content platforms, copyrighters, advertisers, etc., is taking shape, but is not yet as standardized as a short play, and there is little industry-side charge.
There are a lot of concerns, like copyright. In the process of production, the AI Comic will involve grey areas such as re-use of material, style training, which will make it difficult to define the original boundaries of violations, while the platform-side vetting mechanism is lagging behind. The second is the weak content innovation, and the current comic book, which focuses on phantoms, systems, travels, history, etc., has not yet developed a diversified narrative. Finally, production standards are missing. While reading comics and so forth is far away from the tremors, the industry as a whole is still in the process of mapping, with neither a uniform style nor an aesthetic assessment system for AI content.
However, the fact that the industry is in a state of disarray also means that the dividend window is large. Maybe soon, someone will be able to eat a big, delicious crab.
However, it should be recalled that every wind in the content industry is accompanied by a cold wind. It is still an uncertain answer whether AI can completely subvert the way the current comics are created, and whether the audience at large can accept comics as much as it does. The only thing we can be sure of is that, in terms of current technology, what really stays is not what is generated, but a moving story.