In the "Research Report on the Development of Chinese Online Literature 2025" released by the Chinese Academy of Social Sciences in Beijing on April 13th, a set of data is particularly prominent: the market size of Chinese online literature IP adaptation has reached 367.61 billion yuan, a year-on-year increase of 23.13%. This is not only a significant leap in numbers, but also marks the acceleration of online literature from the "reading track" into the "industry fast lane", becoming an undeniable force in the cultural industry. Looking back at 2025, Chinese online literature has delivered a heavy answer sheet: the reading market size has reached 50.21 billion yuan, a year-on-year increase of 16.6%; The number of authors has reached 32.694 million, an increase of 1.496 million from 2024; The number of works has reached 45.837 million, an increase of 4.186 million from 2024... Online literature has become one of the most active fields of "new popular literature". Among the authors of online articles, there are not only IT engineers and college students, but also food delivery riders, ride hailing drivers, researchers, and university teachers. Ordinary people from all walks of life use keyboards to write down the fireworks and imagination that belong to this era. What is particularly eye-catching is that the post-95s and post-00s are sparking a "storm of youth" from both the reading and writing ends. Among the newly signed writers of Yuewen in 2025, "post-95s" account for 70%; The readership is also becoming younger, with "post-00s" accounting for 38% of new users, becoming the largest group. They not only "follow updates", but also deeply participate in co creation through bullet comments, character dubbing, IP secondary creation, and other methods. 77 million user comments on 'This Chapter Talks', over 180000 voiceovers of works, and online interactions covering users in 34 countries... This generation of young people is not only consumers of online literature, but also builders of the online literature ecosystem. In the list of winners of the 6th China Publishing Government Award, two online works, "Binjiang Police Affairs" and "When to Invite Changying", won the "Online Publication Award". The report evaluation shows that the continuous breakthroughs in national level awards fully confirm the effectiveness of the high-quality construction of online literature, and its literary value and social recognition have reached a new level. As the chain of IP adaptations becomes increasingly mature, the "multiplier effect" of popular works begins to be released. The popularity of the web adapted screenwriter "Da Feng Da Geng Ren" has driven a 9-fold increase in the reading volume of the original work compared to the previous period. Its eponymous comic has a popularity of nearly 2 billion, and the sound drama has exceeded 10.6 billion views, becoming a phenomenal work. Short dramas and anime have become the "dual engines" for active IP conversion. By 2025, the market size of short dramas will reach 108 billion yuan, with a year-on-year growth of over 110%; Comic dramas have formed an industry pattern with a scale of billions, and over 80% of comic drama projects have clear authorization for top internet cultural IP addresses. Chinese stories have gone global, a discourse system has been established, and online literature has contributed unique Chinese solutions to global cultural exchange and mutual learning. By 2025, there will be nearly 200 million active users in China's online literature overseas market, covering over 200 countries and regions. With the popularity of online literature in the world, the application of AI translation has given rise to a "translation revolution" that combines quality and efficiency. As of the end of 2025, Qidian International, the only platform, has accumulated over 17000 AI translation works, with a year-on-year revenue growth of 39%, contributing more than one-third of the platform's total revenue. The adaptation of online literature IP is leading the trend of cross industry going global. Online literature, along with online film and television dramas, and online games, constitute the "new three types" of Chinese culture going global, working together to promote Chinese storytelling to the world. The years of practice in Chinese online literature have provided important support for the sustained prosperity of "new popular literature and art". In today's rapidly evolving digital technology, online literature is no longer just "cool literature". It is a microphone for ordinary people to express themselves, a super source of the IP industry, and a cultural ambassador for Chinese stories to go global. (New Society)