IP movies box office is 33.9 billion yuan, and IP that is still the market favorite?

as one of the largest exporters of IP, how does network literature develop in this change? What kind of existence is the explosive growth of network literature to traditional literature? What kind of online literature is the real IP, which is popular with the audience?

in the autumn and winter, 2017 is coming to an end, and the new signal revealed by movies and TV dramas has become increasingly clear: the rise of genre themes. As one of the biggest output places of IP, how does network literature develop in this change? What kind of existence is the explosive growth of network literature to traditional literature? What kind of online literature is the real IP, which is popular with the audience?

"Why don't you write online novels? If it gets hot, you can make more money! " Reporters have not remembered how many times to face this problem, so for network literature, what do industry insiders think?

"traditional literature has nothing to do with GDP. Classical writers are often destitute and don't earn a penny. Today's online writers are so amazing that they can create 100 million a year, and literature can also talk about GDP!"

on November 3, by the West Lake, Wu Xuan frequently exited astonishing, laughing and cursing, but it just proved the multiple impact of the menacing wave of online literature on literature and film and television. Wu Xuan, editor-in-chief of West Lake magazine, teamed up with famous writers Haifei, Cai Jun and harvest magazine editor Cheng Yongxin to launch a heated discussion on the topic of "the rise of types in literary changes" on the platform of the West Lake IP conference.

it is understood that this West Lake IP conference is sponsored by the Zhejiang Provincial Bureau of Press, publication, Radio, Film and Television, Zhejiang Daily newspaper Group, Zhejiang Writers' Association, and the Xihu District people's Government, and hosted by Oriental Star Digital Entertainment Co., Ltd. and the propaganda Department of the West Lake District CPC Committee, aiming to observe the development of the entire industry by returning to the origin of IP.

< strong > types of themes rise, IP fever is still the market's favorite? < / strong >

in recent years, IP has gradually grown from "imported" to a national topic. Just searching for "IP intellectual property" in Baidu will bring up 3170000 related terms. IP may not be a new word in the rapidly changing online vocabulary, but the market's desire for it still shows its charm.

the "White Paper on Entertainment IP" released at the West Lake IP Conference showed that as of September this year, a total of 108 IP adaptations had been shown in the film market, an increase of only 1% over the same period last year, but the box office revenue increased by 47.99% over the same period last year, reaching 33.974 billion. The number of moviegoers reached 979 million, an increase of 44.18%. At a time when the film industry has returned to calm and box office and cinema attendance have grown steadily, IP films have shown a good momentum in both box office share and moviegoer growth.

the market for TV dramas and online dramas is no less than that. Data show that in the Youku platform broadcast volume of top100 episodes, IP adapted up to 60 dramas, while the well-known IP "three generations Ten Mile Peach Blossom", "Chu Qiao Biography" and so on are among the best. The development of

IP has experienced a long-term exploration process, from the initial rush to the later color change, now the industry insiders are constantly looking for and return to the origin, looking for scientific methods of IP development. And even if the voice of IP fever continues to be heard this year, the market still gives a clear signal: it is obviously too early to say that IP is dead, the future of IP is full of uncertainties, and the IP market is still a huge treasure.

it is worth mentioning that in this year's IP works, genre themes are rising rapidly and developing rapidly. In terms of movies, "Wolf Warriors 2" topped the list of IP films and even Chinese films with 5.683 billion box office receipts, followed by "Fast and Furious 8". Under their leadership, "action movies" became the audience's favorite IP type, accounting for 48.86% of the box office.

in the drama market, romance, costume and history ranked in the top three. In the aspect of online drama, suspense theme and sweet pet theme are equally divided, and "murder in White Night", "Crime without Certificate" and "double Life favourite Concubine" are well known by the audience as focus boutiques. I still remember that in the previous Shanghai 2017 online audio-visual festival online drama forum, focus boutique was the key word of the online drama market.

the rise of genre themes makes IP developers still occupy the high ground in the voice of doubt, and also makes people in the industry really begin to examine the concept of IP scientific development. As one of the most important producing areas of IP, network literature has naturally attracted much attention.

< strong > behind the popularity of IP: the only thing online literature can talk about is money and GDP? < / strong >

"everyone has a gang to play with, and every literature has a type to be divided into." In the West, genre literature is a real literary theme, which becomes network literature after compilation in China. More specifically, according to the distribution channels, network literature can be regarded as a kind of genre literature.

"Foreign genre literature is well developed and well classified, but it is difficult for domestic genre literature to come out, especially when the adaptation of movies and TV dramas is unfinished and pseudo-IP prevails." Haifei pointed out. So, what is the answer paper of type literature, especially network literature in the market?

the IP creation, Derivatives and big data report released by Zhejiang big data Center shows that online literature, as the core force of IP creation, is growing the fastest in the whole literature market, with a market size of 9 billion from 1.5 billion in 2013 to 2017, growing by more than 60 per cent in the past two years. At the same time, royalties for IP adaptations soared from 400000 per episode in 2012 to 9 million per episode today.

from the market level, the rise of network literature is an important brushstroke in the history of literature and film and television drama. However, under the capital blessing, the problems such as skyrocketing royalties, serious homogenization and uneven quality of works are also distressing.

if we classify the online literature on the market, we can basically predict the direction of the story without looking at the name of the author. Perhaps this is also the reason for the plagiarism scandal after the release of popular movies and TV dramas. One or two can be seen from "three generations of Ten Mile Peach Blossom" and "Biography of Chu Qiao".

the root cause of the emergence of a large number of homogenized and low-quality works may be what Wu Xuan said: "before the emergence of Chinese online writers, we could not find a literary classic in his 20s who wrote 20,000 to 30,000 words a day and the whole work of 3,000 to 50 million words, and these works sold well in the market and were popular with many readers; at the same time, they were transformed into film and television very quickly."

what is shocking is that the "traders" behind this huge wealth are mainly post-80s and post-90s, and as many as 15 million writers bring together people from all walks of life and different social strata. College students, civil servants, doctors, cooks, security guards and so on are all listed, as if there is a sense of national profession, which is breaking the previous definition of literature and writers.

this industrial chain now seems to have no problem, and it is the way that all copyright owners, especially online writers, most expect; however, "when they talk to online writers, they basically talk about money; in the past, traditional literature had nothing to do with GDP, but now the royalties of more than 100 million yuan allow literature to talk about GDP." Wu Xuan said.

Literature can also talk about GDP, which is a blessing and misfortune for literary creators. Since ancient times, literature is more like a synonym for poverty and poverty, and creators struggling on the edge of survival can be found everywhere. However, in recent years, the market-oriented characteristics of network literature under the blessing of capital have gone beyond literariness and become the first attribute. It also runs counter to the starting point of traditional literature from humanistic feelings and social thinking.

what is just thought-provoking is that if the starting point is market and money, how can the quality of IP adapted works derived from literature be guaranteed?

Edit: mary