Micro-drama in the Digital Era: An Analytical Overview of the Emerging Micro-drama Industry

Research Article
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Micro-drama in the Digital Era: An Analytical Overview of the Emerging Micro-drama Industry

Zixiang Chen 1*
  • 1 University of Sydney    
  • *corresponding author Chenzixiang297@gmail.com
Published on 14 October 2025 | https://doi.org/10.54254/2753-7048/2025.KM27560
LNEP Vol.126
ISSN (Print): 2753-7048
ISSN (Online): 2753-7056
ISBN (Print): 978-1-80590-327-7
ISBN (Online): 978-1-80590-328-4

Abstract

The micro-drama entertainment industry, often referred to as micro-dramas or duanju, has emerged as a major force in the global digital media ecosystem, driven by mobile-first consumption and algorithm-driven platforms. Originating in China, the format now attracts billions of viewers and is rapidly expanding internationally. This paper adopts a literature review approach, synthesizing recent academic research, industry reports, and case studies to explore the evolution, production practices, technological integration, and economic significance of micro-dramas. The study examines key aspects, including market growth trends, narrative structures, labor-related implications, and the role of artificial intelligence in streamlining content creation and personalisation. The paper concludes that micro-dramas represent more than a temporary trend; signaling a structural shift in digital entertainment. The findings suggest that while the format offers immense commercial potential and opportunities for creative innovation, it also faces challenges such as content homogenization, intellectual property disputes, and labor-related concerns. The review further highlights that technological advancements, particularly in AI-driven workflows and interactive storytelling, will play a critical role in shaping the industry’s future trajectory.

Keywords:

Micro-drama, Mobile-first Content, AI in Media Industry, Digital Entertainment, Vertical Video

Chen,Z. (2025). Micro-drama in the Digital Era: An Analytical Overview of the Emerging Micro-drama Industry. Lecture Notes in Education Psychology and Public Media,126,60-65.
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1. Introduction

The micro-drama entertainment industry, also referred to as micro-dramas or duanju, has become a defining trend in the global digital media landscape. This format features serialized, mobile-first narratives, often with episodes lasting one to six minutes and optimized for vertical viewing. It emerged in China in the early 2010s, evolving from serialized web fiction into audiovisual content on platforms. Driven by the format’s accessibility and platform reach, consumers increasingly turn to short-form video for entertainment. Consumers increasingly turn to short-form video for entertainment. This phenomenon reflects broader changes in audience behavior, favoring rapid, personalized content consumption over traditional long-form viewing [1].

Recent scholarly work provides insight into this emerging media form. Li explores how Douyin micro-dramas shape cultural identity and social interaction by embedding popular themes, local symbols, and digital aesthetics into short-form narratives [2]. Li concludes that while these dramas are brief, they carry cultural significance and foster online communities, though they sometimes oversimplify deeper cultural narratives [2]. Similarly, Zhang examines narrative and quality strategies, observing a shift from sensationalist “dog-blood” tropes toward multimodal storytelling, IP-based adaptations, and data-driven production planning [3]. Zhang argues that these developments signal an effort to enhance narrative depth and creative value. Additional research emphasizes the role of interactive features and AI-driven personalization, suggesting that micro-dramas represent a fusion of media innovation and algorithmic culture [4].

This study employs literature review by synthesizing academic research and industry reports to analyze the market dynamics, narrative structures, production techniques, technological integration, and labor implications of micro-dramas.

2. Literature review

2.1. Market dynamics and growth

China remains the global leader in micro-dramas entertainment. In 2024, the market reached ¥50.44 billion, marking a 34.9% year-on-year increase [5]. Projections indicate it will exceed ¥100 billion (US$13.8 billion) by 2027 [6]. By 2023, the format had attracted 1.6 billion viewers, reflecting its widespread popularity.

Beyond China, the micro-dramas market is growing rapidly worldwide. The industry was valued at US$6.54 billion in 2024, with forecasts projecting US$7.21 billion in 2025 and a 10.5% compound annual growth rate through 2030, reaching US$11.91 billion [6]. North America and Southeast Asia have emerged as key regions for international expansion, driven by increased smartphone penetration, platform investment, and cultural crossover appeal.

Platforms such as ReelShort and DramaBox have been central to this global rise. ReelShort saw a 992% increase in downloads between early 2023 and 2024, using a pay-per-episode model supported by virtual currency [6]. DramaBox, another major player, reached 90 million registered users and 30 million monthly actives by late 2024 [6]. In the U.S. alone, over 215 mini-drama apps generated $100 million per month, signaling significant commercial potential [6].

2.2. Narrative characteristics of micro-dramas

The production of micro-dramas is characterized by a mobile-first, highly efficient workflow. These dramas typically adopt a vertical-first shooting format, making them well-suited for consumption on smartphones and social media platforms. Xu notes that this vertical aesthetic marks a departure from the widescreen cinematic tradition, creating a compressed visual language optimized for rapid, intimate storytelling in the post-film era [7]. Production cycles are remarkably fast, with entire seasons—often comprising dozens of episodes—completed within 10 to 14 days, allowing producers to align quickly with trending topics and viewer demand [8].

Narratively, micro-dramas lean on melodramatic and emotionally charged plotlines, often involving secret billionaires, revenge arcs, forbidden romances, or supernatural elements like reincarnation and werewolves. Episodes usually last 1 to 2 minutes and are structured around persistent cliffhangers, promoting binge-watching behavior. This fast-paced, high-intensity storytelling appeals to audiences seeking instant gratification and easily consumable entertainment.

In terms of performance, actors typically adopt a style emphasizing emotional immediacy over nuanced realism. While sometimes considered exaggerated or overly melodramatic, this approach fits the genre’s aim to capture viewer attention within seconds and sustain engagement through rapid-fire progression [8].

2.3. A brief discussion of existing research findings on micro-dramas

Recent academic research examines the technological and narrative dimensions of micro-dramas. One key trend is the growing integration of artificial intelligence (AI) into production workflows. AI tools now assist with script ideation, narrative optimization, and post-production editing, thereby reducing production costs and improve turnaround speed. Tang and others. highlight innovations such as SkyScript 100M, a multimodal dataset that enables automation from script generation to shooting planning [9].

This shift reflects a broader movement toward algorithmic co-creation, where human creators collaborate with AI systems. Producers increasingly function as optimizers in an AI-assisted creative ecosystem, leveraging data-driven feedback to refine storytelling strategies. Zhang argues that the fusion of rapid production models and algorithmic creativity is evolving micro-dramas from low-budget formats into technologically sophisticated, globally scalable media products [10].

3. Empowerment and industrial innovation

3.1. Content efficiency improvement and model innovation

Compared to traditional film and television, micro-dramas operate on compressed production timelines, with entire seasons, often composed of dozens of episodes. This fast-paced model allows production teams to align quickly with trending topics and shifting audience demands. Moreover, model innovation is visible in the format’s integration of serialized, emotionally charged narratives into ultra-short segments that maintain engagement through cliffhangers and persistent pacing.Verticalscreen microshort dramas rely on “cool pointmaking” (a strategy of highlighting emotionally resonant or visually striking moments), structured fantasy plots, and emotionally character,to deliver quick psychological satisfaction in fragmented, mobile viewing scenarios [11] .

3.2. Processing automation and cost optimization

One of the most transformative aspects of the micro-drama industry is its rapid adoption of AI-driven workflows. In modern studios, automation now spans multiple stages. Script ideation supported by NLP, subtitle and dubbing generation, automated generation of synthetic voiceovers or virtual actors. AI tools reduce time and cost across all production stages, generating scripts, organizing footage, applying color corrections, and localizing content with minimal human intervention. In fact, synthetic voice adoption alone can boost creator output by over 21%, and computer vision models can organize footage, detect scene boundaries, and apply color grading, reducing post-production time [10,12]. As studios scale production, technologies like pre-trained datasets, virtual actors, and timeline optimization engines make mass, rapid microdramas series feasible and cost-effective.

3.3. Personalized recommendations and precise push notifications

The platformization of micro-drama consumption has made algorithmic personalization a core strategy for viewer retention. Recent advances allow platforms to tailor recommendations instantly based on both long-term preferences and evolving behaviors, enhancing click-through and watch metrics [13]. Micro-dramas are typically distributed through apps that use real-time data to recommend content based on viewer behavior, genre preference, and engagement history. These systems enable platforms like ReelShort and DramaBox to deliver highly targeted push notifications, maximizing re-engagement. Frameworks like the Temporal Interaction Model predict optimal send windows by modelling historical behavior, improving retention with minimal disruption [14].

3.4. Cross-cultural adaptation

As micro - dramas spread globally, particularly in North America and Southeast Asia, their crosscultural adaptation has become essential. Platforms like ReelShort do not rely solely on dubbing or subtitles; they recreate storylines and adjust character backgrounds, pacing, and cultural visuals to resonate with different regions. For instance, a male protagonist may be altered from a billionaire executive in one adaptation to a soccer athlete in another market to align with local cultural expectations. Authentic localization is criticial. Research cautions that preserving emotional tone and vocal nuance is critical, while simplistic translation may undermine narrative authenticity [15]. Studies on cross-cultural communication emphasize the transformation of “cultural discount” into “cultural premium” by creatively reinterpreting values, genre norms, and emotional archetypes. This enhances both authenticity and appeal in diverse cultural markets [16].

4. Challenges and future directions

Despite its rapid growth and global popularity, the micro-drama entertainment industry faces numerous challenges. These challenges can be grouped into three key challenges. Addressing these issues will require coordinated efforts across production, platform governance, and policy regulation.

4.1. The conflict and balance between content and business

The micro-drama industry is built on an accelerated production model. However, this approach often sacrifices originality and thematic richness, resulting in content saturation. Common tropes, revenge arcs, billionaire romances, and supernatural elements, though effective for initial viewer engagement, risk long-term fatigue and declining brand loyalty. It needs higher production values, narrative diversity, and fewer cash-model constraints [17,18]. To overcome this challenge, producers must pursue quality enhancement and thematic diversification Incorporating strong character development, realism, and emotional depth will improve narrative coherence and viewer investment.

Achieving this shift will require investment in experienced writers, directors, cultural consultants, and higher production valuest. Data-driven planning can identify emerging trends, while AI-assisted tools can support ideation and script generation without undermining creativity. These measures aim to move the industry from a quantity-driven model to a sustainable, value-based one.

At the same time, monetization strategies must evolve. While pay-per-episode payment models and in-app currency have driven early profits, they pose scalability and retention issues. As consumers confront subscription fatigue, which could reduce sustained engagement [19]. Balancing affordability and profitability across domestic and global audiences will be key to ensuring financial sustainability.

4.2. Cultural adaptation for global expansion

As micro-dramas penetrate international markets, cultural localization becomes both a necessity and a challenge. While the format’s brevity, cliffhanger structure, and emotional immediacy have global appeal, cultural content often requires careful adaptation to suit local tastes, linguistic nuance, and regulatory frameworks.

Successful localization includes translation, dubbing, and cultural modification of scripts and themes. In some markets, producing original, region-specific content may be necessary to resonate with local audiences. Strategic partnerships with regional content creators, consultants, and distributors can bridge this gap effectively.

Furthermore, maintaining genre-defining features while adjusting for diverse viewer expectations is crucial. Compliance with varying media regulations adds another layer of complexity. Platforms must understand and navigate different censorship regimes, content standards, and legal systems to ensure successful global integration. Investing in local talent, content research, and multi-market testing will be essential for scaling globally while preserving authenticity.

4.3. Technical guarantees for labor rights

While micro-dramas have created new employment opportunities in both creative and technical roles, the industry’s fast-paced and non-standardized production environment has revealed significant gaps in labor protections.

Many workers, including actors and crews, are on short-term, freelance-style contracts with unstable income and weak protections. Industry stakeholders must therefore establish clear labor standards. This includes fair compensation models, standardized contracts, health and safety protections, and mechanisms for collective representation.

The integration of AI across production stages accelerates workflows and cuts cost. However, it raises profound questions about creative authorship, IP ownership, and job displacement. Under existing U.S. law, only works created by humans are copyrightable; purely AI-generated scripts may fail this bar if human authorship is minimal.To address these concerns, the industry must clarify copyright laws for AI-generated content and ensure that automation complements rather than replaces human labor. Establishing transparent AI governance, defining authorship in mixed human-machine outputs, and ensuring algorithmic accountability are essential to maintaining both creative integrity and equitable labor practices.

5. Conclusion

This study aimed to investigate the evolution, market dynamics, and technological transformation of the micro-dramas industry. The findings indicate that micro-dramas have transitioned from a localized entertainment trend in China to a global digital phenomenon, driven by mobile-first consumption habits, algorithmic distribution, and AI-enhanced production processes. The analysis revealed strong market growth potential and structural shifts in storytelling practices, supporting the hypothesis that micro-dramas represent a permanent, rather than temporary, component of the entertainment ecosystem.

Practically, the study offers valuable implications for content producers, platform operators, and policymakers by identifying key challenges such as content saturation, labor regulation, and IP protection, while outlining strategies for monetization and global adaptation. However, this study is limited by its reliance on secondary data and literature synthesis, which may restrict the depth of empirical validation. Future research could adopt mixed-method approaches, incorporating audience analytics and case studies to provide richer, data-driven insights into user behavior and production efficiency.

Overall, this study provides new insights into the mechanisms driving micro-dramas innovation and highlights the importance of balancing speed, quality, and ethical considerations. By shedding light on these dynamics, the research paves the way for further exploration of interactive formats, immersive technologies, and sustainable models in the global digital entertainment landscape.


References

[1]. Liao, W. H. (2013). A study on consumer behavior in the mobile internet environment. Science and Technology Management Research, 33(14), 150-155.

[2]. Li, X. (2024). Research on how Dou Yin microdrama shapes users’ cultural identity and social behavior. Lecture Notes in Education Psychology and Public Media, 67, 101–105.

[3]. Zhang, B. (2024). Research on the mainstream development strategy of online micro dramas. In:Proceedings of the International Conference on Financial Management, Humanities and Social Sciences (ICFMHSS 2024) (Paper F109). Francis Academic Press.

[4]. Chen, Z., Liu, P., Piao, J., Xu, F., & Li, Y. (2024). Shorter is different: Characterizing the dynamics of short-form video platforms. arXiv. https: //arxiv.org/abs/2410.16058

[5]. TechBuzz China. (2024). How bite-sized storytelling is reshaping China's entertainment industry. Substack. https: //techbuzzchina.substack.com/p/how-bite-sized-storytelling-is-reshaping

[6]. Global Info Research. (2024). Global Micro Short Drama Market 2024 by Company, Regions, Type and Application, Forecast to 2030. https: //www.globalinforesearch.com/reports/2048685/micro- short - drama

[7]. Xu, X. (2025). The narrative domain and industrial restructuring of microdrama in media fusion: Postfilm era perspectives. Journal of Arts, Society, and Education Studies, 7(2), 243.

[8]. Zhang, Z. (2022). Narrative strategies for quality Chinese web series. International Journal of Education and Humanities, 6(2), 37-39.

[9]. Tang, J., Xu, X., Wang, C., & Li, Y. (2024). SkyScript-100M: A large-scale dataset for script-to-shooting multimodal understanding. arXiv. https: //arxiv.org/abs/2408.09333

[10]. Zhang, X., Zhou, M., & Lee, G. M. (2024). AI voice in online video platforms: A multimodal perspective on content creation and consumption (Working Paper No. 4676705). SSRN.

[11]. Chen, W., & Lin, S. (2024). Creating the cool point: An analysis of the narrative strategy of romance new media vertical screen short dramas. International Journal of Management and Social Science, 7(3), Article 5041. https: //doi.org/10.18686/ijmss.v7i3.5041.

[12]. Argaw, D. M., Caba Heilbron, F., Lee, J.-Y., Woodson, M., & Kweon, I. S. (2022). The anatomy of video editing: A dataset and benchmark suite for AI-assisted video editing. arXiv. https: //doi.org/10.48550/arXiv.2207.09812

[13]. Gong, X., Feng, Q., Zhang, Y., Qin, J., Ding, W., Li, B., Jiang, P., & Gai, K. (2022). Realtime short video recommendation on mobile devices. arXiv. https: //doi.org/10.48550/arXiv.2208.09577

[14]. Ji, H., Yang, H., Li, L., Zhang, S., Zhang, C., Li, X., & Ou, W. (2024). TIM: Temporal interaction model in notification system. arXiv. https: //doi.org/10.48550/arXiv.2406.07067

[15]. Brannon, W., Virkar, Y., & Thompson, B. (2022). Dubbing in practice: A large-scale study of human localization with insights for automatic dubbing . arXiv. https: //doi.org/10.48550/arXiv.2212.12137

[16]. Zhang, Y. (2025) The power of cross-cultural communication: Reception and impact of Chinese variety shows on YouTube. Frontiers in Communication, 10: Article 1542139. https: //doi.org/10.3389/fcomm.2025.1542139

[17]. Jiang, L., & Wang, R. (2022). Research on the development status and strategies of micro web series in China. International Journal of Business Administration, 13(4), 72.

[18]. Cheng, X., Su, X., Yang, B., Zarifis, A., & Mou, J. (2024) Understanding users’ negative emotions and continuous usage intention in short video platforms. arXiv. https: //doi.org/10.48550/arXiv.2401.12249.

[19]. Tu, W., & Wang, X. (2024) New forms of employment and labour protection in China (ILO Working Paper No. 103). International Labour Organization.


Cite this article

Chen,Z. (2025). Micro-drama in the Digital Era: An Analytical Overview of the Emerging Micro-drama Industry. Lecture Notes in Education Psychology and Public Media,126,60-65.

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The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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Volume title: Proceeding of ICIHCS 2025 Symposium: Integration & Boundaries: Humanities/Arts, Technology and Communication

ISBN:978-1-80590-327-7(Print) / 978-1-80590-328-4(Online)
Editor:Enrique Mallen
Conference date: 21 October 2025
Series: Lecture Notes in Education Psychology and Public Media
Volume number: Vol.126
ISSN:2753-7048(Print) / 2753-7056(Online)

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References

[1]. Liao, W. H. (2013). A study on consumer behavior in the mobile internet environment. Science and Technology Management Research, 33(14), 150-155.

[2]. Li, X. (2024). Research on how Dou Yin microdrama shapes users’ cultural identity and social behavior. Lecture Notes in Education Psychology and Public Media, 67, 101–105.

[3]. Zhang, B. (2024). Research on the mainstream development strategy of online micro dramas. In:Proceedings of the International Conference on Financial Management, Humanities and Social Sciences (ICFMHSS 2024) (Paper F109). Francis Academic Press.

[4]. Chen, Z., Liu, P., Piao, J., Xu, F., & Li, Y. (2024). Shorter is different: Characterizing the dynamics of short-form video platforms. arXiv. https: //arxiv.org/abs/2410.16058

[5]. TechBuzz China. (2024). How bite-sized storytelling is reshaping China's entertainment industry. Substack. https: //techbuzzchina.substack.com/p/how-bite-sized-storytelling-is-reshaping

[6]. Global Info Research. (2024). Global Micro Short Drama Market 2024 by Company, Regions, Type and Application, Forecast to 2030. https: //www.globalinforesearch.com/reports/2048685/micro- short - drama

[7]. Xu, X. (2025). The narrative domain and industrial restructuring of microdrama in media fusion: Postfilm era perspectives. Journal of Arts, Society, and Education Studies, 7(2), 243.

[8]. Zhang, Z. (2022). Narrative strategies for quality Chinese web series. International Journal of Education and Humanities, 6(2), 37-39.

[9]. Tang, J., Xu, X., Wang, C., & Li, Y. (2024). SkyScript-100M: A large-scale dataset for script-to-shooting multimodal understanding. arXiv. https: //arxiv.org/abs/2408.09333

[10]. Zhang, X., Zhou, M., & Lee, G. M. (2024). AI voice in online video platforms: A multimodal perspective on content creation and consumption (Working Paper No. 4676705). SSRN.

[11]. Chen, W., & Lin, S. (2024). Creating the cool point: An analysis of the narrative strategy of romance new media vertical screen short dramas. International Journal of Management and Social Science, 7(3), Article 5041. https: //doi.org/10.18686/ijmss.v7i3.5041.

[12]. Argaw, D. M., Caba Heilbron, F., Lee, J.-Y., Woodson, M., & Kweon, I. S. (2022). The anatomy of video editing: A dataset and benchmark suite for AI-assisted video editing. arXiv. https: //doi.org/10.48550/arXiv.2207.09812

[13]. Gong, X., Feng, Q., Zhang, Y., Qin, J., Ding, W., Li, B., Jiang, P., & Gai, K. (2022). Realtime short video recommendation on mobile devices. arXiv. https: //doi.org/10.48550/arXiv.2208.09577

[14]. Ji, H., Yang, H., Li, L., Zhang, S., Zhang, C., Li, X., & Ou, W. (2024). TIM: Temporal interaction model in notification system. arXiv. https: //doi.org/10.48550/arXiv.2406.07067

[15]. Brannon, W., Virkar, Y., & Thompson, B. (2022). Dubbing in practice: A large-scale study of human localization with insights for automatic dubbing . arXiv. https: //doi.org/10.48550/arXiv.2212.12137

[16]. Zhang, Y. (2025) The power of cross-cultural communication: Reception and impact of Chinese variety shows on YouTube. Frontiers in Communication, 10: Article 1542139. https: //doi.org/10.3389/fcomm.2025.1542139

[17]. Jiang, L., & Wang, R. (2022). Research on the development status and strategies of micro web series in China. International Journal of Business Administration, 13(4), 72.

[18]. Cheng, X., Su, X., Yang, B., Zarifis, A., & Mou, J. (2024) Understanding users’ negative emotions and continuous usage intention in short video platforms. arXiv. https: //doi.org/10.48550/arXiv.2401.12249.

[19]. Tu, W., & Wang, X. (2024) New forms of employment and labour protection in China (ILO Working Paper No. 103). International Labour Organization.